Seed Heads

A study, using alizarin crimson, ultramarine blue, raw umber, burnt sienna and raw sienna. I’m working with Chinese brushes. I felt the initial effort didn’t work, too much empty space, not enough opportunity for layering and adding a bit of that watercolour magic that is negative painting, so I washed the page down leaving a ghost of the first image. Initial painting below

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And once dry started to work back into it, pretty much ignoring the original painting, using the same seed head shapes but rather smaller

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I’m finding and ‘losing’ edges and outlines, painting the seed heads as both positive and negative shapes, using a water spray sometimes to break up hard edges, deepening the tones in some areas and creating a variety of tone across the painting

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When dry, the pale shape in the centre looked too stark so I added some tone on one side to make it blend in a little more. Finally I added a couple of stems.

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5 thoughts on “Seed Heads

  1. I love your work for its colour and dashing, calligraphic freedom. But, as a typographer, I liked the first version best because its got a perfect space top left to put some type! I suppose this is how a lot of Chinese paintings work, balancing drawing with lettering.

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