212 Patterns, still lifes, and flowers | SUBJECTS
PUTTING IT INTO PRACTICE
A moment in time is captured in this study of a
fading anemone ower. Such detailed work demands
a smooth surface, so a hot press watercolor paper
works better than a more textured paper.
A drier brush works best for details
2
Creating the
background
Thoroughly wet a
larger-than-needed
piece of paper. Dab
pale mixes of browns
and creams into the
wet areas. Once dry,
trim to include the
most successful area.
1
Posing
the subject
Position the main
light source in front
of the subject but
to one side. A
secondary light on
the other side will
act as a backlight
to enhance the
translucence of
the papery petals.
Darker details
Highlight detail or deepen
shadows with a drier brush.
Pick up small amounts of drying
paint on the tip of your brush
or switch to a smaller brush.
No. 6 soft-hair round brush
Ruling pen
Masking uid
Tracing paper
Graphite transfer paper
8
1
/2 x 8
1
/2 in (22 x 22 cm)
hot press 300 lb (640 gsm)
watercolor paper
You will need
Quinacridone
gold
Phthalo blue
(green shade)
Mayan
dark blue
Quinacridone
magenta
Quinacridone
red
Fading anemone
Layer 1 Layer 2 Layer 3
Botanical
painting
DEPICTING PLANT LIFE ACCURATELY
Sitting somewhere between art and
science, botanical art serves both faculties.
The botanical illustrator not only depicts
the form, color, and botanical structure of
a plant as accurately as possible, but also
paints with artistic expression.
Beautifully accurate
Build up layers gradually, starting with the lighter tones
and working to darker ones. Successive washes help
create the form of the ower and give a luminosity
to the piece. As well as using delicate wet-in-wet
brushwork, a drier brush technique (little paint, little
water) is best for adding details and darker shadows.
Layer upon layer
Build up rich colors over several carefully applied layers of wet-in-wet
washes. Allow each layer to dry completely before applying the next
one. This repeated sequence creates form and strengthens color.
The mottled appearance
echoes fading book pages
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213 Botanical painting
3
Transfer the drawing
Working alongside the specimen, draw the
ower larger than life size onto tracing paper.
Transfer using graphite transfer paper.
4
Protect lighter areas
Apply masking uid to the central stamens
with a ruling pen. Once dry, you can safely
wash over the masked shapes to create depth.
5
The wet-in-wet washes
Wet the whole shape, then dab color to
create the underlying undulations and forms
on one petal at a time. Watch out for dryness.
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214 Patterns, still lifes, and flowers | SUBJECTS
6
Successive layers
Repeat the wet-in-wet washes, as needed, to build up the
form or color. It is not unusual to have to apply several layers at
this stage as colors tend to dry paler than when rst applied. The
golden rule is to not ddle once the paint starts to dry, then leave
to dry completely before working on subsequent layers.
7
Detail on petals
Once you’re happy that the petals are looking three-
dimensional, switch to a drier brush technique for veining detail
and to deepen shadows. “Draw” the detail using small amounts
of dried paint color. Make these veins irregular and uneven
to reect the dried, papery feel of the petals.
“Fading owers shrink
as they dry, so are easier
to depict if painted
larger than life.”
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215 Botanical painting
8
Revisit the center
Once you are happy with the depth
of color and the paint is dry, rub off
the masking uid with clean ngers to
reveal and paint the individual stamens.
9
Leaves next
Experiment with the arrangement
of the leafy collar on your tracing
paper drawing. Then, transfer this
drawing over your painted image.
10
Finishing touches
Assess the whole range of tones
from dark to light and adjust. Even tiny
areas of dark, where a petal turns over,
for instance, can bring a painting to life.
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