Foliage study stages.

 

Foliage study stages.

Beginnings. This picture shows the initial stages, penciling in sections, laying down base colours and choosing which areas of the image I wish to mask off at this stage.4 images to start off with.

Beginnings.
This picture shows the initial stages, penciling in sections, laying down base colours and choosing which areas of the image I wish to mask off at this stage.4 images to start off with.

 

I have recently decided to try out some additional colours, usually I mix my greens from blue and yellow hues, Permanence AA Series 4 Windsor and Newton Professional water colours, to see if I might add interesting depth to my images through the use of adding colours to my pallette.

I have recently decided to try out some additional colours, usually I mix my greens from blue and yellow hues, Permanence AA Series 4 Windsor and Newton Professional water colours, to see if I might add interesting depth to my images through the use of adding colours to my pallette.

 

Colours used within the image are Ultra marine and Prussian blue in the sky, Windsor Yellow & Green,Green Gold,Burnt Umber, Olive Green, Vandyke brown & Paynes Grey.

Colours used within the image are Ultra marine and Prussian blue in the sky, Windsor Yellow & Green,Green Gold,Burnt Umber, Olive Green, Vandyke brown & Paynes Grey.

 

Usually I stick to a small palette of Raw and Burnt Sienna, cobat, Prussian and Ultramarine Blue, Cadmium Yellow, Yellow Ochre and Lemon Yellow.

Usually I stick to a small palette of Raw and Burnt Sienna, cobat, Prussian and Ultramarine Blue, Cadmium Yellow, Yellow Ochre and Lemon Yellow.

 

Here I have begun to introduce some of the new green, finding a happy medium between green hues can prove to be challenging I find. Often I find mixing my own greens to be more satisfactory, however being open to trying new shades is always a must in my book. I go through so much different yellow paints in the process of mixing my own greens. I find it fun to try out premade colours sometimes.

Here I have begun to introduce some of the new green, finding a happy medium between green hues can prove to be challenging I find. Often I find mixing my own greens to be more satisfactory, however being open to trying new shades is always a must in my book. I go through so much different yellow paints in the process of mixing my own greens. I find it fun to try out premade colours sometimes.

 

In the next two images I am making decisions on depth. then make the plunge into beginning to define the darker areas of the painting.

In the next two images I am making decisions on depth. then make the plunge into beginning to define the darker areas of the painting.

 

In the next two images I am making decisions on depth. then make the plunge into beginning to define the darker areas of the painting.

In the next two images I am making decisions on depth. then make the plunge into beginning to define the darker areas of the painting.

 

In this image of the painting I have begun to mask off the areas which i wish to keep light within the hedgerow behind the midground tree trunk. Remembering with watercolours the idea is to work from light to dark. I have also started to mask off leaves which I hope to keep covered until the very end.

In this image of the painting I have begun to mask off the areas which i wish to keep light within the hedgerow behind the midground tree trunk. Remembering with watercolours the idea is to work from light to dark. I have also started to mask off leaves which I hope to keep covered until the very end.

 

In this image you can get move of an overall idea of the sense of depth and picture perspective I wish the viewer to see. I do find mixing up the distances within the middleground of a picture the most fun and challenging, alot of work I see by artists tend to use alot of tricks to cover up the amount of work that needs to go into creating an effect like this that simply can not be rushed.

In this image you can get move of an overall idea of the sense of depth and picture perspective I wish the viewer to see. I do find mixing up the distances within the middleground of a picture the most fun and challenging, alot of work I see by artists tend to use alot of tricks to cover up the amount of work that needs to go into creating an effect like this that simply can not be rushed.

 

Here I have begun to add a stippling effect to the foreground grass. Using a dry brush I have begun to apply paint using just the tips of the hairs of the brush to apply my marks.

Here I have begun to add a stippling effect to the foreground grass. Using a dry brush I have begun to apply paint using just the tips of the hairs of the brush to apply my marks.

 

In this image I have begun to add the base colours to the foreground tree trunk. Working in what is known as 'Wet in Wet' one begins by covering the chosen area in water and applying the paint once the brush is loaded from the pallette in stages, allowing it to bleed out. This can be controlled by the amount of water one uses and the area you choose to remain dry. You can also tilt the surface to encourage the paint to flow in a particular direction.

In this image I have begun to add the base colours to the foreground tree trunk. Working in what is known as ‘Wet in Wet’ one begins by covering the chosen area in water and applying the paint once the brush is loaded from the pallette in stages, allowing it to bleed out. This can be controlled by the amount of water one uses and the area you choose to remain dry. You can also tilt the surface to encourage the paint to flow in a particular direction.

 

In this image you can see a mixture of working wet on wet and working wet on dry, working onto dry paper can provide hard. crisp. clean edges to areas that you wish to define and edge with or one shade upon another. Bleeds to blend and hardlines for definition.

In this image you can see a mixture of working wet on wet and working wet on dry, working onto dry paper can provide hard. crisp. clean edges to areas that you wish to define and edge with or one shade upon another. Bleeds to blend and hardlines for definition.

 

In this image I have begun to blend in both techniques in the mid ground, as well as defining the drop shadow on the trunk. The overall perspective is bathed in sunlight, so to attempt to give depth it is always a good idea to place as many counter changes as possible to make section of the painting 'pop' so to speak.

In this image I have begun to blend in both techniques in the mid ground, as well as defining the drop shadow on the trunk. The overall perspective is bathed in sunlight, so to attempt to give depth it is always a good idea to place as many counter changes as possible to make section of the painting ‘pop’ so to speak.

 

Ultramarine blue is added to promote the idea of shadows, I have also begun to think about the tree trunk closest to the viewer.

Ultramarine blue is added to promote the idea of shadows, I have also begun to think about the tree trunk closest to the viewer.

 

Some of the stages where you are adding the darkest features can be heart in mouth moments. It is a fun part of painting in water colours. more the practice you have the less it tends to happen unless you are willing to let go n experiment into areas of uncertainty. Changing up your subject matter can really push you out of your comfort zones.

Some of the stages where you are adding the darkest features can be heart in mouth moments. It is a fun part of painting in water colours. more the practice you have the less it tends to happen unless you are willing to let go n experiment into areas of uncertainty. Changing up your subject matter can really push you out of your comfort zones.

 

Here I have begun to darken the underside of the closest trunk to indicate areas that are not in light also giving thought to how to make the suggestion of texture.

Here I have begun to darken the underside of the closest trunk to indicate areas that are not in light also giving thought to how to make the suggestion of texture.

 

Another heart stopping moment can come when using this technique. Using a wet brush and once the paint is dry, I begin to lift out the shading that I have placed on the tree trunk at the top of the painting in order to portray the texture in the shade.

Another heart stopping moment can come when using this technique. Using a wet brush and once the paint is dry, I begin to lift out the shading that I have placed on the tree trunk at the top of the painting in order to portray the texture in the shade.

 

This 'lifting out' process continues. I am having to vary how much of the paint I choose to lift out, using a wet brush to loosen the pigment and some kitchen roll to dab the area afterwards. the amount of pigment that is lifted out is down to control of pressure and practice of technique.

This ‘lifting out’ process continues. I am having to vary how much of the paint I choose to lift out, using a wet brush to loosen the pigment and some kitchen roll to dab the area afterwards. the amount of pigment that is lifted out is down to control of pressure and practice of technique.

 

The last three images of the painting are made up of continueing to lift out paint, waiting for it all to dry, removing the prior masking and cleaning up any areas that seem to collide through lack of counter changes. Finally dry brushing is added to the trunk.

The last three images of the painting are made up of continueing to lift out paint, waiting for it all to dry, removing the prior masking and cleaning up any areas that seem to collide through lack of counter changes. Finally dry brushing is added to the trunk.

 

Dry brushing is a method used to skim the surface of the paper with a dry bush and very little paint. This technique is used to capture the bumps and ripples in the papers surface to suggest texture and depth to the surface as well as the washes and paint that you apply.

Dry brushing is a method used to skim the surface of the paper with a dry bush and very little paint. This technique is used to capture the bumps and ripples in the papers surface to suggest texture and depth to the surface as well as the washes and paint that you apply.

 

Finally the image is rubbed clear of all masking. Leaves have appeared from the first masking performed and so too have the trunks and stems of the plants  in the midground. Dry brushing is complete. nothing left to do now but pull the image off the board and cut to size. To begin with the paper is soaked in water. stretched onto a board whilst wet, and stapled into place, Depending on how large a piece you wish to work on either staples or gum arabic tap will do to keep the paper torque while you work on it. Without stretching your paper it can buckle while you choose to work. Alot of stages in water colouring are spent waiting for any ripples in the paper to calm down and become flat once more. Some techniques require the undulations on the paper and some do not.

Finally the image is rubbed clear of all masking. Leaves have appeared from the first masking performed and so too have the trunks and stems of the plants in the midground. Dry brushing is complete. nothing left to do now but pull the image off the board and cut to size. To begin with the paper is soaked in water. stretched onto a board whilst wet, and stapled into place, Depending on how large a piece you wish to work on either staples or gum arabic tap will do to keep the paper torque while you work on it. Without stretching your paper it can buckle while you choose to work. Alot of stages in water colouring are spent waiting for any ripples in the paper to calm down and become flat once more. Some techniques require the undulations on the paper and some do not.

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~ by Karmakoma on March 18, 2015.

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