https://felipeadan-lerma.pixels.com/featured/sky-on-fire-butterfly-felipe-adan-lerma.html
Not as long a post as I’d like, but wanted to get the final image (including detail cut views) of Sky on Fire Butterfly out in view! Plus give a few thoughts that came up as I finished up 😊
As is fairly evident, besides the addition of color to the butterfly’s face (New Gamboge) – in the large final image above & esp in the comparison view below – there’s also a clearly seen outline in both the initial and finished work, but I didn’t smooth the edge out completely into a really clean clear edge in my final piece. There’s like a residue around the final butterfly, a gentle fire, more matching the new background into a nicer unity.
Sky on Fire Butterfly ©Felipe Adan Lerma watercolor on paper https://felipeadan-lerma.pixels.com/featured/sky-on-fire-butterfly-felipe-adan-lerma.html 
Sky on Fire Butterfly ©Felipe Adan Lerma in progress 03.18.21
What I felt I most accomplished though, were things more directly instructional to me, alerting and reminding me to things I really like in art works.
For instance, below, in a screen shot from a close up as I worked in Affinity Photo, I really love the mix of ways the colors interact – from flowing-glowing into each other, to superimpositions of one color over the other.
A mix of wash and scumbles.
A mix of appearing and disappearing lines.
The sense of depths and textures interacting in visually interesting ways.
I’m not saying this is great work. I don’t think so, lol!
I am saying I really like seeing, and creating, this kind of mix in art work, especially mine!
Some of my very best oils, from the 2000s, very impressionistic, carried this quality. Back then, I thought it a failing. I didn’t have enough experience accepting my own work, or my own preferences, to realize much of what I was intuitively producing, was very much was I most liked in art. A kind of interplay between the physicality of art and it’s graphic representation on a flat plane, like in prints and gift products.
https://felipeadan-lerma.pixels.com/featured/sky-on-fire-butterfly-felipe-adan-lerma.html
And it’s that representation, on a flat surface, in the way it comes across, whether as an original on paper or canvas or panel, or on a print or printed on a gift product, that’s most hopeful to me.
Why?
https://felipeadan-lerma.pixels.com/featured/sky-on-fire-butterfly-felipe-adan-lerma.html
Because it means I can continue to work small to small-ish, continuing to develop these mixes of textures and ways of applying paint, and still be able to present them in sizes larger than the original, and have that tiny magic come across.
And eventually, when I have more control over being able to produce these affects, not necessarily more predictably, but at least more reliably, or even better, more confidently, I can then again produce larger work –
Returning to how I first started seriously painting in the early 80s, with large canvases – 30x40s to 40x60s.
And, as I’ve found is true with most things, we shall see 😊
Take care everyone! Enjoy! ❤️
Adan
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For reference – my 1st digital line art / poem / wash (done recently) was Little Dancer.
While my most recent butterfly watercolor superimposed on line art was Floating Butterfly.
My digital line art is done with Affinity Photo, and most my watercolor art via Arteza’s Real Brush Pens.
Touches were done with small amts of Daniel Smith tube watercolor.
And both were applied mostly with Arteza water brushes.
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My Latest Posts On My Website!
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- My Original Source Photo for Series of New Paintings – San Francisco Golden Gate BridgeThe image opportunity itself was via an evening boat ride my wife Sheila and I took on our so-far only trip to San Francisco a couple years ago.
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Thanks again, everyone! 😊
Adan
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