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Step 45 Sunday, November 23, 2008 I'm finally done, I've added a glaze of Permanent Rose and Thalo Blue and made the right corner blend with the center all the way out to the left edges of the painting. Notice the that I've added perm rose to the center shadow shapes to give it more punch without getting too blue. I may give the background another glaze of Hooker's Green, but will let this rest and make my mind up after letting it rest awhile. |
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Step 44 Sunday, November 23, 2008 I've added a lot more Thalo glazes to bring up the right hand corner and all of the shadow shapes. I keep working the center detail to make it more rich and colorful. |
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Step 43 Sunday, November 23, 2008 I've added glazes of yellow, Thalo, and French Ultramarine to deepen the shadows and work on getting the shadows richer to make the white areas really bright by contrast. |
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Step 42 Friday, November 14, 2008 Using a good amount of Thalo Blue and water, make sure it's not too creamy, but not too light and go over the whole background quickly and lightly, and then add to the shadow too. We've also gone back to the Transparent Yellow and added some to the center to bring up the center and warm it up inside the shadow. |
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Step 41 Friday, November 14, 2008 Using French Ultramarine, we've just punched up the shadows including some of the right corner. |
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Step 40 Friday, November 14, 2008 Once dry, we are glazing Thalo Blue over the upper left corner as shown and softening out to nothing. Add more thalo blue over the petal edges to the left also, to keep moving over the rose and making sure to match up the colors all the way around. |
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Step 39 Friday, November 14, 2008 Using Permanent Rose we added to the "male parts" and also added a light amount to the upper right corner to try and match what is going on in the other shadow shapes below. |
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Step 38 Friday, November 14, 2008 Once the Yellow areas are completely dry, we removed the frisket from the center. |
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Step 37 Friday, November 14, 2008 Using Transparent Yellow we added to the center of the flower and moved the yellow out from the center and softened the edges out to no color. |
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Step 36 Friday, November 14, 2008 Once dry, lets get our Winsor Violet ready, I want a wet and creamy texture so we can add this to the paper, and while wet keep moving around the green shapes, and because it's so wet we can move back to the green shapes and using a soft clean damp brush, soften the edges, letting the purple move into the green shapes. |
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Step 35 Friday, November 14, 2008 Let's take a break from the Rose for now, and just get started on the background! Using Hooker's Green, and very wet just add some dots that are not just circles and not too many, and not too small. Notice how some of them are off the page instead of perfectly lined up around the edge of the paper? |
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Step 34 Wednesday, November 12, 2008 Here's a closeup view of the upper right corner of the rose. Since this was a rosebud (yellow) and we are changing it into rose petals turning into the rose center, we can make them up however we want. I've added French Ultramarine and darkened edges and softened them as shown. Now
in the center, I've added Thalo Blue to some of the parts, let it
dry and then added Perm Rose over that, and once dry added Trans
Yellow over that. As I'm layering, I'm letting the painting tell me
if I need to add more blue, or red, or even yellow. |
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Step 33 Friday, November 7, 2008 Now our shadow shapes need some Thalo Blue from the bottom edge to match better the dark bottom shadow. Apply the thalo, and then soften to nothing as you work your way up to the center of the rose. Homework, really work your center to get it finished so we can work on the background and pull the shadow shapes to completion next week. We are working with Perm Rose, Thalo Blue, French Ultramarine and Yellow to get our centers finished. |
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Step 32 Friday, November 7, 2008 Continuing on with the Thalo, work the petal edges, sometimes hard edges and sometimes soft edges. We are starting for some definition. |
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Step 31 Friday, November 7, 2008 With Thalo Blue add it to the upper right corner to brighten and darken our shapes, this helps to define more of our edges that we are making up. |
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Step 30 Friday, November 7, 2008 Working with transparent Yellow, add it wet and lightly to the center and work quickly and lightly out from the center and bring it up to the upper right corner and bring it down to the shadow shapes and carefully work them into the shadow shapes, softening the edges to nothing. |
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Step 29 Friday, November 7, 2008 Now add perm rose to the petal edges, I've missed this edge. Where is it? What is he talking about? the petal edge ABOVE the dark bottom shadow shape. And continue to add the pink to any other petal edges that need it. |
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Step 28 Friday, November 7, 2008 Continuing on with Perm Rose, I've worked wet, really wet and light to the left and worked it out to the petal edge, and then worked in the little shapes of the petal edges and then I've added it to the bottoms of the shadow shapes, softening the edges. |
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Step 27 Friday, November 7, 2008 With a round #2 and #6 I've added a thin amount of Perm Rose to the upper right corner over the Thalo and French Ultramarine. As I add it I'm trying to find and create shapes of petals that are folding over towards the center. This is the area where there is actually a yellow flower bud, and I've changed it to be a mess of petals from the rose. |
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Step 26 Friday, October 31, 2008 Here's the Original Blanca which is getting ready for her Atlantic Trip to her new home in the United Kingdom. This is just for reference, so you can better gauge the color and tone for your painting. HOMEWORK: block in your center shapes, using permanent rose add strength and define your edges of the male parts of the flower, use it also to block in the female parts of the flower. Look at this image to help find your way. Some of you need to match your 4 shadow shapes and we spoke about what you needed to do to have your shadow shapes match. See you all next week. |
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Step 25 Friday, October 31, 2008 Continuing with the French Ultramarine, continue adding to the upper right hand corner, move into the petal edges at the left, and then lastly and quickly, glaze over the bottom shade areas that read as a dark permanent rose. |
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Step 24 Friday, October 31, 2008 Using French Ultramarine working wet and light, start blocking in the upper right hand petal shapes. If you look at the photo reference, these petals don't exist. This is where the flower bud is, and I 've changed the area to read as petals folding down, giving more direction to the painting. |
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Step 23 Friday, October 31, 2008 Using Permanent Rose, we glazed a light amount in the upper left corner of the "white" of the petal and also added it to the 4 shadow shapes that lead into the center, please not that the permanent rose is heavier at the bottom of the shadow, which weights the bottom of the shadow to read more "purple". I've also added it to the bottom edge of the lowest "white" edge which is just above the two bottom shadow shapes. |
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Step 22 Friday, October 31, 2008 While we have the Thalo Blue out we glazed over the left hand side petals as shown, and then moving down to the next petal, and then placing them just on the edge, sometimes going over what was already painted, and sometimes just darkening an edge.
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Step 21 Friday, October 31, 2008 We added a light amount of Thalo Blue to the upper right hand corner, leaving the very top very very light. Be careful to wash out your edges to nothing so there are no hard lines. |
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Step 20 Friday, October 24, 2008 Just so we get a stronger sense of the flower, lets add a light wash of French Ultramarine on the background and or negative shapes. Keep it wet and keep it moving, French Ultramarine is a sedimentary color or a very granulating color. |
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Step 19 Friday, October 24, 2008 With French Ultramarine we are building up the shadow shapes at the bottom edge, working very wet onto dry, and then softening the edges, without bringing the blue all the way to the other edge. Look closely, we just added the blue bottom edge on four shapes. |
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Step 18 Friday, October 24, 2008 With a new color - French Ultramarine, we are working very light, and going over the "parts" again, this time the ones that are going to need to get much darker. |
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Step 17 Friday, October 24, 2008 Once dry, we are going to add permanent rose wet into the center, and over the "parts" and move it out into the shadow areas over the yellow. |
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Step 16 Friday, October 24, 2008 With the same color (permanent rose) we are going to the center of the flower, and building up the value of the "parts" that need to be darker. Look carefully at your reference photo and look at the parts - sometimes it looks like two dark circles near each other make up a single male part. |
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Step 15 Friday, October 24, 2008 With a light amount of permanent rose, paint over the light thalo blue edges on the far left petals, as shown, so there is a lavender color to the folds of the petals. Don't feel like you have to hit every shape, and make some extra shapes up. Mix your edges, some hard some soft. |
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Step 14 Friday, October 17, 2008 Continuing on with the Thalo Blue I've glazed over some of the shapes above the center and near the upper right. I've added the glaze lightly. I've also added more to the petal edges and started filling in more of the shapes and don't forget to add to the petal edges above the dark shadows of the bottom petals. |
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Step 13 Friday, October 17, 2008 Continuing with Thalo Blue, let's move around the painting. As you can see I've painted in the larger shapes and started moving into the "parts" but please notice that I've softened the edges so they disappear into the center. I've also worked the upper right corner. Look at your shapes, and look how you want them to appear. |
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Step 12 Friday, October 17, 2008 Now with a light amount of Thalo Blue, we are adding the simple shadows and shapes of the outer petals. Find something you can easily find, and then start filling in your shapes. Keep moving, and be sure to keep the color light. |
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Step 11 Friday, October 17, 2008 Working wet on dry, and painting with a Round #12, I've loaded Permanent Rose and added it to the shapes below. While the shapes were still wet, I dropped in a deeper amount of permanent rose to the bottom edge of the shadows. Work fast, don't labor over the edges, get everything wet, so you can add more color wet on wet. While the shapes are still wet, you can move the paint into the perfect edges. |
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Step 10 Friday, October 17, 2008 Look at your "center" of the flower, what I've done is to add more Transparent Yellow to the center, and to make sure I added it to the shapes that I didn't get to paint the first go round. Look at the little bat shape and the little sock shapes too, I've added some yellow and softly blended the yellow out to nothing. So the idea is to add yellow where it is missing and then also to deepen in the center area, as we are now protected in the center area (we masked some of it off, remember?) |
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Step 9 Friday, October 10, 2008 Now we are adding the next big shadow shape and there is a blend from light to dark. With a round #12 work the bottom edge first with color and then soften the edge to nothing and continue some of the blue on the outside edge of the petal as shown. |
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Step 8 Friday, October 10, 2008 Now we are working a shape that is a petal that is in complete shade, so we don't have to blend the color from light to dark at all, so we can work the entire shape an even color. Just start adding the color with a #12 round and keep the color moving, as shown. |
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Step 7 Friday, October 10, 2008 Again with a #12 round brush and the same Thalo Blue work the next shape and keep work the bottom edge with color and then soften the upper edge to nothing (no color) |
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Step 6 Friday, October 10, 2008 While waiting for the masking to dry completely we can paint in another area to not disturb the frisket With a light and wet amount of Thalo Blue, and with a round #12 brush, add the blue to the bottom edge of the shadow as shown, and then with a wet brush soften the edge to nothing (no color) to the upper edge of the shape and then do the same technique on the little shape along side it, as shown to the left. |
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Step 5 Friday, October 10, 2008 Wanting to keep some white areas and some yellow areas in the center of the flower protected, we added liquid frisket to those shapes.
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Step 4 Friday, October 3, 2008 Staying with Permanent Rose, I keep moving around the center of the rose, working at "finding" the shapes, to paint them, and working in the real center of the "parts" trying to make them out. I've painted over the ends of the stamens as they will end up being darker later. Anything to help. When I have a hard time "reading" or "finding" a shape, I move to shapes I can find, and then start working my way back to where I got lost. This helps in finding the relationships between the shapes. In some cases, if I cannot "read" the shapes I just have to make them up so I can move along to the next area. Again working lightly, this gives me options later on. As I begin to add other colors, I will be able to make sense out of what will appear. |
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Step 3 Friday, October 3, 2008 Now with Permanent Rose, lets again work wet onto dry and just start finding the shapes of the "pistols" or "stamens" and paint them in lightly. I am starting off lightly because we are going to be layering with other colors to make wonderful blends. If I was to add this color real dark, and then I glaze over it, the heaviness of the color would start bleeding all over the place. Another reason for starting off lightly, is that if I make a mistake, and paint a negative shape vs a positive shape, I can correct it before getting real dark. |
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Step 2 Friday, October 3, 2008 Starting with Transparent Yellow, I've added it wet onto dry and really loaded my round #12 brush, and kept it moving in the center of the rose. Once I dropped the color I started to soften the edges outward and upward on the image. Once I was satisfied that the edges would dry with softness, I then immediately went to the bottom and moved the yellow down as shown. In some places I softened to the white of the paper, in other areas I brought the yellow down into shapes and left harder edges. I really added this first color really wet, because I had to travel far and quickly before the color started to settle in and dry, I didn't want any blossoms. Once your color starts to dry you are very limited as to how to treat the edges, as blossoming will occur. |
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Step 1 Friday, September 26, 2008 This is a lovely Photograph that I took of a rose in my Grandmothers backyard. I cropped it so that the center of the rose is located in one of the sweet spots in a composition divided into thirds. I'll demonstrate in class. I wanted to paint this image in class, as we can paint the shadows with beautiful colors instead of being so literal with what the photograph shows as grey. To me this is the great fun of watercolor. Make up your own mind of what you want something to be and then create it!
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