While Untitled presents irresistible orchestrations of color, there is a softness to the forms and an alluring fluidity in how they integrate with each other and, as a whole, the canvas itself. There are no heavy-handed dollops of impasto, no combative clashes of paint, but instead a congruous and deliberate amalgamation of color and form; more akin to the blossoming of a flower or a nocturnal celestial display, than to any human conceit or affair. Young achieved this delicate palette and coherent elegance of form by pouring watered-down paint onto the raw canvas, so as to produce a stained effect. This staining method is characteristic of many other color school artists, and in particular Young’s peer and friend, Sam Gilliam.  Like Morris Louis, Young would spread his canvases on the floor to apply the dripping paint.