These are the days we long for in the dead of winter: light-filled, warm, colorful, vibrant. Glorious.
This painting began last fall when I had the idea to build an Art Garden in our yard. I didn’t want a garden that I would spent a lot of time working in, as much as a place I would enjoy being in. My chief criteria for what goes in the ground is that it must be something I want to paint. This has turned out to be an eclectic mix of vegetables and flowers—beets, radishes, and tomatoes are at home with sweet peas, poppies, scarlet runner beans, and sunflowers. Something new unfolds each week. And as you can see, it’s a pretty colorful place right now.
Tips and Techniques– I started by drawing zinnias and a few sweet peas but, after adding color, I quickly decided that the page was much too sparse. After all, August is all about abundance. So I went back and added more and more until the page was crowded with flowers. The lesson here is not to be afraid to pause when sketching to consider what drew you in and whether you have captured it. It may be a something particular about your subject or it could be a mood or feeling. Once you’ve got that in mind, finishing the drawing, or adding color or text often flows with ease.
When peonies bloom, rain nearly always follows. And so it was that I lost my subject. Still, I am pleased to have June’s most elegant flower in the pages of my sketchbook, a few cut flowers on my table, and pink and white petals littering the garden.
Tips and Techniques-
What you don’t see on this page are all the test sheets of greens that I’ve been working on this week: blue and yellow combinations, “convenience” green combinations (sap green, phthalo green, green gold), greens with browns, and greens with reds. I’m looking for highly transparent mixes that offer a good range of light to dark values. The trick is that when I’m working on a negative painting like this, I want to let some of the colors mix right on the page—and some greens are just too garish for that. What I (mostly) ended up with here is phthalo blue, nickel azo yellow, and a touch of quin magenta. If you struggle with greens, I highly recommend doing color tests of your own. You’ll quickly discover lots of combinations that don’t work and many that do. And you’ll gain confidence in your colors that will serve you well in your future paintings.
If you have go-to green combinations that you especially like, leave a comment so we can learn from each other!
Leave behind the comfort of your home art space—whether kitchen table, corner desk, or complete studio— and you’ll soon find an immediacy and sense of discovery that come from working directly from nature. Granted, you’ll be trading comfortable seating, fixed light, and a full suite of art supplies for less certain conditions. But you’ll be able to observe details, see colors, and experience your subjects firsthand in ways that will make your artwork more vibrant and alive.
At least, that’s the ideal. This week, however, painting outdoors brought significant trials: bright sun dried my paint too fast in the garden and the most annoying and insidious bugs attacked me one evening while painting irises. Was it worth it? Of course. But I’ll forever look at these irises and see myself swatting bugs in vain with a paint brush.
Tips and Techniques- Try different approaches to painting. Here, I’ve used my go-to ink sketch followed by watercolor for In the Garden and then painted directly with watercolor with no initial sketch for the irises. The bugs forced me to work quickly and let the paint run freely, which led to some nice mixing on the paper. You can see that my session with the irises was cut short. This could use a bit more definition, but I wanted leave it alone and perhaps start over, without the bugs.
I could have titled this post: Ready for Color, or Envious of Those Experiencing the Desert Wildflower Bloom, or simply Tired of Brown. Rather than painting what’s outside this week, I decided to create my own poppy field. This piece is bigger and bolder than I typically paint. I’m still not sure what I think of it, but it has been nice to experiment with some brighter colors and assuage my wishful thinking.
Tips and Techniques– I created this piece using negative painting techniques, starting with a wet-in-wet wash of QoR Nickel Yellow Azo, Quinacridone Magenta, and Transparent Pyrrole Orange. I let the colors merge on the wet paper and, when dry, began adding graded washes of sap green (sometimes with Ultramarine Blue), painting around the flowers and picking out stems, buds, and seed pods. There are a number of layers here, each one adding depth. I could have kept going, adding more darks, but at some point, it was best to quit, rather than risk the piece getting too fussy and overworked. (The paper is Fabriano Artistico, extra white, cold press, 300lb/640 GSM, 11×14”)
A spark of red. Bold color after months of winter. Unfortunately, my poor bouquet of tulips drooped within hours of when I purchased it, and well before I had time to paint it. Alas, the grand wilt gave me the perfect opportunity to create this herbarium page inspired by Wendy Hollender’s wonderful book, Botanical Drawing in Color: A Basic Guide to Mastering Realistic Form and Naturalistic Color (2010). It turns out that Emily Dickinson, too, kept an herbarium. Her poem, numbered 978, conveys the essence of may be missed when you think you have another chance, another day, but don’t.
It bloomed and dropt, a Single Noon—
The Flower—distinct and Red—
I, passing, thought another Noon
Another in its stead…
Tips and Techniques– Precision, accuracy and beauty are the hallmarks of natural science illustration. Botanical illustrators like Wendy Hollender, who works in colored pencil and watercolor, provide great insight into techniques used to make highly accurate renderings. While a journal hardly needs to be so detailed, I find it instructive to paint this way on occasion. I began the tulip with a pencil drawing, followed by a very loose wash of watercolor. From there, I used an increasingly dry brush (sizes 2 and 0) to apply more layers of watercolor. Getting a full range of values from light to dark is essential to making the petals take shape.
I could have titled this: How one thing leads to another and I end up with this painting. Or: How my failure to plant bulbs leads to a small success in learning to paint light. Either way, I had intended to plant 80 daffodils this fall, but only 60 went into the ground before an early freeze thwarted me. The thought of those 20 unplanted bulbs sitting in my basement has been nagging at me, so I bought an amaryllis in hopes that it would lessen the disappointment. Unfortunately, the amaryllis had already started to grow in the box—sending up a ghostly, stunted stalk. I rather liked the dried roots and the shape of the thing, so I painted it here, followed by the daffodil bulbs. And though there’s nothing spectacular about this page, I am pleased to have put my angst on paper, and I especially like the light-filled quality of the final bulb in the upper right.
I am frequently a painter of subtlety: of small things that might be overlooked, of browns and blues and layers of green. Not today. Drawn in by the vivid, bold color of these poppies at the Berkshire Botanical Garden, I pulled out a whole new palette from a set of six high chroma colors from QoR to paint them. I have never used any of these colors before and it felt a little like driving a car for the first time– a little nerve wracking and reckless, but also liberating and fun.
Like the poppies, the set of six colors are pure, intense, and saturated. What’s nice is that the colors in the set were chosen to work well together and to produce a full range of colors. I found the only thing missing for this painting was a way to get a good deep green. I added some sap green, but ended up with stems and leaves that are inconsistent and murky. In retrospect, phthalo green might have been a better choice. Here’s the color test I did after the poppies (I know, testing before would make more sense.)
Tips and Techniques– The quality of a color is described by words like hue, value and chroma. Hue is the color itself, as represented on the spectrum of all colors. Value is the relative lightness or darkness of the color, and chroma refers to the quality of the color’s purity, intensity, or saturation. They all make a difference, but what’s really important is to get to know the colors you have in your palette. If you haven’t already, do some color tests of different combinations of primary and secondary colors to see what combinations mix best. If your paintings tend to look flat, it’s likely you need to expand your value range by leaving more lights and pushing the darks.