Your technique is very interesting; your way of using the watercolor, and I noticed that you've got a fairly heavy watercolor paper that you've done it on. Yeah, I can see the edges, so yeah, like the coarseness of it.
I typically use linen hemp. Okay, yeah, because they're also very good for actually printmaking. I believe if they have the right thickness, they could make some great printmaking. Yeah, I just like the feel of the paper, the thickness of it, and the rough edges.
I always leave like a framed border around that, which sort of accents that paper very nice, knowing that, you know, if it's going in a frame or something like that, that, you know, typically the frame is going to cover the edges. Well, unless they're floated, that would be nice. Unless they're floated, exactly. They look so much better when they're floated. But, oh man, I love that piece. Sorry, go ahead.
Oh no, I was going to, yeah, I love that piece too that you put up there, but I was going to say to Wild Bill that that watercolor that you were just talking about is particularly nice. I was looking at going down a rabbit hole with that one. I have a relative who was a Cobra helicopter pilot in Vietnam, and that definitely captures a certain spirit for sure. I have posted the tall narrow one as an example of watercolor wash that I would do, and then I used like dirty ink pens on top. So, yeah, like that one, the sun just came out of it, and I called it the sad sun because you imagine you're the sun, and you create everything, and you also know that you're by nature destructive at the same time.
You know, it's like he creates but also takes life at the same time, so it's like he's always sad, you know? But, yeah, I really like watercolor washes like that, where you're just letting the watercolor create the substrate in that respect.
