pretty much all of these greens were mixed on the paper. colors were in addition to hooker's green which i mix with burnt sienna or raw sienna to get a de-saturated green, were ultramarine blue, quinacridone gold, mineral violet, cobalt turquoise, burnt umber. all painting except for the figure which was painted with a #10 round escoda verstil, were painted using isabey squirrel quill brushes. i have started using them for landscapes as they are softer and hold more water thus giving the illusion of less control and softness to the procedure. here are the three steps. the top background woods was initially washed in with a light colors of a variety of greens mixed on the palette. the next layer was put in wet-in-wet using the same colors only much thicker and mixed on the paper. then the various rocls along the shore and the figure all wet on dry. then the water which is mainly reflections of the woods and therefore the same colors streaked in vertically. as a rule reflections in water of light value objects reflect darker than the object and dark objects reflect lighter. the woods being dark, reflect lighter as you can see i did, mostly. at the very end i lifted out the ripples and lighter rock reflections (please note that these reflections, while lighter than the surrounding wood reflections, are still darker than the rocks themselves). darker ripples painted in with the tip of my smallest isabey brush and something dark.
the title, for you non-fly fishers, comes from the line which plays such a major role in this painting. fly lines come in a variety of weight, no. 6 being possibly the most common weight, and a variety of tapers at the end of the line. a double taper line has a taper at both ends and can be reversed when one end gets worn out from casting and rubbing against rocks, sticks, what-have-you in the stream.
|"no. 6, double taper", (10"X16)|