We are going to work with Transparent Yellow working Wet on Dry, and lightly. We are just finding the shapes of the flower "parts".

We are going to paint the hard stuff first, all the flower "parts" and once they are "found" we will mask them off, and then work with the red petals.

Once the paint and paper is completely dry we added our second color wet on dry - Winsor Red. We added this color lightly and we are just breaking up some of the shapes. Don't paint the petals, just the shapes found in the flower "parts".

Here is a better view of how I'm getting the light glazes of winsor red to build up the texture of the "parts". Start with the bigger shapes, it makes it easier to find your way in this mess of "parts". If you make a mistake, who is going to know? I've made a few already but because I'm starting out light, it's really not going to matter.

For you new students, you can click on these images and they will enlarge in size. Just click on your back button to come back to this page.

Have fun, don't fret and keep painting. I'm going to keep painting.

Now I'm adding the next color to the mix which is Quinacridone Gold. Working with a #2 brush I've mixed it a little on the dark side and painted a line around the areas that we needed to save as the lights as shown. It's usually where the light is landing on the tips of the male parts.

Then I've added a glaze of the same gold around the areas that we've just lined. Basically working on the left hand side of the flower parts.

The goal is to add value to our shapes, and to keep finding more shapes within the "parts"

Now I'm painting the Gold on the right hand side. Instead of blocking off the areas that need to be saved as light, we are adding the gold where the darks live. Since we are working on the side where all the light is landing. So I'm just adding gold over some of the red shapes and breaking up some of the yellow shapes with the gold as shown.

The "parts" aren't lost, we are just adding more value and color to them. We are not losing the longer swirly shapes either, we are just finding more detail to the shapes.

Back to the Winsor Red,  deepen all of the shadows that need to be more red and orange. We are adding more depth but in subtle amounts. We have just layered with 3 different colors and come up with some wide ranges of values and colors. It's easier to see the depth of the "parts" now.

Next week we will work on masking over the bee and the flower parts so we can paint with abandon over the red petals.
BRING: Sharpie to mark the sheeting frisket
Bring your scissors
liquid latex, and a tool to apply the liquid latex.
 

We applied the sheeting frisket.
We first sketched with a permanent marker 1/16th to 1/8th of an inch INSIDE of the image we were to cover. Then we cut the sheeting frisket making sure the inked edge was on the piece we are going to use. Then we removed the backing paper and placed it over the image, and then applied liquid frisket to cover the inked edge and all the way up to the pencil edge. AS SHOWN in the picture. 

We applied more liquid frisket to the bottom edges as shown. Look at the lower right hand corner.

With Winsor Violet (Dioxazine Purple) we are going to make all of the shadow shapes before adding the wonderful deep reds. I make sure I have enough water and color in the well so I can keep painting.

Follow along with what I've added wet onto dry as shown tot he left.

Now onto the next shape, make sure the previous edge is dry before adding another wash next to it, otherwise you'll end up with blossoms.

Now we are working with a darker value of the Winsor Violet, keep it moving. We are breaking up some shapes here. Just follow along with what is shown to the left.

Now we're applying more winsor violet. Start at the top edge, work around the light spots and work down and out, and paint over that bottom shape.

First add the curly queue under the bottom of the bee, and then work down to the next shape, I noticed the bottom edge was darker so I added heavier color there.

Moving on wet onto dry, keep this very wet and work from the top edge down to the bottom frayed edge. This is all of the light landing on the "parts" and the purple is the shadow. While the paint is wet paint a couple of stripes quickly and let them spread.

Once dry, we can work the shape that had a heavier bottom, glaze over it and move down to the in between shape making sure to add purple to the shadow shapes and not the reverse. As shown to the left.

Lastly we added more purple to the right as shown. We are working with a lighter value on this side, as we want to build up the tones with red on this side.

Using Winsor Red, we are painting a wash over the top petals and glazing over the purple petals as shown. Please make this a quick transparent wash/glaze. Especially where we are painting over the Purple.  

Again with the Winsor Red, we started with a #4 round and started to add lines in the upper right corner and then to our #12 round and painted as shown to surround the yellow and then moving on down. Keep it wet and keep it moving. 

We started at the middle of the upper part and then worked our way down to the left. Working quickly and lightly, especially when painting over the purple. Keep it moving, and paint quickly and lightly. This is the biggest area we have EVER painted.

Go for it.  

Now working at the upper right corner, glaze lightly from the right most edge to the center, where we started the previous step and once the area is "wet" introduce more red to give it the rich dimension as shown. This is wet on wet.  

Now working from the right hand side - center on down, glaze with another thicker glaze of Winsor red with the #12 round and go quickly and lightly as shown, and don't worry about softening edges at all, lets have a painterly approach.

Lastly, we added a deeper amount of Winsor red to the upper right petal as shown. Boy did we work the whole painting today or what?

Good Job. 

Working with Winsor Red Deep we worked just the bottom right swirl shape as shown, working wet on dry. 

Working wet onto dry with the Winsor Red Deep, start at the petal above the bee, and then move all the way down covering all of the left hand petals and carefully working over the "lace" of sunlight landing on the bottom petals as shown.  

Again using the same color but starting in the middle of the upper shape (as shown) work back over the petals again, but this time add some heavier amounts of color as shown.

Yuck, I did not like the way this is turning out so we stopped using this color, and we stopped mid way down the left hand side petals.  

Going over all that we did today with Winsor Red, a wonderful, brilliant, clear and rich color, glaze quickly and heavily and while wet go ahead and drop in more intense color indicating tone, and movement.  

Again, working with Winsor Red, glaze shapes like petals vs. the whole enchilada, and while wet add a heavier amount of pigment, to get our tone darker. As we are moving over to the "lace" part lets go ahead and lightly glaze over them, and right next to the last petal (the one with the bird wing) lets start heavily on the bottom and lightly work at the top and bridge the two together. Go ahead and go over the swoop that we started off with at the bottom right, to brighten this up.

My darks aren't dark enough yet, so instead of adding more purple, which can get muddy with the red. We are going to add French Ultramarine Blue. Add to the petals as shown to the left and move the French Ultramarine out to the background as indicated.

With the French Ultramarine Blue add it to the top shapes as indicated. First add the color in the corner and keeping it wet and "heavy", then clean off your brush and add water to the opposite side of the edge and bridge the color and the water together to end up with a soft edge as shown to the left. 

Now we can add French Ultramarine Blue to the last remaining petals on the bottom left hand side, moving it over lightly and not covering the bits of light breaking through the shadows, as indicated to the left.

Working with Hooker's Green, we are painting over the background shapes and using the bridging technique, to keep soft edges.

The reason why we are having such softness for the background, is these shapes are the same as the petals but reversed. so having a softness really makes the shapes different. 

I added more green because when it dried it wasn't bright enough for me.  

I added Winsor Red to the Dahlia, as I wanted more vibrancy for this floral painting. I added this wet onto dry and made sure that there was more pigment to the water.

Once dry, I removed the frisket and then applied liquid frisket to the perimeter of the bees wings. I thinned the liquid frisket with amonia so I could lay a thin line with the ruling pen. 

Once the frisket dried, add a thin amount of winsor red to the wings where they show over the flower petals. Once dry add a little more frisket lines and dots to show the shimmer and transparency of the wings. 

I just had to add more red, lightly to the flower parts, to build more definition. Then I added more red to the wings, as they are transparent, I needed to "match" up the color. Don't worry we'll be able to see the wings as the frisket is in place for us. 

Some more detailing with the winsor red, so you can see the parts clearer. I've worked the outer edges towards the right side of the image.

We've painted the body of the bee with a light to mid amount of Quinacridone Gold, and once dry started adding Sepia to build the rings on the bee's body. We then went for the legs with a heavier amount of Sepia.

Feel free to start adding to the flower parts, to brighten and darken. 

We added a quick glaze of deeper Quin Gold over the bee's body. Let it dry.

We've added more sepia to the bee's body and then used a watery amount to the back of the bee, above the wing junction and then we also added sepia to start finding the bee's head.

I've added wet onto dry, Transparent Yellow. I worked around the "white" areas in the upper right "parts" and then just painted right over everything in the "parts" area. I've also added yellow to the petals underneath and directly to the right of the "parts" Work fast and lightly so you don't lift the colors that are underneath.

I've added more Transparent Yellow, and painted over the bee this time and added to the intensity of the yellow on the flower "parts". 

Once everything is dry, add Winsor Red to and start building up the darks in the flower parts.

After class, I had to keep painting when I had the chance. I added more Winsor Red and I shot this image with my Canon Camera. Look how I added the reds to break up shapes in the flower "parts" and also all the petals on the right hand side and under the flower parts were enhanced with more Winsor Red. 

With a light wash of Sepia, glaze over the bees body and stripes, then while it's wet add a "creamy" amount of sepia and add it to the stripes, to make the body darker and softer. Then go to the head and start adding "dots" of creamy sepia wet onto dry to indicate the head.

Now with Winsor Orange - red shade add light amounts of color as indicated to the body as shown to the left. Upper body, also the face, and underneath the bee's body and underneath the bees head and legs.

After everything was dry we removed the frisket from the wings, and then added light amounts of color so the white underneath wasn't so glaring. We've toned it down.

I'm going to be adding more deep tones so we can finish next week.

I've added sepia, to the dark areas in the center of the "parts", then I added Winsor Red, and then Quin Gold, and then I added strong amounts of Transparent Yellow.

I also added Trans Yellow to the petals on the upper right all the way down to the bottom left. I added yellow also to the shadow shapes underneath the parts.