I worked with acrylic (red) on A3 watercolour paper.
It was tricky to stop brush marks showing through, and as it dries out they show up more. I then used orange and worked from the other end, wet on wet.
On one, the orange seemed to show up more dominate.
The next day, I mixed up the orange again to use over the now dried red wash.
Does this method give you greater control? Yes, it does seem to as the colours don’t run together, it is less messy working this way.
Have the colours merged in the same way? No, I think they merged better on the wet on wet technique.They blended and mixed to give a better colour.
How could you employ these techniques of building coloured glazes? They make a good base for working on, especially if you were doing a special sky or seascape.
I also tried some other colour combinations, wet on wet: Dark ultramarine & violet, light green & cadnium yellow. These got a bit streaky, the green in particular.
Also, 2 both called Naples yellow, different makes, where one is clearly a peach and the other a pale yellow, but they blended well together. I thought this was was the best, but maybe because I was getting better at blending!
It was a good chance to find the best acrylics, and I liked the ones I had bought from the local art shop the best, ‘Vallejo’ acrylic studio, the other ones, called ‘pebeo’, not so good (these were given to me)
As suggested, I looked at the Rothko Seagram murals. http://www.tate.org.uk/whats-on/exhibition/rothko/room-guide/room-3-seagram-murals
…..and the interactive exploration is excellent! http://www2.tate.org.uk/rothko/
Various shades of red with frames within them. I imagine they are more striking to see ‘in the flesh’.