You might like to compare these with the previous post which shows the paintings with only the first color layer. I've kept the paintings in the same order on both posts.
Now I must add a third layer of color to these paintings - the moment of truth!
Now - fun with color! When the colors work somewhere near my expectations, then that's my kind of fun. Should I get a life?
Each of these paintings will get two more coatings of color - two more color layers. The next colors will be darker than the color already used. The painting below will be a challenge because it is quite dark already.
In my photography club, someone mentioned that vertical images are more dynamic than horizontal ones?
The first step is to scoop the joint compound onto the masonite.
Next, I use a plaster tool to smooth a thin coating of plaster over the surface of the masonite. I strive for a layer that is 1/16" to 1/8" thick. I used to tell people that it is like frosting a cake, but I really have no idea if that's true!
I try to leave some "natural" texture from the action of the smoothing tool. 
Above, I have started adding textures with doilies and rulers. Below, I have finished with letters, stamps and a few other things. 
I feel that my textures are just an excuse to make colors without having to painting a picture.
Below the first color layer was done with yellow oxide and cadmium yellow. It is easy to see where I have removed the yellow.
The second color layer is an orange with some cadmium red. Again it is quite easy to see where I have removed some of the orange.
The third color layer has been done with a mixture of pthalo green and burnt umber. Lots of erasing was necessary to get back to the yellows and oranges.
Finally, I have added green washes in a few areas and some gold highlights in the doily textures.
The bowl above was just given back to me by my friend Marie Henninger who had a silk flower arrangement in it for about thirty years. (It reached the end of its shelf life!)
I used iron oxide (rust) for some of the coloring. I rubbed it on, then off. Much would be left in the textures. (Very similar to the painting steps I use to color my textured paintings.)
When I began developing my textured paintings, I viewed them as a poor man's substitute for clay. 
Below Ruth Anne who is a weaver is smiling because there was a large and energetic crowd.
The striking pieces below were crafted by Bob.
Mardi, the professor who gave me the job of supervising ART student teachers, did the following pieces in porcelain.
A favorite place - the snack table!
Daryl put together the fun sculpture below.
Below some students look over my work.
