Painting 33

Ref 914.- Watercolor .- Another High Contrast approach

This is the final result of this process;

                 "The ideal beauty its like a fugitive which is never found"

High Value Contrast.- draw the eye of the viewer between the lightest light and the darkest dark, the greater the difference the higher the contrast.

In every painting you want to créate as full a range of values as you can, from brillant White to near black, watercolors are generally applied from light to dark, but in the next method I´m stablishing the darkest color and saving the whites since the very first moment to work in transparent layers within the midtone áreas trying to make a more three dimensional feel, most White and black tube watercolors are opaque which can dull the overall look, so its more effective to créate tonal values by increasing and decreasing the amount of wáter added, when the paper is allowed to show through many thin veils of color.- light bounces off the paper surface to the eye creating a glow, this glow helps to increase the contrast, which in turn increases depth 
In my following painting like I already said; I established the dark color first,trying to save Whites from the paper, however to make different tones of glow, I need to regain whites, with added clean wáter and dabbing with a paper towel, when the área is completely dry, I will dark the values around the área to make it appear light.

First of all; I do not want to darken everything and end up, with only three values; White light and dark.- that will make my work look flat
Whenever posible I´m painting vertically to allows the color to mix by gravity, (in order to paint the sky the painting is turned it out 90°) resulting in luminosity and variety of the washes, so I started the shadows first along with some of the connecting background I used both hard and soft edges, keeping the overall design then I spray a fixer to make a kind of Shell for my next color washes
My first wash are basically primaries .- yellow and wait to dry then yellow and orange.- then crimson, wait to dry and finally malva some of this colors touch the dark tones into the underpainting to make additional values

The darkest color (Payne´s grey) its again reiforced where I´m looking for contrast
Notes: the dark color it was established as underpainting for this particular proces, because as a matter of fact you need to mix the dark color with another colors combination (ther are many) to enrich, strength and deep like phtalo blue and red; ultramarine and Brown, phtalo Green and red etc.
Like I said this is another approach
I did fail with the fix shield because some black color dirt the surface again with wáter contact of the 2nd and 3rd layer wash (point to solve)