I have really appreciated the feedback you give me for my oil pastel trees. You have left me so many positive comments, as well some sales.
Oil pastels as a medium still excites me. In fact tomorrow I am going to a workshop where watercolour and oil pastels as mixed. You can imagine how my eyes lit up when I saw that one advertised!
I still have a lot to learn about colour, but I know that putting some colours side by side will make each one sing. To create with oil pastels I layer marks over other marks, as well as sometimes smudging the marks together. My usual method is to just pick up the colour that seems right; usually this works, but sometimes it doesn’t. I have decided to try more rigour.
So I started my experimenting with a colour wheel.
The triangle in the middle of the wheel shows the hues that make up a split complementary. Those three were my my dark, middle and light tones. What would I get if I limited myself to these six pastel sticks?
First layer were the blue and purple, to create the dark park underneath the canopy. Some smudging to merge the marks.
The browns add some vibrancy.
Adding the light pastels creates the magic because they also smudge the other marks. Can you see how the yellow over the blue has created a blue-green? And how it changes the colour of the browns? So the six original colours have mixed to create more, and unexpected ones too.
The next stage is to draw the ink branches and trunk. In black ink or brown? Probably brown, but maybe not…..
And after that I might have a play with another split complementary.
A couple of posts ago I showed you the plant that I am going to paint from my time in Menindee. It is Senna artemisioides subspecies filifolia. While I haven’t begun to paint it yet, I thought I would show you a little more of the preparation process, and some of the information I needed to collect before I came home.
This is the specimen I am painting
and this is the finished drawing, done on tracing paper.
A close up of the drawing. (Yes, I am also wondering how I am going to paint it!)
As we collect specimens for the Herbarium we have to have very detailed notes about the environment of the plant. That information is recorded on a label that accompanies the plant to the Herbarium. You can see that precise information is needed. Beckler’s original collecting notes were often quite vague, with locality being something general like Lake Pamamaroo. Smart phones and GPS means that we can pin point our position.
This senna has the most wonderful seed pods. The mature ones are rich mahogany and twist and curl as they open to spill their seeds. I am going to add a row of them below the plant.
A key aspect of the plant is, of course, colour. It was important that I worked out the right colour (and recorded the mix!) before the colours of the plant faded. Sometime I am confident that I have nailed the colour only to find when I start painting that it isn’t right. These look pretty good now, so fingers crossed.
So, I have all the information I need to start the painting. All I have to do is clear off my very messy table and finish off a few other works in progress………
The joy with watercolour is the glorious colours you can create. Pigments interact with each other as weak as the water to create the most marvellous effects ~ well, that is the hoped for outcome. It is easy to end up with a mud~like mess. I have painted with watercolour for a number of years now, but still feel as if there is a huge amount for me to learn. So, I signed up for Helen Burrow’s workshop on colour mixing.
I have been to some of Helen’s workshops before, and love her teaching style. I was not disappointed with this one, largely because she structured the three days so that each exercise used skills from the exercise before. She encouraged us to play ~ it’s only paint and paper. As adults we rarely allow ourselves to experiment. It is so easy to let the end product dominate, forcing ourselves to stick to the tried and true.
The very first activity was playing. After drawing circles on the paper we dropped in paints of different colours. None of them had to be perfect, they were simply pompoms. It was wonderful to see how they ran into each other and produced new colours. You really loosen up when you are doing seven, eight, nine of them. While the original vibrant colours are stunning, look at the colours that are mixed where they meet. There are some interesting purples and neutrals here.
For the next exercise Helen directed us to draw three “petunias”, to which we added specific colours. The first triad was cobalt blue, aureolin and permanent rose, all transparent and clean. The second triad was alizarin crimson, windsor yellow and phthalo blue, again transparent but rich and jewel-like. The third included opaque colours, cadmium red, cadmium yellow and cerulean blue.
Do you have a favourite combination of colours?
At last, I was developing a deeper understanding of the different colours. It is important to know how the qualities of paints [transparent, warm/cool, staining, their bias etc] to know which ones to use when. For example, transparent colours will create darker hues than opaque ones.
Our last activity for Day #1 was to choose our own triads and experiment. I especially loved the combination of quinacridone gold, viridian and my own purple (cobalt and quinacridone magenta). The mix is in the bottom left corner. BTW the four big blobs in the centre and right are wet on wet, the three down the left side are wet on dry. The last photo is of our show and tell at the end of the day, showing great diversity between artists.
(Photo copyright: Anne Lawson, 2016)
(Photo copyright: Anne Lawson, 2016)
(Photo copyright: Anne Lawson, 2016)
Day #2 and we were raring to go. There was more colour mixing as a warm up. Then Helen asked us to compare Windsor and Newton sepia with Daniel Smith sepia. They are probably the leading watercolour paint brands. She was encouraging us to look at the different brands because colours are not consistent across brands. Sepia is a good example. The W and N is blacker and duller than the DS, which seems to have more warmth and depth to it.
The next challenge was to create our own sepia! With some help from Helen I used burnt sienna and French ultramarine to produce a lovely soft grey.
Then we became a little more botanical, as we traced a photo of a rose and transferred the tracing to watercolour paper. Then, using our sepia mix we did a tonal drawing of the rose. The photo shows the finished tonal drawing, with a spray of yellow as I began the next part of adding a little colour to the painting.
So, by Day #3 we were ready to do a rose painting. It sounds daunting, but as Helen’s previous activities had lead us to this point, we had the confidence!
It was time to put the knowledge from the previous two days to use ~ looking at the photo to see what colours there were, understanding the value of those colours (was my selection enough of a range of values along the grey scale?), thinking about warm and cool colours, complimentary colours. Then to mixing. You can see by the colour chart that I had to work my way through a few mixes. The new gamboge and permanent rose, top right, was the first mix, then I worked my way to quinacridone gold and magenta. It is the quiz gold that gives the painting its glow. There are other mixes too, a cool, soft blue for the cast shadows and the warm quinacridone magenta and sepia mix for other shadows.
A new piece of paper, a new tracing of the rose and I was in heaven, gently moving around each petal to let the paint and water work their magic.
There’s still a way to go, but I know that the colours are working and that I have put down a good foundation. I think I like painting roses!