Zoom Summer 2023

In this two-session class I will explore how I approach an outdoor display of  flowers in a few different types of containers.  My goal is to explain  how I combine architectural elements in the container and landscape  surrounding with the group of flowers.  

One  important goal I will have is to capture an impressionistic, painterly  feel to the painting but also capture the amount of interesting detail I  desire.

I will primarily work in  watercolor paints and demonstrate how I can do the painting using  watercolor pencils for those who prefer.

I  will then achieve the detail, however much I want, using one of the  following—watercolor paint, watercolor pencil, or a micron pen.  

 In each of the paintings I  will rely mostly on my very standard watercolor paints to mix into the  neutral and dark colors needed for the stone planter and the window box.    This basic mix is Aureolin (yellow), Quinacridone Red, Sap Green, and Cobalt Blue.  I will supplement with my other paints.  If you are using watercolor pencils instead I would use a few warm and cool grays, Burnt Ochre, and Raw Umber.  Again I would supplement with my other watercolor pencils.

I will demonstrate accenting your painting with a Micron Pen.   Depending on how prominent you want your ink addition and how large  your painting is, you can use 01, 05, or 08.  I will demonstrate with an  01 and 05. 

--Paint each individual  square representing the background behind the trellis with a mix of  aureolin, sap green, and touches of cobalt blue.  These don’t need to be  consistent, in fact it would be nicer if they showed a bit of  variability.  Dry.   If you choose to use watercolor pencils  instead, you could use a light yellow glaze, earth green yellow, and light  ultramarine, or any other comparable colors. 

--Paint  initial wash of the stone planter and the trellis with a pale gray mix  of light red and cobalt blue.  Dry.  Use a mixture of warm and cool gray watercolor pencils as an alternate.

--Add  some contouring shading on the planter and trellis with the same mix.  Adding this extra layer will deepen the value.  Dry.

--Add  loose washes of quinacridone red and pink in the general flower  shapes.  I applied it to dry paper, dancing around with my brush, and  leaving some areas blank.  This allows the white of the paper to shine  through.  Dry.  The watercolor pencil substitutes could be pale geranium  lake and either fuchsia or middle purple pink.

--I  added the initial washes of leaves using aureolin and sap.  Dry.   Watercolor counterparts are light yellow glaze and earth green yellow.

--I deepened the value in the green background behind the leaves so the leaves didn’t just disappear into the background.  

--We will continue to add deeper values and detail in our next session.

I  liked the simple, neutral colors in the background of this shed at   Cantigny in contrast with the bright, colorful flowers and leaves.  I   also liked the interesting cast shadow against the wall.  Again, I just   used the photo as a loose inspiration for my painting.  Again, I tried   for a painterly feel with a bit of detail for interest.  I used mainly   watercolor paints, or the substitute of watercolor pencil, followed by   detail in either a micron ink pen, watercolor paints, or watercolor   pencil. 

MEDIA: Again, the majority of this painting is mixed neutrals.  For this watercolor mix I used Aureolin, Quinacridone Red, Sap Green, and Cobalt Blue.  If I were using watercolor pencils for the entire painting I would mix my neutrals using Raw Umber, Burnt Ochre, Light Yellow Glaze, Pale Geranium Red, Earth Green Yellow, and Light Ultramarine.

WATERCOLOR PAINTS: As well as the Aureolin, Quinacridone Red, Sap Green, and Cobalt Blue mentioned above, I would add touches of Burnt Sienna, Quinacridone Pink, New Gamboge, and Cobalt Violet.

WATERCOLOR PENCILS: I would use the exact same watercolor pencils as in the Stone Planter painting, with the addition of Cadmium Yellow, Cadmium Orange, and Middle Purple Pink.

MICRON PEN: As  I discussed above, you can enhance with a Micron Pen.  I will  demonstrate with 01 and 05, but an 08 would be great if you want a more  prominent look. 

 --The siding, window, and cast shadow all use the same basic series of glazes:

          Aureolin then dry.

          Quinacridone red then dry.

           Sap green then dry.  I will also add a bit of cobalt blue, especially  in the areas I want to be cooler.  These are especially the cast shadows  and the window.   If you are using watercolor pencils instead, I would  just find a pretty neutral color or use a few.  I would use one of these  options:

                    a combination of Raw Umber and Burnt Ochre, but I would glaze them (wet  the brush then spread the diluted wash) and keep each VERY diluted. 

                  Cream with just a touch of Raw Umber and Burnt Ochre would be nice, light, and pretty.   

                  Or just substitute any pretty neutral you like

--The window frame is white so leave the white of the paper here.  

--After  the neutral glazes are complete, add washes of whatever colors you  choose for the flowers.  Repeating colors and shapes is good, but  altering things a bit adds interest.  Leave some white areas for leaves  in between the flowers.  Remember, you can use your imagination for  whatever colors and composition you choose.  If you prefer to paint the  same flowers as the photo, that’s great, too.  Dry.

--Add  the leaves in between flowers and around the edges of the flowers.  I  again used aureolin and sap green.  The watercolor pencil alternative is  light yellow glaze and earth green yellow.

1. This is a much larger watercolor painting.
2. My  goal, as with our class, was to contrast neutral architectural elements  (in this case the front of my house) with more brightly colored flowers  in a container (my flowers and flag in a basket).  
3. I  used the same primaries to make my neutral color mixture—aureolin,  quinacridone red (or permanent pink alternative), and sap green or  cobalt blue  as we’re using in class.  Again, as in our class  demonstrations, I contrasted the neutral architectural pieces with the  brighter flower colors.
4. This  painting used a more detailed style than we’re doing in our class.   However detailed or loose you choose to be is purely a stylistic choice.   You pick!
5. I am just including this photo to hopefully show how the concepts we’re using in this class can be used in any painting contrasting architectural neutrals with more brightly colored  flowers.  In this style, I intentionally visually simplify and minimize  the neutral architectural elements.  Their purpose is to give context to  the brighter focal area—the flowers.
6. If this is confusing or you don’t see the comparison, just ask in class.

MEDIA: I will use Watercolor Paint as an option or Watercolor Pencil as an option on Watercolor Paper.

I will also demonstrate the watermelon on a claybord surface, again as  an option.  On the claybord I will add a liquid ink.

I will begin the watermelon demonstration with a value sketch, using a  variety of hard and soft graphite pencils on drawing paper.

You just choose the media you would like.  You don’t need to use them all, of course.