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Winsor & Newton HP 300 gsm, 10" x 14".

for this painting i laid down the foundation marks in cerulean blue and cobalt violet, both heavily granulating, easily lifted paints. then i washed over this foundation with diluted cadmium scarlet, iron blue, gold ochre (iron oxide) and dioxazine violet, which partially dissolved the marks underneath and created various striations at the edges.

i am very happy with the textural variety that resulted, but not so much with the gestural marks. i think it takes a lot of practice and the judgment of experience to put brushmarks into an abstract painting -- i mean stand apart marks, like calligraphy, not the all over marks used by, say, joan mitchell.

i've already learned to appreciate the importance in abstract painting of color judgment -- i won't say color design, since the selection depends on how the painting evolves, not exclusively on a fixed plan.

i also really enjoy the mixtures that come out of gold ochre or cadmium scarlet with cobalt violet. they make up another of my "secret" flesh mixture recipes.