Make an effort to go back and fill in up to the edge. It's important.

Ultramarine blue in watercolors skies is a bad choice, too grainular.

Thalo blue and magenta, two primaries, will make the secondry color Blue. Or purple with a little more magenta. Rembrant Rose is not powerful enough to match the tinting strength of Thalo blue, Talens Thalo Crimson and a few other magentas will match the tinting strength of pathalocyan.

Cadmium Red and Thalo Blue are opposits on my color wheel, they mix neutral dark. It's a hard one to make a batch of as neutral because it jumps to one side or the other quickly. It is a great dark though, the cool side is more useful I find.

Your welcome, glad you follow along.

Hi Neeman,

It's good to paint while the light is going or coming, makes you paint fast.
You still lost image space when you get to framing by not painting completly to the edges. But you did get a lot closer to the edges this time, good.

So the sun was orange-red. You show the area next to the sun lighter, good eye. It's always lightest next to the dark and darkest next to the light.

Ultramarine blue is a dense pigment that is hard to work in washes because of the heavy pigment. Mix your blue with cyan thalo blue and magenta. That will be transparent and not have any grain to settle into the grain of the paper.

Water wavelets start and end with points like all waves. Smaller and closer spaced as they move to the distance. The best brush to do that with is as 1/2 inch flat, not that you cann't do it with a pointed round if your carfull.

The colors happening at that time of the evening are, orange and cobalt blue, red and thalo blue, and magenta and green. three sets of complements all mixing to a neutral dark. Thalo blue and magenta made the purple, their mixed oppositions made the darks.

I think your paper is on a block, so there is no reason not to paint to the edges.

While you are doing the first wash, start with a wet paper, when it dries to a very soft sheen start adding color. Don't wet the patterns that will be white, outline them in pencil and don't get the pencil lines wet or they won't erase.

I noticed you made a compositon correction, you could have done it in the original post by clicking 'Modify' and changing it. Instead of a new post. You can do that at any time, even changing your very first post if you didn't like the way it read.

Hi Neeman,
Your drawing is good, I can tell your painting altitude by the curve of the horizon line. Your colors are strong. But you are still not painting all the way to the edges of the paper.

The image you sent was too large, I reduced it. 500 pixels wide is how wide it is now. The image should be 72 ppi resalution, not 150 and the compression should be medium not high, 100 KB is as large as will be allowed.

I look forward to seeing your next piece.

That's great Neeman. The next one, paint all the way up to the edges. Your color is good, your timeing is a little off. You must be aware of how wet the paper is. I don't see any drawing lines, that's good. The photo is excellent.

You asked about Indian Yellow Pigment Color Numbers.
PY153 dioxine nickel complex + PR260 isoindolin = Indian Yellow Golden.

Those are color discriptions of dried chip colors, they will not discribe the properties of the pigment.

Transparent duel-toned IndianYellow is a color as deep in it's mass-tone as yellow-orange deep. This mass-tone hue will look orange on a dried paint chip.

By using Pigment Colors #'s you could not tell if it was an opaque pigment or translucent or transparent pigment. At what stage would you measure the duel-tone color? 

A graduation of color is not a Pigment Number. In it's mass stage (wet or dry) Indian Yellow Golden is as orange. As a top-tone or under-tone it is a bright yellow.

Greetings, Neeman!  I look forward to seeing your work

Just choose how many images you want to upload by clicking the little + on the left, pick the image on your computer and upload it.