Småt er - eller kan være - godt. Og hvorfor male 20 forskellige motiver, når man kan lære mere af at male nogle få - flere gange.
Den første dag på kurset hvor jeg ikke var åben og meget lidt lydhør, gik det helt galt med de billeder jeg malede som var i fuldt A4-format. Jeg gik jeg ned til postkortformatet de følgende dage. Og så gik det pludselig bedre.
Ikke "penneprøver" men "penselprøver".
Nolde owned a large stock of slightly absorbent Japanese papers, in a variety of weights from thin to very heavy, which permitted him a range of wash effects similar to those possible with hot pressed papers. Jolanthe Nolde described how he cut irregular smaller rectangles by hand from the large sheets, and kept 17 separate premixed colors always ready in small aluminum cups, each cup with its own watercolor brush, the tufts bent from resting continually in the cups. He charged the surface of the paper with juicy layers of paint, the brushes so saturated that drops occasionally fell by accident into the work. Paints tended to diffuse through the paper, producing fuzzy edges, puddles, backruns and dense wet in wet color mixing. Subsequent layers would sometimes bead up, repelled by the accumulated layers of gum arabic underneath, making the colors appear to be sprayed on. The resulting images are conjured from dark, muted mixtures shot through with flashes of intense pure color — somber, turbulent, and sometimes menacing or poignant.