WIP Rose - Step-By-Step Demo

[SammyH]

Still on the same petal, to shape the white ruffled edge that folds over the top, I used CD CP yellow ochre and hazel to form the shadow. It's darker just under the edge and then fades out. Therefore, I used the hazel close to the ruffle and then the yellow ochre blended downward into the petal. The CS works well to blend it in.

Do the back side of this petal the same but with values that are a little darker. Push and blend with the CS. I used CD CP bordeaux red very lightly just under the edge of the white turning petal.

We want the tiny petal behind this one to stay back so after the CD cream, apply mid-tones of raw umber or gray (non-color). Let it get darker as it gets closer to the vee shape.

Now we'll work on the two long, thin petals on the central left in the same manner as the first petal. I put the creams on first and noted that there is a lot of light golds and peaches on the top. Also, I toned down the white at the ends of the petals because we don't want a strong contrast at that edge of the flower.

[SammyH]

I haven't been telling you exacting what shades of OPs I'm using because I keep adding this and that. I start out with a dark red, mid-tone orange, gold and yellow than I think that it needs more yellow or darker red and I keep adding and adjusting. If you must know the colors, I'll try to figure out exactly what I used.

I challenge you to spend as much time on the next petal as it takes. You will eventually get the results you're looking for. Study the petal carefully to see how many colors you spot. Study it further to realize what makes it turn and look rounded. Practice the art of seeing for this one. Look closely. If you want to let us know what you see, we're interested.

Don't be in a hurry to finish it. Enjoy the process of creating, seeing, mixing and blending. I spent a lot of time on this petal. After you get this one, the rest goes smoothly and easily.

This was done just like the first. The photo shows the first application of color after the cream. I added and blended colors 6 to 8 times before I got the intensity and values I wanted.

At the top, where it turns in the colors are a little muddy in a few small places. I used the raw sienna and raw umber there.

Enjoy this petal!

[wildart129]

Thanks for doing this in depth WIP. I also like watching under painting processes, and I've always wanted to try an under painting. However, when the sketch is laid down I have to grab for my senns and go to work. Looking forward to watching this progress Sammy, this rose is already looking gorgeous.

[SammyH]

In view of my busy calendar, it's not likely that I'll get back to this before Tuesday. Tuesday is my studio day and I'm usually stingy with my time on that day not making any appointments or even answering the phone. But for you, I'll try to add a little more in the early morning.

[Pat Isaac]

This is coming along beautifully and it is wonderful to see you work. I will be going over this several times...

Pat

[Scarefishcrow]

Sammy,
This is fantastic and wonderful of you to take the time to go into the details as you are. That is something you just can't get from books that have "STEP BY STEP" demos.

They seem more like "LEAP TO LEAP" demos to me.

It's great to see the entire process portrayed.

And you are a great teacher!!

Bill

[Pat Isaac]

Those Pablo pencils look great and easier to use than my Walnut Hollows. I am ordering some soon.
Pat

[oldrockchick]

Thank you for this Sammy it is fascinating. While i can't get hold of those wonderful looking tonal Holbeins over here I do have exactly the same RS clay shapers!

One quetsion

touch the crumbs with a pencil or CS until it clings

What is CS please?

[SammyH]

Lin, CS is colour shaper or clay shaper. I've seen them called both names. Thanks for watching.

Pat, the oil-based Pablo pencils are wonderful. One doesn't get the wax build up like with Prismacolor pencils. You'll love them. The colors are really nice.

Bill, thanks for the encouragement. I am a good teacher but this is entirely different than anything I've ever done in the past. It's a challenge.

Elizabeth, the underpainting prevents the struggle we often have with the white supports. Since you paint so thick and impasto, you probably don't have that struggle. When I first learned how to paint with oil, I was taught to underpaint the entire painting with one neutral color using the scrumbling technique. It was a lot of work but I was sure of my values before ever laying on any color. I find the underpainting most helpful.

I noticed that the angle of the camera has distorted the images a little. Also, the colors are looking more washed out than the actual work. I have the tripod on my table under the ceiling light and my OTT light is close to the work. Also, I've been using a flash. I'll try to get a better shot of it before I post again on Tuesday.

Thanks to all of you for your kind comments.

[Art Pie]

Sammy, I love your demo, and I shall be following it avidly. Thank you so much for the time and effort you put into it, and for sharing your knowledge. Very much appreciated.

[lovin art]

This is lovely of you Sammy to give us a look and share the insight into your beautiful work on roses, look forward to reading the hole thread through when your done.

Sandra.

[oldrockchick]

Sammy Doh! lol i mentioned them too. Brain flatulence - sorry!

[Spice3514]

Sam,
I'm just catching up with the WIP. Its fascinating to see the detail of your working processes.
I've often heard/seen people refer to underpainting but you have explained it really well, including how to use the colourless acrylic primer (is that the same as gesso?). Love seeing your materials, and the detail on how to get clean lines. I did not know that it was possible to use CP on top of OP (I've used it to scratch in some detail before, but not to add colour).
Practical pointers on keeping things clean are also great to hear. I do sometimes use 'low-tack tape' around my painting edge, I wonder if thats the same as your 'Artists tape'?
I think that for me the most important piece of advice you've given so far is the importance of really looking at your subject to try to see all the nuances of colour and value, and thats the hardest part to learn of course.

I'm really looking forward to the next installment. I echo Pat - I'll be going over this again and again.

[SammyH]

Brenda,

It's good to hear from you especially since you are one of the major reasons that I started this WIP. When I said clear acrylic primer, I should have said clear Colorfix primer. It could be clear gesso and, if you'd like, you can add some pumice to it for a sanded texture. I have a jar of Golden Fine Pumice Gel that works well.

As far as using CPs over OPs, some pencils go on better than others. I have full sets of CD Pablos and Faber Castell Polychromos (both oil based) and the Pablos do a much better job. I bought a set of Walnut Hollows and found them to be very hard and not as effective. I sold them pretty quickly.

The low-tack tape probably is similar to artist's tape. You just want to be sure that it doesn't damage the surface when removed. Artist's tape is similar to masking tape but with lower tack.

Learning to see is a very important part of being an artist. When I studied painting in Miami, the teacher would point to a white wall and say, "Look at the violets; the blues, the golds." I would think, "You're out of your mind, lady, that's a white wall." Thanks to her, I did eventually learn to see it and now it's just there.

Usually, if I see even a hint of a color in my reference, I exaggerate it. In my opinion, next to values, color is a major consideration.

I'm glad that you're enjoying this thread. If you start on a rose, be sure to show it to us.

[Scarefishcrow]

Originally Posted by SammyH

Brenda,

It's good to hear from you especially since you are one of the major reasons that I started this WIP. When I said clear acrylic primer, I should have said clear Colorfix primer. It could be clear gesso and, if you'd like, you can add some pumice to it for a sanded texture. I have a jar of Golden Fine Pumice Gel that works well.

I mentioned this in another thread, but think it is interesting enough to repeat here. In the forum frequently people have referred to using various textural acrylic gels (Pumice being the most common). Also there are articles on how to make your own textural acrylic ground by using clear acrylic dispersions and mixing the textural components in yourself to "customize" the texture of the surface you are creating for a ground.

However, many people found it hard to find sources for things like Pumice, Marble Dust, Crushed Garnet, Sands of various grit sizes, etc.

In browsing the ASW express sale catalog I happend to notice (perhaps others knew about this but I didn't) that Matisse Acrylics has a line of dry additives that you can buy in 50ml jars for between $5-$10. They come in all the types mentioned above as well as others for a total of about 15 or so varieties.

Here is a link to them if you are interested:

Here is a link to a pdf with a chart you can download and see swatches:

http://www.aswexpress.com/vimages/ar...-Chart-ASW.pdf

Here is a link to the ASW page for them:

http://www.aswexpress.com/discount-a...art-supplies/4

Cheaper at Jerrys Artarama:

http://www.jerrysartarama.com/discou...ry-Mediums.htm


another option:
http://naturalpigments.com/search_re...h=fromSear ch

Lots of info on the above site. Great resources!


Learning to see is a very important part of being an artist. When I studied painting in Miami, the teacher would point to a white wall and say, "Look at the violets; the blues, the golds." I would think, "You're out of your mind, lady, that's a white wall." Thanks to her, I did eventually learn to see it and now it's just there.

Usually, if I see even a hint of a color in my reference, I exaggerate it. In my opinion, next to values, color is a major consideration.

Sammy, this is a very interesting observation and I agree an important one! My reaction about white was the same. I don't know if you use computer graphics programs to work with digital images, but a common trick that I have learned from others about finding "colors" in white is to use whatever image editing program you have.

Look for the "filter" or "tool" that manipulates what is usually called "HSL" for "Hue, Saturation, Lightness". Sometimes there is a filter or tool specifically for Saturation (= intensity, sort of like turning the "color control" on an older tv up and down).

Take saturation to 0 and you essentially have what looks like a b&w photo, although this is not the same as converting to a true grayscale image).

However, if you go the other way and play with increasing the saturation in the image you can eventually start to "oversaturate" it and sart seeing colors appear. Of course if you take it to the extreme you will see something very garish.

However, used judiciously this sometimes will show hints of what colors are lurking in that "white" or other light hue!! From there, just use some common sense to figure out what would look "true" to the real image in your painting.


I'm glad that you're enjoying this thread. If you start on a rose, be sure to show it to us.

I hope you don't mind my long post, Sammy. I just thought you and others might be interested in these tidbits.

This is so wonderful a thread I'm going to have to print it out to study in detail. I might even try ( dare I even suggest it ) a BLUE rose.....SOMEDAY!