This morning's painting is heaps better than yesterday's, although if you read yesterday's text, the meaning of yesterday's painting reaches far beyond the aesthetic. From a technical perspective I'm happier with today's painting and one of the key factors is that it is not overworked. The watery area needed to remain as it is, as the eye skims directly to the Lake District mountains across the bay and this is where the detail is. In winter light the fells are often crystal clear and we get to see configurations never seen before. Every day, and often every minute, the scene changes with the shifting light. I was tempted to finish this painting by placing a couple of wispy grey clouds above the mountains. The thing with watercolour is that you can be two hours into a painting and then spoil the composition by adding one thing too many. Once I've had time to remove myself emotionally from this piece, I'll perhaps add those clouds, but for now it will remain as it is. An important distinction between yesterday's and today's painting is that they were made on two different paper types. Yesterday's was Hahnemühle Anniversary Edition 425gsm watercolour paper which I find is more suitable for egg tempera. Today's painting is on St. Cuthberts Mill, Saunders Waterford. Lifting is easier on this paper and more suitable (I find) for watercolour. It's a great paper. The best I've used for watercolour.