September 24th, October 8th, and 22nd on Zoom
$35 for the three classes together
Look down, close to the ground. The world around you can be amazing if you take the time to pause and appreciate it. This autumn I hope we can translate a few delicate scenes into some creative artwork of our own.
Colchicum are often called Autumn Crocus. They pop out of the ground as days grow shorter and the weather grows cooler. Their soft white and pink-lavender blossoms are beautiful. I will demonstrate a blossom as it emerges from the ground.
Our friend Meena observed some small butterflies enjoying the nectar on a wild flower on her recent visit to Wyoming. She would like to paint it and is sharing her photo with all of us so we can paint as well.
There are some terrific parallels between these two scenes and I thought demonstrating them as a pair would enable us to incorporate similar techniques in two different paintings.
Because of the complexity in these photos, I would like to take three classes to complete the variety of features pictured.
I will demonstrate using two different media—watercolor paints or watercolor pencils and add optional graphite pencil for detail and texture. You can choose your medium and can choose to paint either one or both of these photos.
If you would like to attend the classes but don’t want to attend all three, let me know and I’ll figure out some way to make this work for you.
I finished the Wyoming scene 2 different ways, which I will explain in class. The autumn crocus scene is in process, but this will give you an idea of the piece.
MEDIA: WATERCOLOR PAINT OPTION: Cobalt Violet (I like Winsor&Newton brand especially), Quinacridone Pink, Sap Green, Indigo, Burnt Sienna, Sepia, Aureolin (Yellow), New Gamboge
WATERCOLOR PENCIL OPTION: Purple Violet, Middle Purple Pink, Fuchsia, Earth Green Yellow, Permanent Green Olive, Heliotrope Blue Red, Burnt Ochre, Inktense Dark Chocolate, Light Yellow Glaze, Cadmium Yellow
GRAPHITE PENCILS: 2H or 4H, H or HB
PAPER: I used hot press watercolor paper but you can choose cold press watercolor paper if you prefer.
PROCEDURE FOR INITIAL STAGES OF THE BACKGROUND WYOMING VIGNETTE:
DRAWING
*I don’t need to draw the thistle-like flower in detail, just determine the shape of the flower and outline it with some bristles at the edges
*Draw the butterflies, being careful to get the perspective correct.
*Remember to draw some thistle-like hairs on the stem and leaves if desired.
*Draw the box and possibly surround it with art tape for clean edges. This isn’t essential.
MASKING
*If you want, use masking fluid around the edges of the plant and butterflies. Remember to include some bristles sticking out in the flower, leaves, and stem using a plastic toothpick.
*You don’t need to use masking fluid if you don’t want to. You can just avoid the plant and butterflies with your brush.
PAINTING THE BACKGROUND
* Paint with watercolors: burnt sienna, sepia, indigo, with slight amount of quinacridone pink or cobalt violet.
* Techniques: either wet the paper in the background only and drop in paint
* Or paint the burnt sienna on dry paper then drop in the other paints while the burnt sienna is still wet. Dilute the paint, leaving some of the paper empty for a light look.
* Dry
* Repeat 1 or 2 more times for depth.
* If you prefer to use only watercolor pencils on this piece, either just glaze with the watercolor pencils or use them dry, wetting afterwards. Keep them light in value.
FLOWER
MASK a few thistle bristles with a plastic toothpick if you choose.
TOP of FLOWER
Stage#1:
* color CobViolet, and bit of Quinacridone Pink
* add lines *define, crisp it up
* If using Watercolor Pencil, choose Midde Purple Pink with touches of Fuchsia and Helioblue-red
Stage#2:
* darken in a few spots at the base of the violet area.
BOTTOM GREEN SECTION
Stage#1: diluted Aureolin wash. Dry.
Stage#2: add definition in the sepals using touches of Sap, Cobalt Violet, and diluted Indigo.
BUTTERFLIES
YELLOW BUTTERFLY
Stage#1: Add a diluted Aureolin wash. Dry.
Stage#2: Add details with Burnt Sienna or watercolor pencils such as Burnt Ochre or use a Graphite 2H pencil.
BACK BUTTERFLY
Stage#1: Either leave the basic white paper or use a diluted wash of Titanium or Chinese white as the first layer.
Stage#2: Add a bit of detail with diluted Indigo, Sap, or just use a 2H pencil. I am not emphasizing detail on this butterfly.
LEAVES and STEM
Stage#1: Add a diluted Aureolin glaze
Stage#2: Accent with Sap, diluted Indigo or use watercolor pencils here such as Earth Green Yellow with touches of Helioblue-red or use Graphite in 2H
Stage#3: If desired, you can add a white such as Titanium White or White Ink to suggest the hairs along the stem and leaves.
CONTINUING BACKGROUND
I added a bit of diluted Indigo in horizontal strokes to darken the value of the background. I also added a touch of diluted Sap in a few spots as well. This should bring the flower forward visually in your painting.
At this point, you have a decision to make. If you want, you can choose to leave the background at this stage. I give an example of this in the first photo of my artwork above.
If, though, you want to suggest the texture and small pebbles and plant bits in the background you can add a graphite pencil or watercolor pencil. I used a graphite pencil in mainly horizontal strokes and photographed this, the second painting above.
PROCEDURE FOR INITIAL STAGES OF THE BACKGROUND AUTUMN CROCUS VIGNETTE:
DRAWING
* Draw the flower.
* Draw some leaves. These will be painted with some definition. I drew these hanging over the box.
* Some leaves will just be suggested with paint when I do the background. You can either draw these or just paint the shapes with your brush.
* Draw the box.
MASKING
* I didn’t mask this at all. I just avoided the flower and the foreground leaves. You can mask if you want.
PAINTING THE BACKGROUND
* Paint with watercolors: sepia, cobalt violet, indigo, aureolin, and sap.
* Techniques: either wet the paper in the background only and drop in paint or paint on dry paper using blocks of color in the above colors. Make sure to leave some of the paper free of paint and dilute the paint enough to keep things light and airy looking.
* Dry
* Repeat for depth.
* If you prefer to use only watercolor pencils on this piece you can either draw first then wet or just glaze with the watercolor pencils.
FLOWER
* I used a little cobalt violet at the base of each petal and, as I painted each petal with my brush, diluted it as I moved up toward the tip of the petal. This should give me more color at the base but mostly white paper showing as you approach the tip.
* After this dried I added a little detail and darkened the value a little at the base, using more cobalt violet or indigo. This could also be easily accomplished with a middle purple pink or similarly colored watercolor pencil.
CONTINUING THE BACKGROUND
* In the initial washes I tried to suggest bark on the bottom, leaf and crocus-colored areas toward the middle, and leaf color and just background blue shapes in the top area. Now I will just add a bit of paint, watercolor pencil, or graphite pencil to add a bit of definition to a few of these color areas.
* The bark area was defined a little with darker value sepia or brown watercolor pencil or graphite.
* In a few of the leaves I added a little definition in the veins of leaves. I also added a bit of darker value to shape the leaves.
* In a few of the violet areas I added a little darker value to suggest some crocus shapes.
* I added a little darker value at a few of the spots where the background and the flower meet.
The Wyoming Vignette with initial stages of background washes
The Wyoming Vignette with additional layers of background washes
Autumn Crocus Drawing
With initial background washes
With initial flower washes
CARDINAL on a BRANCH with BERRIES November 5th
MINI WINTER, CHRISTMAS VIGNETTES November 19th
$25 for the two classes together or $15 if you choose a single class
My goal with each of these small simple paintings is to discuss and demonstrate some pieces to display or share as a gift in this season. I plan to use a variety of media and supports (papers, canvas, boards) for options you all might like to try in your artwork.
Watercolor Pencils Prismacolor White. Watercolor Pencils are Albrecht-Durer by Faber-Castell unless noted
Female: Cream, Derwent Watercolor Pencil Raw Sienna, Cadmium Orange, Cadmium Dark Orange, Pale Geranium Lake,
Raw Umber, Burnt Ochre, Derwent Inktense Dark Chocolate or Bark, Helioblue-Reddish
Male: Pale Geranium Lake, Dark Cadmium Orange, Dark Red, Inktense Dark Chocolate or Bark, Helioblue-Reddish
Watercolor Paints: Raw Sienna, Light Red, Cobalt Blue, Scarlet Lake, Burnt Sienna, Sepia, Alizarin Crimson (option on Male only)
Dr. Ph Martin Bombay Ink Yellow Ochre
Graphite pencil 2H or 4H
Background Watercolor Pencil Possibilities: Cold Gray I, Cobalt Turquoise, Graphitints Cloud Gray and/or Steel Blue and/or
Slate Green
WATERCOLOR FEMALE CARDINAL PROCEDURE
--Draw the bird.
WATERCOLOR PAINT PROCEDURE
-- The base is a Raw Sienna diluted wash, more in belly and head, less in lower wings and tail. Leave white of paper around the lower edge of belly and tail. Dry. If you want you can add a bit of Quinacridone Gold or New Gamboge to brighten the Raw Sienna.
--Add a diluted wash of either Scarlet Lake or Quinacridone Red to the lower wings and tail. Add just a touch around the face, head, and upper chest. Dry
--Use a mixture of Light Red and Cobalt Blue in the darker areas. This mixture will dilute well into soft warm or cool grays in some areas, but stronger darks around the face and to indicate the lower wing and tail.
--Leave a spot of white in the eye, then apply a dark there as well.
WATERCOLOR PENCIL PROCEDURE
--Draw the bird.
--Cream is the base of the warm areas. Either apply wet or dry.
--Layer with Cadmium Orange, Dark Cadmium Orange, Pale Geranium Lake with touches of Raw Sienna (Derwent Watercolor Pencil) or Burnt Ocher.
--Use a mixture of either Inktense Dark Chocolate or Bark and Helioblue-reddish for the darks.
You can add detail to either of these media with either a graphite pencil or watercolor pencils used dry or almost dry.
BACKGROUND
--This is totally your choice. I decided to try to mimic the background I saw in the photo, because it reminded me of a cold winter sky. Next time we will do a different kind of background with the male cardinal. We will place him on a branch of holly. You can choose to do the same with your female cardinal, or just do a simple vignette, or whatever other idea you have.
Watercolor Pencil (left) and Watercolor Paint (right) with initial washes
Male and Female Cardinals in Watercolor Pencils
Male and Female Cardinals on Claybord surface
Holly on paper
Watercolor Paints used: Alizarin Crimson, Scarlet Pyrrol , Quinacridone Red, Scarlet Lake, New Gamboge, Phthalo Green, Sap Green, Sepia, Burnt Sienna, a combination of Light Red &Cobalt Blue (For gray/black)
If you prefer Watercolor Pencils I suggest: Pale Geranium Lake, Derwent Watercolor Pencil Madder Carmine, Inktense Poppy, Dark Red, Permanent Green Olive, Light Yellow Glaze, Cadmium Yellow, Cadmium Orange, Dark Cadmium Orange, touches of Dark Phthalo Green, Inktense Dark Chocolate, and Burnt Ochre.
PAPER: I plan to demonstrate a variety of Christmas and Winter Vignettes using a variety of papers and a mini-canvas. Watercolor Paper is appropriate for every project but you might be interested in adding another support as I demonstrate.
Watercolor Pencils in Holly Drawing: Olive Green Yellow, Permanent Green Olive, Dark Phthalo Green, Light Green, Ultramarine, Helioblue Red, Light Cobalt Turquoise, Pale Geranium Lake, Dark Cadmium Orange, Scarlet Red, Fuchsia, Cadmium Orange, Derwent Watercolor Pencil Madder Carmium, Derwent Watercolor Pencil Raw Sienna, Burnt Ochre, Raw Umber, Inktense Dark Chocolate
2H Graphite Pencil
PL McGahan Art
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