Green Light

Here's a motif we saw several times in last week's critique. The first  layer was  mostly soft-edged and pale, more shapes than lines.

 The collection of marks still has no content when the second layer is applied. It is heading toward recognizable content, but without any third layer darks we have to guess what we're looking at.

This collection of shapes becomes meaningful right away. Just about everything happens by the time the second layer is composed. 

And here's a combination of shapes and lines built along a traditional track that stops at light, middle, dark and ultra dark, picking up context along the way. 

Feel free to work with recognizable form and/or abstraction. 

Be prepared to describe how your painting unfolds