But the orange, now, that's a different story. Adding a glaze to the gray areas just warmed and dulled those grays (I quickly tissued it back off!). The orange sparkles you see now are cut from another piece of paper, to see how they would look. If I do decide to try something like this, I'll have to do some REALLY careful masking and use the magic eraser to remove the dark cool colors first. I tried, on a dark scrap, to use a double layer of watercolor pencil, orange over white. But I can't get it to photograph at all, and I'm pretty sure it would become a distraction (worse that just leaving off the orange). Thoughts?
I do like the throat a bit darker, and it's fine without that orange - I wouldn't want you to ruin it by trying to put something in that's not going to work.
ReplyDeleteI like the changes you have made. As for the flecks of orange, that would help to further unify the composition, but my feeling is that they should be fairly subtle. You could use an opaque orange such as cadmium laid on pretty thick, or you could mix orange with white guache or titanium. I sometimes use a piece of clear acetate to lay over the painting and try out different things before committing them to paper. You already have a tinge of orange in some of the gray areas, so maybe strengthening a few of those would be good. I think this painting will be a winner!
ReplyDeleteI love the flecks of orange (but I love orange); they're bright but being so small really don't compete/distract. The lily itself is lovely, the shapes and colors so lyrical and delicate; the curve of the stamens perfect.
ReplyDeleteI love the positive/negative handling of the background pattern.