Monday, March 9, 2009
I used a grey mixture made up of cobalt blue, aureolin, and permanent rose to darken certain shadow shapes in the flowers. I used the same grey mixture, Holbeins' shadow green, sap green, cobalt blue, and perylene maroon in the background. The detail on the flower buds was done with a mixture of quinacridone magenta and winsor violet (dioxazine).
For the yellow centers
- Start in the center with quinacridone gold.
- Switch to new gamboge as you move out from the center.
- Switch to clear water and drag clear water out towards end of petal so you don't get a hard line where the yellow ends.
- Drop in a small amount of burnt sienna in the very center of flower to make it recede.
For flowers that are going to be primarily pink:
- Center of flower: quinacridone gold
- Switch to new gamboge.
- Clear water.
- Mixture of quinacridone magenta & dioxazine violet (light on the violet).
- Drop in a touch of quinacridone gold mixed with dioxazine violet to the very center of the flower to make it recede.
The first stage of the plumeria painting was to do an underpainting of the shadows in the flowers using dioxazine violet and cobalt blue. I like to use the violet in areas that will be yellows in shadow later in the painting. The cobalt blue is used in the cooler shadows and turning edges of the petals.
We had a great flower painting workshop. We began with a tulip painting, and then worked on my own personal favorite, plumeria. The class was held in a new building called Pedro Point Creative. It is actually a meeting/dining room and commercial kitchen facility, but as you can see from the photos it's perfect for a small workshop. There is even a large video monitor I was able to connect to my computer and play DVD's of watercolor exhibitions on all day.