On the lower area
I used the Alizarin Crimson solution, but with a far softer brush - a large squirrel - hair watercolour brush.
Not exact matches
Fill two egg - cup sized containers a third of the way with turps (or white spirit) add a pea of
alizarin crimson to one and a pea of violet to the other and dissolve the paint fully (preferably with a different brush to the one you will be
using).
I
use lamp black as a dramatic accent as well, placing the pure black in a part of the painting that is already devoted to very dark mixed blacks (
alizarin crimson and phthalo green or ultramarine blue and burnt umber for example).
Each canvas began with a grounding field of fluorescent pink, down which Howard methodically dragged strips of deep
Alizarin Crimson oil paint,
using a T - square to shape the precise edges.
I still
use pretty much the same palette I
used when I first started painting, with a few additions over the years: Cremnitz white, raw umber, ultramarine blue, cobalt blue, quinacridone blue, burnt sienna, lemon yellow, cadmium yellow, Indian yellow, cadmium orange, cadmium or other warm green, Veronese green, vert Aubusson or pthalo green, a purple, cadmium red,
alizarin crimson.
He also
uses in his palette Ultramarine Blue, Permanent
Alizarin, Viridian Green also Michael Harding's Naples Yellow and Michael Harding's Vermillion.
Permanent Rose and
Alizarin Crimson are also similar, though the Crimson is a little more intense than the Rose, so
use it sparingly.
Next, create ranges of violet,
using each possible combination of the different blue and red co-primaries - start with
alizarin crimson and ultramarine blue, which both have violet overtones.