Painting 33

Watercolor.- Making watercolors glowing
wet on dry technique is causing too much opacity in the stroke. There are lots of theories as to why, but few argue watercolor benefits from washes very much, arguably much more than dry strokes, pigment crowding, paper shine, whatever.
I lay down three washes of blue for a sky and it always looks better than one pass of a heavy wash.

Two: My personal problem is fussing too much when wet, if one over mixes two colors whether on palette or paper a hard to define grayish sheen seems to come over the mix, creating what can't be called muddy but is dull nonetheless. The very best wet workers
I've seen never ever fuss too much, they drop in and GET OUT. One my good days I can hit a passage like they do.

Three: I have an instinct to paint in a mid to low key range, and truly high key luminous paintings are hard for me instinctually. Perhaps for you as well. I love the exercise where one flips all the colors around, like a yellow sky, blue house, purple trees white water and carmine fields sort of thing.
Could loosen up your color spirit.

When i start to build colors I may use thin opaque for the first wash and then apply transparent on top .So for the following painting I did a underbase with molding paste (mixed with watercolor accordingly), keeping white zones absorbing or lifting color with a napking, then after dry I apply transparent colors; within the rainbow example ref 839
Note ref 838 at the bottom of this entrance  was my first attempt but the wet on wet without care, cause too much opacity as I said early

                            Ref 839 My favorite color is the rainbow

              Ref 838 An optimist always look for a rainbow after the rain