AUTUMN ZOOM ART 2024

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.

 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.  

MALE CARDINAL PROCEDURE 

        --Draw the bird.

         --Use your watercolor paints or pencils to contour the cardinal in the red color.  

               Watercolor  Paints: mainly Scarlet Lake, Scarlet Pyrrol (which is a more  orange-red), or Quinacridone Red.  Be careful to dilute your media so  that the red color doesn’t get too heavy.  

               Watercolor Pencils: Pale Geranium Lake, Derwent Watercolor Pencil Madder Carmine, and/or Inktense Poppy. 

                 Dry.  

       --In warmer areas, closer to the highlighted area I might add a little

                 Watercolor Paints: New Gamboge 

                 Watercolor Pencils: Cadmium Orange and Dark Cadmium Orange 

       -- To lower the intensity in shaded areas I continue the contouring with 

           Watercolor Paint: Alizarin Crimson and/or Burnt Sienna

           or Watercolor Pencil: Dark Red or Burnt Ochre   

           Dry.

        --I used a little of the lower intensity paints or watercolor pencils to define the wing and tail feather groups.  

        --I then added the dark areas in a “black” mixture made with mainly dark brown.

           Watercolor Paint: Sepia

           Watercolor Pencil: Inktense Dark Chocolate or Bark

        --I added touches of a cooler color in the dark brown with

           Watercolor Paint: a mixture of Cobalt Blue & Light Red or French Ultramarine 

           Watercolor Pencil: Helioblue Red

        --If you want you can add a little of this dark in the wing or tail to suggest the dark feathers.

  --Leave a spot of white in the eye, then apply a dark there as well.

BERRY BRANCH OPTION

             --Sketch branch with holly and add the cardinal foot to attach the bird to the branch. 

             --Use the watercolor paints or watercolor pencils to complete the perch for your cardinal.  

              --Watercolor Paints: 

                 Branch(es)—I left lots of white of paper and added small amounts of Burnt Sienna and possibly a 

    little Light Red.  I wanted to keep them light.

                   Leaves—I used New Gamboge, Sap Green, and Phthalo Green.  It’s  important to keep quite a bit of white of paper to shine through so the  leaves don’t get too heavy.  

                 Berries—The  highlights are preserved by avoiding that area with the paint, leaving  the white of the paper shine through.  This highlight can be enhanced  with white paint (applied later).  In the 

    area  closest to the highlight, in the warmest area I used very small amounts  of New Gamboge in a few of the berries.  I added Scarlet Pyrrol and/or  Scarlet Lake for a warmer red.  I used Quinacridone  Red for a slightly cooler red.  I was careful to apply whatever reds I  used in very small amounts, leaving lots of white of the paper shining  through.  White is an important way to keep these berries light.  Dry.

    *Lower intensity or cooler media can be used to contour the berries,  giving them shape.  Some paint suggestions would be a very light  addition of Phthalo Green (color complement to darken)  or Alizarin Crimson (a cooler, darker red), a touch of Burnt Sienna  (lower intensity) and/or contouring with a graphite pencil would all be  good options.  Dry.                          

  *There  is a touch of dark at the end of some of the berries.  I used a little  Burnt Sienna and Sepia in a few berries for this.

   *At the end I can enhance the highlight in the berry with white paint if you feel it needs a stronger white.  

                 Background—on  my watercolor painting I just chose to do a diluted cobalt blue  vignette so I wouldn’t detract from the bird and holly.  If you prefer,  you can forget about the holly branch and focus 

   on  a more interesting background.  I explain one option below.  I  completed this in watercolor pencil, but you could do it in watercolor  paint if you prefer.

WINTER SKY BACKGROUND OPTION 

             --In  my watercolor pencil Male Cardinal demonstration I tried to just  suggest a cool winter sky.  As in the Female Cardinal I used either  watercolor pencils including grays and blues, possibly adding 

                  graphite pencil and/or Graphitint Watercolor Pencils.  

             --I  left lots of white, either white of paper alone or I added Prismacolor  White or Watercolor Pencil White.  I added small amounts of gray and  blue.  Here are some options:

        *Graphitints: Steel Blue and Cloud Gray

        *Watercolor Pencils: Cool Gray I and blues such as helioblue-red and/or cobalt turquoise        

         *Graphite Pencils: 2H-4H

HOLLY BRANCH PROCEDURE USING WATERCOLOR PENCIL

--I  decided my composition and then completed my drawing.

--Leaves: I used mainly greens especially Permanent Green Yellow which I supplemented with Dark Phthalo Green, Light Green, and Light Cobalt Turquoise.

Highlights and Lights: leaving white of the paper supplemented with Prismacolor White Permanent Pencil and a few touches of Cadmium Yellow.  

Shading:  I used Helioblue-reddish and Ultramarine.  

 --Berries: Any nice reds you have would be great.  Some I like are Pale Geranium Lake, Scarlet Red, Fuchsia, and Derwent Watercolor Pencil Madder Carmine.

These can be warmed up with Cadmium Orange and/or Dark Cadmium Orange or Burnt Ochre.  

Highlights in the berries are very important.  I used the white of the paper but added Prismacolor Permanent White to enhance it and add substance.  

--Branches: I left mostly white of the paper, which I shaped with Burnt Ochre and touches of Raw Umber and Inktense Dark Chocolate.

--Background: I basically decided to continue the idea of leaves, which just vignetted out.  I also suggested the box form.  

                   *I focused on darker value toward the middle to focus the viewers eye on the berries and foreground leaves.  Some watercolor pencils to darken included Inktense Dark Chocolate, Helioblue-red, and the greens in combination with the reds, because they are color 

 complements.

                    *I moved to lighter value and less detailed leaf shapes as I approached the edges.  

  Watercolor pencils I used included Cream, Light Green, Cadmium Yellow, Cadmium Orange, and touches of White.  I supplemented these with touches of Cobalt Turquoise and Dark Phthalo Green as well as touches of the red and/or browns for interest.  

                     *I added detail at the end with watercolor pencil used dry and a 2 or 4H graphite pencil.

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

PRODUCTS I USED AND DISCUSSED NOVEMBER 19th 

CLAYBORD

This can be used with a wide variety of media and techniques.

The surface is VERY smooth.     

It will absorb water very well but it takes a long time to soak in.

My experience with its advantages and disadvantages--

         --The time it takes to absorb water can be annoying but it has the advantage of allowing you lots of time to remove a mistake before it sets into the panel.

        --The extremely smooth surface allows for very detailed work.

        --It works well for washes, yielding quirky hard edged water marks.  It isn't as easy as paper to lay smooth washes so you may want to use it for fun wash effects instead.

        --It is easy to get very saturated, brilliant color on this surface.

        --Marks can be scratched into the surface to get to white.

        --You can use fine sand paper to remove an area you don't want

        --You can hang the panel without framing if you use a sealing varnish.  I use Krylon UV-Resistant Clear Acrylic Coating, which comes in Gloss and Satin finishes.

MINI CANVASES

I found these at a very affordable price at both Hobby Lobby and Blick Art Materials.  I used Blick Studio Mini 2x4 inch canvases in my demonstrations.  I bought them in a 4 pack, which I believe was less than $5.  

These are not watercolor canvases, but since they are so tiny, I didn’t bother to coat them with Gesso or a watercolor ground.  If you work on a larger canvas (not watercolor canvas, which is especially prepared to accept watercolor paints), you may want to prep it with 

gesso.  

I also discussed using gesso on the canvas if you want to have a textured surface, such as for the wreath I showed you.  The gesso I use is Liquitex brand, but I imagine another brand is great, too.

This  surface feels like painting on linen, so not as smooth as claybord.   I'd liken it more to working on cold press watercolor paper in terms of  “bumpiness” rather than claybord or hotpress watercolor paper.

It  absorbs water very well but it takes longer to dry than watercolor  paper does.  This allows you to easily remove something you don't like  before it soaks in.

When  I make my initial sketch I am careful to remove any access graphite  before painting.  I also use a light touch and hard pencil such as 4H.

I find both watercolor paint and watercolor pencil work great on this surface.  

I don’t use as much water when painting on this surface.  

Even after the paint is dry it lifts out of the canvas much more fully than a painting on paper.  

The sides of these can be painted, too, if you like.

When finished I use the Krylon spray described above to protect the painting.  

These are fun to display on mini easels, which are very inexpensive.

FOR A BIT OF SHINE:

Winsor & Newton Iridescent Medium I mix this with watercolor paint to make it sparkle a bit.  This can also be applied as a top layer over dry watercolor paint.

FW Pearlescent Liquid Acrylics by Daler Rowney  I  used Silver Moss in my demonstration, but they come in lots of  beautiful choices such as Gold, Silver, Bell Bronze, and Birdwing  Copper.

Derwent Metallic Watercolor Pencils These  are more dramatic on dark paper, but you can still see a bit of sparkle  on white surfaces.  They can be used dry but they can also be wet, as  you would with other watercolor pencils.

MARKERS There are lots of metallic markers.  I used a metallic gold in my discussion in class.

Additional Supplies we discussed

The gesso, which can give a textural surface in a wreath, Christmas tree, or any other idea you have:

I used Liquitex Professional Gesso and also Liquitex Professional Super Heavy Gesso

Supplies to give shine:

Watercolor Iridescent Medium (I used Winsor&Newton)

FW Pearlescent Liquid Acrylic Ink

Derwent Metallic Pencils

Sharpie or other markers with shine

The pencil eraser I discussed, especially for the claybord, is called the “Perfection Eraser Pencil 7058B” by Faber Castell