WATERCOLOR WORKSHOP: Painting Bearded Irises

Drawing and painting purple irises can be a challenge!  It is also a great opportunity to draw these intricate, undulating shapes, and to create some beautiful violets and purples, through mixing and mingling on the paper.  We will use a range of colors to get both cool and warm temperatures, so that these irises will glow with warmth.

For this project, you'll need the following watercolor pigments (or something close to it):

Quinacridone Rose (or Permanent), Quinacridone Magenta (or Permanent), French Ultramarine, Cobalt Blue, Quinacridone Gold, Quinacridone Burnt Orange (or Burnt Sienna), Sap Green, Alizarin Crimson, New Gamboge, and Aureolin Yellow (or Hansa Yellow).

You'll also need some salt, and some alcohol (the rubbing kind) in a little bottle with a dropper -- for texture.

1.  Start with a pencil drawing, on the white watercolor paper, which has been mounted on a board.

Finish your drawing by adding long narrow leaves in the background.  Be sure to take them off the edge of your paper, so as to divide the negative space into interesting shapes.

2.  Prepare a gold wash for the background.  Mix Quinacridone Gold with Yellow (New Gamboge).  Mix up enough water and paint together to cover the entire background.  Since you will be painting this onto dry paper, you need more water than usual.  Have a dropper-bottle of rubbing alcohol on hand.

3.  Paint this gold wash over the background.  Paint the wash onto dry paper, painting around the iris blossoms, but over the leaves and stems of the flowers.  Have your board at a slight angle when you paint, so that you have a "bead" at the bottom of the wash.  When you pick up more gold from your palette, you will pick up the "bead" where you left off, and paint downward from there.  Don't go back into what you've just painted.

Continue painting this gold wash until you come to a stopping point, at the bottom.  Then, lay the board flat, and add a few drops of alcohol to this wash.  

Finish painting the rest of the background with this gold wash.  Then, lat it flat again and drop in a little of the alcohol drops.  Let this dry completely.

(There's no right or wrong way to add these drops.  Don't worry if it doesn't look exactly like this -- we're just adding a little "texture" to the background.)

4.  Paint the Yellow "Beards".  Clean off the gold wash from your palette.  Then, prep two Yellows -- like Aureolin Yellow and New Gamboge.  You won't need much.

Paint the "beards" with these yellows.  You can also paint a little of the yellow onto the middle veins of a few of the petals.

5.  Prep 3 pigments for the purple iris petals.  Clean off the yellow from the inside area of your palette.  Now, prep 3 pigments -- French Ultramarine, Quinacridone Rose, and Quinacridone Magenta.

6.  Paint each petal with these three colors.  Working wet-in-wet, start with the Rose, then switch to the Magenta.

Finish off the petal with the Blue.

While the petal is still wet, turn your board upside down, touch your brush to the blue, and "pull down" a few strokes of the blue, into the pink.  Don't "fuss" too much.  Then, move on to the next petal.  

Painting in this manner, move from petal to petal, but painting every other one -- so that you don't get in trouble by painting right next to a petal that's still wet.  Change it a little on the bottom petals, the "falls", by touching some rose to the bottom lacy edge at the end.

Now, move to the bottom flower.  Try something a little different with some of these petals, using the same three colors.  Wet half of the petal with clear water, then touch the frilly edge with the Rose, all the way around the edge.  Then touch the other edge with the Magenta, leaving the middle unpainted.  Then, paint a few strokes of the Blue.

Continue painting every other petal this way, mingling the colors in different ways.

Go back up to the top flower, and finish painting the petals.  Then, do the same with the bottom flower.

7.  Paint the background leaves.  Clean off the inside area of the palette, and then prep three Greens -- 1) Sap Green, 2) Sap Green + Cobalt Blue, and 3) Cobalt Blue + Aureolin Yellow.

Use these greens, wet in wet, to paint the background leaves . . . 

8.  Paint the stems.  Prep two Greens -- Sap Green, and Sap Green + Yellow; and prep a Quinacridone Burnt Orange (or Burnt Sienna).

Use these warm colors to paint the stems and the buds.

9.  Paint another layer of Gold in the background.  Clean off the palette, and then prepare another Quinacridone Gold wash.  Once again, you'll be painting wet on dry, so be sure to mix enough paint/water.  This time, you will paint only the negative background shapes -- NOT the leaves.  After painting each background shape, sprinkle it with salt.

Let this dry completely, and then brush off the salt.

10.  Mix up some deep Purples and a Blue.  Clear off the gold wash from your palette, and then prep three dark colors -- 1) French Ultramarine, 2) Quinacridone Magenta + French Ultramarine, and 3) Alizarin Crimson + French Ultramarine.  

11.  Darken the petals.  Strengthen and deepen the colors of each petal, without becoming too opaque -- you want some of the original colors to show through.  You can leave some of the upper petals as is, except for the base of each petal, which you can darken.

You can see how you don't darken every part of each petal, and that the bottom "falls" are generally darker than the upper petals.  

If you find that you've gotten too opaque, or that you want to lighten an area, lift out some highlights with a damp brush.

12.  Add more green to the leaves and stems.  Mix up two more greens -- Sap Green, and Sap Green + Cobalt Blue.

Paint all the leaves and stems again with these two Greens and plenty of water, to strengthen the colors, but still keep it transparent.

You can also add a few darker colors to the tan parts of the stems, using a mix of Burnt Orange + Magenta.

If you like, you can stop your painting right now, and call it done.  Or, you can proceed to finish as I did, with these last two steps.  

13.  Paint a Burnt Orange glaze over the background shapes.  This will tone down the texture a bit.  If you like your gold background with the texture, don't do this step.

14.  Paint a few dark greens on the leaves and stems.  Mix up a dark green (Sap Green + French Ultramarine).  Darken a few areas of the leaves and stems with this green.

And, you're finished!  Be sure to sign it.

CHOCOLATE PAINTINGS

I was just thinking about chocolate . . . I don't know why.

Maybe because it's Valentine's Day?  Or because I am a woman and the day ends with a Y?

Anyway, I remembered painting these Chocolate Paintings, years ago.  My gallery in Durango had asked me to create something to decorate their booth for a local fundraiser, "Chocolate Fantasia".  The theme was "Old Hollywood", so I decided to create some old movie posters of Charlie Chaplin and Marilyn Monroe.

And, I decided to try to paint them, using only chocolate!

I painted layers of "watercolor" washes with COCOA.  After doing as much as I could with a brush and the cocoa wash, I let it dry and then came back into it with Baker's Chocolate Squares -- using the square as if it were a stick of pastel.  

The posters smelled great, even after they dried!  

They were a big hit, although most people didn't realize they were done totally with chocolate.  I probably should have done a live demo.  

It was fun, though!

MONTHLY RECAP -- What I Have Been Up To

At the beginning of every year, I just try to regroup, and plan for the new year.  And, this January was no different.  I did get a few projects started and managed to take some pictures for my weekly photo challenge.



Got the okay for this sketch, which I will be painting in February . . .

Here is the reference photo I will be using.  She is so darling (the granddaughter of a dear friend of mine), so this portrait is going to be fun to paint

I also had a look at a painting of mine, which had sort of survived a fire in a house outside of Durango, but had a lot of smoke/soot damage.  A friend of mine, here in Durango, Libby Brown, restores paintings -- and called to tell me that one of the paintings she was asked to restore was mine.  She's going to try to restore it, but I think I may be re-painting it.  It was painted on Aquabord, and the clay surface came away from the board, so it may not be able to be restored.  She's going to attempt to clean it, as best she can, so that I can duplicate it.  More to come on that . . . 

Here are my photos for three different, weekly themes in January:

CONTRAST

Denver City Park at dusk

Outside the Denver Museum of Nature & Science

BLUE

REFLECTIONS

Next week's theme is LAYERS . . . 

See you in February!

Announcing My 1-Day Watercolor Workshop in Durango - "Painting Irises like Van Gogh"

I'm excited to be teaching another 1-day Watercolor Workshop in February --

PAINTING IRISES LIKE VAN GOGH

(if Vincent had painted in watercolor . . . )

One-Day Workshop

at my home/studio in Durango

Tuesday, February 18, 2014

10 am to 4 pm

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If you live in or near Durango, Colorado (or will be in the area), please join me for this workshop!

We'll be emphasizing VARIATION -- in Hue, Value, Edges, and Shapes, and using the Secondary Color Triad -- Violet/ Green/ Orange.  

I'm offering just one, all-day session this year, so you'll have plenty of time to paint.  Obviously, we will have to use photographs as reference (which I will provide), but it will be fun to paint these beautiful flowers in the winter.  

All skill and experience levels are welcome.

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Price:  $100. for the 1-day workshop

(includes snacks and beverages)

Special offer for my on-line Mentoring Course students -- Half Price for this workshop.

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To reserve a spot in this year's workshop, or for more information, contact Pat @

thepaintedprism@gmail.com

or

via Facebook (Pat Howard or Painted Prism or Pat Howard Watercolors)

Hope to see some of you in February!

WATERCOLOR WORKSHOP: Negative Painting of Aspen Leaves

In this negative painting project, you'll be painting layers of transparent color to create depth and dimension.

You will be adding one layer of leaves and branches behind another layer.  Each layer of negative painting will take you further into the background, behind the first foreground leaves and branches.  

In negative painting, you do not paint the subject itself -- at least, not directly.  The positive shapes are drawn -- in stages.  You will paint the negative shapes, which are the shapes around, between, and behind the leaves, stems, and branches.

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If you'd rather download a PDF of this Tutorial, for $6, click here.  

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For this project, you'll need a piece of watercolor paper (about 7" x 9"), mounted on a board; a pencil for drawing; various sizes of round brushes (#2, #4, #6), and a flat brush for wetting your paper.  You'll start with a secondary triad of colors -- Sap Green, Quinacridone Gold, and Quinacridone Magenta.  And, you'll be adding some blue (French Ultramarine) later in the project.

1.  Begin your painting with a wet-in-wet underpainting.  Prep the 3 colors first on your palette -- bring each of the colors into the middle and add a little water to it.  Then, wet the entire paper with clear water.  Make sure that it is evenly wet.  Add the three colors to the paper, so that they mingle a little on the paper.  Add the magenta to the bottom left, the gold to the top and diagonally down the middle, and the green to the right side.  Let this settle for a few minutes, and then spatter those same three colors onto the underpainting.  Let this dry completely, while lying flat. . . 

2.  In pencil, draw a few skinny branches, with stems and heart-shaped aspen leaves attached.  This will be your foreground . . . 

3.  Paint the negative shapes with transparent color.  Use the same colors, but mix with a little more water, because you'll be painting the negative shapes, wet-on-dry.  And, use the underpainting color to guide you, as to what color to paint on top.  Paint a gold wash on top of the gold shapes . . . 

When you come to a shape that is two colors, like gold and green -- Start painting the gold, and then transition to the green. . . 

Then, finish painting the shape with the green wash. . . 

On some of the negative shapes, you'll start with the gold and then transition into the magenta wash . . . 

No need to go very dark with this layer -- it just needs to be a little darker value than the first layer.  And, stay transparent (by having enough water).  You want to alter the color below it, not totally cover it up.  This will be true for each subsequent layer.  Continue this way until all the negative shapes are painted with the appropriate washes of color . . . 

4.  Draw more skinny branches, stems, and leaves behind the 1st layer.  Start by drawing three meandering lines, to indicate branches.  Then add a few stems coming off the branches, and draw heart-shaped leaves at the end of the stems, underlapping the foreground shapes.

5.  Mix up two new colors, using the three colors that are in the middle of your palette now.  Mix the Sap Green + Quinacridone Gold, to get a warmer, darker green.  Mix the Quinacridone Magenta (or Permanent Magenta) + Quinacridone Gold to get an orange mixture.

6.  Paint the negative shapes with these two colors.  With the green wash, paint a transparent layer on the shapes that are already green, and on half the gold shapes. . . 

On those shapes that are part green and part magenta, start with one color and transition to the other.  . . 

Continue painting the negative shapes.  Paint the orange wash over the magenta shapes, as well as over the other half of the gold shapes.  

Continue in this way until all the negative shapes have been painted . . . 

7.  Draw some more branches, stems, and leaves.  Once again, I find it helpful to draw the skinny branches first, behind the existing ones.  Then, draw the stems in various places; and then, draw the leaves at the end of the stems.  Make sure to underlap these shapes, rather than try to squeeze the leaf shapes within the negative shapes.

8.  Mix two new "cooler" colors.  Clean off the middle of the palette.  Now mix two new colors, using the green and the magenta, but cooling them down a bit with a little blue.  Mix Sap Green + French Ultramarine, to get a cool green.  Mix Quinacridone Magenta + French Ultramarine, to get a red-violet.  

9.  Paint the negative shapes with these two colors.  Be sure to switch to a little brush, like a #2 round, to paint the smallest negative shapes.  You're not painting any detail at all, inside the leaves, but with each layer, the negative shapes will get smaller, so you need to adjust the size of the brush you use, accordingly.  

Use the red-violet mixture to paint half the negative shapes.  Paint the other half with the blue-green mixture.  Remember to paint only the NEGATIVE SHAPES around the leaves and branches, not the leaves themselves.  That's how you achieve the feeling of depth.

10.  Draw your last layer of branches, stems, and leaves.  If it's hard to see what you're drawing, you can use a colored pencil.

11.  Mix up a blue wash for the final layer.  Clean off the middle of your palette, and then mix up a wash of French Ultramarine.  

12.  Paint the negative shapes that you've just created, using this blue wash.  To finish this painting, this blue wash is painted over all the new negative shapes -- which darkens this last layer and creates even more depth in your painting.  Be sure to use a small round brush, that comes to a nice point, in order to better paint these little shapes.

If you'd rather print out this tutorial, you can download the pdf, for $6, by clicking here.  

That way, you will have one step and one image on each page, so it's easier to paint along with.

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You can also get three tutorials, for $15, HERE.

The three Negative Painting Tutorials are:  1) Trees, 2) Aspen Leaves, & 3) Zinnia.