While he was in Washington D.C., Morris Louis, other painters from the area, and Kenneth Noland formed an art movement that is known as the Washington Color School. This movement would later influence what would become known as Color Field Painting. Louis and Noland, accompanied by Clement Greenberg and a handful of other artists, visited Helen Frankenthaler’s studio. Frankenthaler often painted onto unprimed canvas with oil paints that she heavily diluted with turpentine, a technique that she named “soak stain.” This allowed for the colors to soak directly into the canvas. This created a liquefied, translucent effect that was very similar to watercolor. Color Field Painting which would later emerge after Louis’ visit to Frankenthaler’s studio is characterized by large fields of flat, solid color spread/poured across or “stained” into the canvas creating areas of unbroken colored surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In color field painting “color is freed from objective context and becomes the subject in itself.” Louis characteristically applied extremely diluted, thinned paint to an unprimed, un-stretched canvas, allowing it to flow over the inclined surface in effects sometimes suggestive of translucent color veils. The way in which this movement places more emphasis on form and process would greatly influence other movements that also had this in mind. These movements being, process art, performance art, minimalism, and post-minimalism. For example, when it comes to minimalism the artists in this movement wanted to eliminate what they considered “non-essential” forms in order for the viewer to focus on what is necessary and the most important form.