Mixing things up a bit in this piece. Here, I’ve concentrated more on composition and color, and de-emphasized the literal representation of the car.
Using opposing colors creates a vibrant, energetic feel. I originally rendered the orange-on-blue version as a stand alone piece. But I later decided to add the opposite (blue-on-orange) counterpart to give balance, and made the cars move in opposite directions (nearly exiting the frame) to keep the piece from feeling static.
A translucent halftone pattern was integrated to pat homage to Roy Lichtenstien — an artist I’ve always admired. But rather than emulating comic book printing technique, it’s used to give some subtle texture to gradations.
Iterations that more completely obscure the car were created while exploring this aesthetic, but I settled on this version to give this first experiment some grounding in reality. If I continue to stay in this space, I might go deeper into the non-figurative.