View Full Version : Tucked In - Progress Steps
09-28-2005, 06:58 PM
This is posted in the Gallery as a finished painting... Tucked In (http://www.wetcanvas.com/forums/showthread.php?t=297890)
After drawing out and then tracing the major lines onto my wc paper, I washed the butterfly down with weak quin gold.
I allow my pigments to mix on the paper for most of the stuff I do... here, I've strengthened a band of quin gold, then while still wet, charged in some burnt sienna and while that was still wet, lightly charged in raw umber...
I did essentially the same thing with the centre part of his upper wing.
To create the glow of the yellow bits, I used quin gold around the circumference of each one, then immediately washed it back with clean, clear water.
When the upper wing was finished, I started working on the zinnia petals. For each one, I glazed with quin gold and then charged in an orange mix (napthol red + new gamboge) or quin magenta... I let everything mingle, and then strengthened as needed. To create the shadows, I used burnt umber and then charged in the local colour adjacent to it...
Continuing around the zinnia, the brittle petals were treated similarly... I glazed them first with quin gold and while wet, charged in burnt sienna... when that had nearly dried, I added raw umber details...
To work the centre of the zinnia, I painted the tiny little petals first and underpainted everything else quin gold. Then, I used my candle, rubbing it over the paper lightly in arcs. Then, I dobbed in some of the magenta... while it was still wet, I dobbed in burnt sienna and burnt umber. I let this dry. Then I added raw umber details...
Notice the little pale yellow specs that were protected by the candle wax.
09-28-2005, 07:03 PM
5 stars and a mentor point form me :)
can you remind me what paper you were using here please?? Ta. Im guessing it was Rough for the candle to behave like that..... you really have mastered the control of the different stages of wetness of the paper havent you..........I am SO far from doing that still :( I would come for lessons if it werent so far :D
09-28-2005, 07:21 PM
The wings closest to the viewer were done in the same manner, but with weaker pigment... because the undersides of a butterfly's wings are never as saturated, I wanted to ensure that I didn't get too carried away... Notice that I drybrushed a couple of areas... I love rough paper for this reason...
His head consisted of several small quin gold spots, and quin gold wash on his head which I let dry, then a juicey wash of burnt umber with some raw umber charged into it while still wet.
I started forming his body with a weak wash of burnt sienna... on the immediate underside, I charged a weak wash of my orange mix... on the middle portion, a weak wash of raw umber was used... when nearly dry, I painted in body segments with raw umber...
I moved on to the magenta zinnia and its process was similar to the orange one... I did use a little of the orange mix in some of the petals...
I went back to his body and strengthened the washes. I added his eyes, legs and feelers... I also dobbed bits of magenta... I worked the petals of the lower orange zinnia in the same manner as the other two... for the centre of this one, I also used my candle to protect small yellow bits...
Then, I finished it with the background... which immediately caused me to dislike the painting... My intent was to create a busy composition, but there was just too much going on...
In my first post in the Gallery, you'll see that your eyes have nowhere to rest...
Even as Gail (Strawberry Wine) was typing her comments to soften that choppy background, I was scrubbing it back... After gently scrubbing, and it was still very wet, I blended in a little more yellow, orange and burnt sienna... The result is more what I intended...
09-28-2005, 07:22 PM
Hi Janet... I've fallen in love with Arches Rough... I can create a lot of different textures with it and still get the details I like... Thank you so very, very much!!!
09-28-2005, 07:35 PM
You know Char........ if theyd let me give you two mentor points for this I would :) and a merit point too.
Boy oh Boy! has retirement been good for you :)
I think Arches rough may be about the one paper Ive not experimented with........ goody goody....... an excuse for another order ;)
09-28-2005, 07:49 PM
I often use a craft knife, scraping it over dry paint... this really gives an interesting texture to some things... when painting Gerber Glow, I used that technique for the stem... all those little white dots are the result of gentle scraping...
09-28-2005, 08:04 PM
Really stunning Char.... both of them! :)
09-28-2005, 09:06 PM
Char I've given you a mentor point. The change you made was the perfect fix. Now it is focused and looks absolutley beautiful..What a treat to see how you worked this. Thanks for sharing the process.
09-28-2005, 09:16 PM
Fabulous Demo Char.. :clap: 5*****
09-28-2005, 10:32 PM
Thanks for the demo Char! I really enjoyed it. Don't ya just LOVE quin. gold??!!
09-28-2005, 11:05 PM
Char , Excellent and informative Demo. I have always used Rough and love it , it is so forgiving,still do. Some questions.
On your use of Wax , how do you get the color on under it. if you have resist on it , and how can you get precision ? Do you sharpen it ? How do you get it off ? is this Candle Wax or something else? Also , and this is really Nosy but I mean no bad intent . Why did you choose not to use any Blue at all , or did you and it can't be seen?
Well, if you were here , I would have a lot more questions , but I'll quit with the onesthat really interest me.
Thanks and Congrats on a Great Painting .( It still , isn't Busy) :evil:
09-29-2005, 10:31 AM
Thank you Nandie!!
Wow... Thanks, Ruth!
Thanks so much Judy Joy!!! :D
Yes, Tuckerbird, I adore quin gold... and it's being discontinued!!! :eek: Thank you...
Hi June... to answer your questions...
I underpaint those areas where I'll be laying down some wax... I don't want them stark white, so their values must reflect what I want the finished area to be.
It's really difficult to be absolutely precise in placement of the wax. However, I find that the effect is much more pleasing than using masking fluid...
It isn't applied very heavily, so I don't worry about removing it. Frankly, it never comes off...
I use a white candle that I've sharpened. I have to figure out a way to deal with the darn wick, though... it gets in my way.
I CHOSE not to use any blue. So, your eyes aren't deceiving you... :D The quin magenta is a cool colour and I felt it would make a good complement with all those warm fall colours... I wanted this composition to look parched and sun-baked...
Don't be afraid of asking questions... Far from expert, I learn from your input as well as your questions... Some things, like the scraping, I just happened upon and like the result... Others, I do think about... I could be all wrong, or someone may have a better way...
09-29-2005, 12:02 PM
Question ... have you ever tried the wax crayon? I've seen them, but wonder if they work as well as the real thing.
09-29-2005, 01:12 PM
Thanks Char, I should know you planned it all. Never have tried wax.
It' an excellent work, no matter what anyone tells you. :wink2: That's what I love about watercolor , so many interesting ",How'ja do it ",questions .
09-29-2005, 02:14 PM
Hi Sara... no, but I do think it would work well... a white crayon... and no wick to deal with... I've also read somewhere that wax pastels are an excellent alternative as a resist...
(((Big Hugs))) June... :D
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