Applying the second colour over the dried wash that I had earlier set aside (to achieve overlaid glazes instead of wet-in-wet blended washes) resulted in very different outcomes. There is so much more control in this method. In fact the second colour seemed to appear much more bold in colour than it did directly on to the paper. The paint seemed to work better on a dried layer of paint than it did in the original exercise flowing on the paper which really surprised me. The colours merged very differently. In a piece of work that will require more detailed and strict tone adding. In a dark landscape when both dark and bold colours are required on either end of the colour scale, this will be a very useful technique. I look forward to putting these really aesthetically pleasing techniques in to practice in to my future work. I have to say that I did find it easier doing this than the original exercises work. I have to reiterate that practice is definitely the key to this.
My research and reflection on the paintings of Mark Rothko, in particular the huge Seagram Buildings paintings after I visited http://www.tate.org.uk for an interactive tour of the Seagram murals as suggested is as follows:
Seeing Rothko’s artwork stirs mixed emotions for me. They’re very bold and dark. They remind me of feelings brought on by a classic horror film with the colours, etc. Although I can’t say that they appeal to my personal tastes, its really good to see how the techniques can be used in a less obvious context and from a contemporary painters perspective. The second colours in his pieces really come through boldly which brings out the method that he has used to.
Reflecting on this artist has been interesting to look at artists work that I may otherwise avoided. This has encouraged me to research techniques not just preferred tastes. This task has deepened my understanding for research.