19 NOV
The green on the left was extended then scraped back, the harbour redrawn with liquiid Indian Yellow on the left and a new purple line on the right. As always, looking for a harbourshape that excites. I think there is a stroger painting with a simpler palette, with the attention drawn more to the geometric shapes within the harbour. Perhaps I'll push blue through both the purple and the green to bring unity, with broken edges to contrast with the geometry within.
18 NOV p.m.
I went with the green, redrawing the lower purple curve which could be a mistake. Messing around in Photoshop again (in the pub with a pint of Sharp;s Special)! I think the line should disapear behind the green and pop out over the yellow or perhaps , more excitingly, be echoed by a second curve across the geometric right side of the harbour.
Photoshop
Real!
18 NOV a.m.
Things are starting to move! In my sleep, I saw green, introduced first thing as a pour, then extended into a large shape, almost like a heart. The central yellows were darkened with Indian Yellow, fabulous against the green/turquoise. I can see 2 ways to go: extending the green almost to the left edge, or bringing in a sheet of new orangy yellow over the green but leaving only the curves at the top and the slanted rectangle to join the dance of shapes. I've been trying them out on Photoshop below:
Photoshop
17 NOV
If you are working with yellow, you have to find yellow and its tonal range. The purple is more lively now - I'm enjoying the abruptness against the yellow, and how it tucks in behind as it gets darker. and yet there is more to find, it's either the wrong yellow or the wrong purple, I must find the optimum, an exquisite repationship. The painting has no depth or history or surprise - a long way to go.
17 NOVEMBER 2025
Early days but loving the simplicity and the shape of the harbour and the idea of repeated paralellograms. Also the concept of and 'blue into yellow without green' reflected in a possible title: 'Something has happened...'