Convolution - Newest Painting

This is one of my newest "poured" paintings which I call "Convolution". This is a fun, but challenging technique based on Jean Grasdorf's pouring technique. I don't actually pour, but I apply the paint to a very wet surface. I am finding that certain subjects lend themselves better to this technique than others. I just smile when I remove my masking and see the final result of colors blending into subtle mixtures!

Coconut Jewels

I'm still experimenting with my pouring/dumping technique. This is the latest piece, called "Coconut Jewels". It is 20 x 28 inches and is now framed in a 26 x 32 inch gold, metal frame. You can see this piece at the Art and Antique Studio. If you are interested in purchasing any of my work please email me and I'll post the item on my etsy shop for you.
Thanks for visiting. I love hearing from you!

debbie@watercolorworksart.com

Sunlit Coconuts Lesson 14

A quick glaze of French Ultramarine Blue in the sky and - Ta Da!!! After a lot of "tweaking" around this piece, it is finally complete! Hope you enjoyed it. I know I did.

This piece will be for sale soon (we need to mat and frame it!). You can learn more about purchasing my work by visiting my online etsy store.

If you are in the Melbourne, Florida area and would like to learn more about my drawing and watercolor classes, please visit my website.

A new lesson will be posted soon. I am also beginning to plan my upcoming art show season. You can find out more about the shows I'll be in on the Events page of my website. Stay in touch - become a Follower.



You can see my work locally at the Art and Antique Studio Gallery in the Eau Gallie Art District (EGAD!), Melbourne, Florida. Click the studio name above to visit their website.

Sunlit Coconuts Lesson 13

Today I am just tweaking the piece. Using many of the colors used previously in this painting, I work around the image touching up areas. I use light washes to push areas to the background, and I used warm washes of yellows or Burnt Sienna to pull things to the foreground.

I again used Prussian Blue to work in some of the finer details, especially around the end of the top coconut. I used a number six round brush with a nice point, pulling and pushing the brush to create varied strokes.

Visit back tomorrow to view the completed painting!

Sunlit Coconuts Lesson 12

Today I have used VanDyke Brown to develop some more of my details within the vines, the impressions in the trunk, and to again develop more little details. By applying small amounts of pigment, then immediately softening the edges, I can create the illusion of details and depth without actually painting every little thing. The top coconut is my focal area, so I want to create the illusion of detail without actually painting each bit in. By using this "poking" method of touching the wet pigment with a damp brush, I can create a myriad of edges that make it look detailed, without being fussy.

I have glazed VanDyke Brown again within many of the shadow areas to deepen the value. Once dried completely, I glaze blues in the same manner over the browns. Using relative opposites on the color wheel creates much darker values.

Sunlit Coconuts Lesson 11

Quinicridone Gold becomes my focus color today. I have used it to glaze a gold wash over the coconuts and several other areas of the painting. This wash doesn't have to be terribly strong, but I still saved some of the white areas on the coconuts to show where the sun was hitting directly on the object.

It never ceases to amaze me how valuable one light glaze of a certain color can illuminate a painting! The sun here in Florida is really strong and it casts deep, dark shadows. The contrasts of warm, bright, sunlit areas against cool, blue, soft shadows are really striking. Quinicridone Gold is one of my favorite colors for producing this effect.

Here I have also used Prussian Blue, carefully to develop a few of the deep impressions on the trunk and here and there within the shadows. Prussian is a very intense, staining color, so use it with caution! A little goes a long way!

Sunlit Coconuts Lesson 10

I want to develop more of the darker values now. I have used VanDyke Brown under some of the vines. I washed a stroke of medium value VanDyke Brown under the vine, then immediately softened the lower edge of the wash with a clean, damp brush. This wash flows over several of the vines below and creates the illusion that some of the vines are behind others and in the shadows of the coconuts. Subtle shadows are worked into the vines throughout the piece using VanDyke Brown, Prussian Blue, and French Ultramarine Blue individually.

Again, remember when you are glazing, don't brush too much! Use a light touch on your brush and use very wet pigments. Your brush should just push the puddle of pigment around. If your bristles bend you are pushing too hard.

I have also used greens in some of the vine areas. I added Hooker's Green and Perylene Green to the palette. I added some palm fronds against the sky with Hooker's Green. I also used Prussian Blue around shadows near flowers and around some of the details in the vines. Here and there I dab at the still-wet pigments with a clean, damp brush to soften edges.

Sunlit Coconuts Lesson 9

Here I have added some Permanent Sap Green to the tree trunk. After it dried I used some Burnt Sienna and created a wet stripe down the tree trunk. Before the pigment dried I softened both edges with a clean, damp brush. This became a soft shadow on the trunk.

If you would like to get the drawing and photo references for this project, please visit my online etsy shop and click on the Online Class Icon. For $5.00 I will send you a pdf file with all of the references and the drawing so you can follow along. Most people prefer to order the references, and print the daily lessons until they are complete. Then they use the printouts as a workbook to do the painting.


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Sunlit Coconuts Lesson 8

Today I have added another wash of Aureolin Yellow to the coconuts. By leaving some of the sparkling white of the paper, I can show the crisp light shining on the coconuts. Glazing the yellow over several areas creates a subtle warmth and shower of sunlight to this piece.

I glazed some yellows onto vine areas above and below the coconuts. Vary the edges for interest and depth.

You can paint along with this lesson if you would like. To get the pdf file of the reference photo and the drawing, go to my etsy online store, click on the Online Class icon, and let me know you would like the coconuts lesson. For $5.00 you get the drawing and references, and you can follow along with the lesson as we go.

Sunlit Coconuts Lesson 7

Using the various colors that were implemented in the previous washes from the beginning, I begin to develop the darker values and details around the piece.

Look carefully at your reference and compare your painting so far with the reference. Search for areas that require warmth in color and add the Burnt Sienna, Winsor Red and VanDyke Brown. Look for areas that can be pushed cooler and use the greens and blues. You can introduce other colors here if you like. 
Pay attention to the shadow sides of the vines and paint in little half-moon and semi-circular shapes to indicate some of the intricate depressions in the vines. Soften edges with a clean, damp brush here and there to create depth and soft details.

When softening an edge, pull the clean, damp brush INTO the still-moist pigment. If you pull from the pigment to the clean paper, you will only pull the pigment out, dilute it, and create another crisp edge. If you pull the water INTO the pigment from the dry area, the edge will be softened without dragging the pigment out where it isn't desired.

Sunlit Coconuts Lesson 6

Now it's time to build some of the beautiful colors in the coconuts! Using Burnt Sienna in a very wet mixture, I glazed a wet wash onto some areas of the coconuts where I wanted them to look warm and a bit darker. Some of the edges are crisp (painted on dry paper). Some of the edges have been softened with a clean, damp brush. I used a stronger wash of the same color on the lower coconut. The value needs to be darker, and therefore the stronger color (less water).

Sunlit Coconuts Lesson 5

Burnt Sienna is glazed over the darker areas of the tree at this point. The blue under-painting must be totally dry before this application is made. When glazing colors be sure to use a very light touch. If you over-brush, or push too firmly on the brush, you will lift the first glaze, mixing the color applications together and creating mud. Use the Burnt Sienna here and there on a few select vines under the coconuts. Work over a very small area with jabbing-type strokes, then quickly rinse your brush clean, touch it to your paper toweling, and touch some of the edges of the still-wet strokes to soften them. Be sure to keep this non-uniform. It is supposed to look organic, not patterned or polka-dotted.

I used Winsor Red to add a few touches of light, warm tones to the flowers under the coconuts. VanDyke Brown was used in the tree trunk and on some of the viney branches to create shadows.
Take your time, be selective and practice the brushwork. It can make all the difference in the world when working on organic objects. Allow the edges to be "lost and found", but softening some edges with clear water, and other edges to remain crisp.

Sunlit Coconuts Lesson 4

Today I am going back to my French Ultramarine Blue and adding it as an under-painting where my darker values will be developed. I like to build my shadow areas with glazes. If I start out in the light to middle value range, I can easily correct colors as I progress through the painting. This process also helps me to navigate through the piece.

Each painting is a study project for me. I love to study the values, shapes, colors and textures of whatever I am working on. If I work slowly, I can see more clearly every little detail.

Since this piece is very detailed and there is a lot more in the reference photo than I actually want to paint, I sometimes use bits of scrap paper to mask off areas of my reference photo. This helps eliminate some of the visual clutter in a very detailed subject and I can more easily focus on the area at hand.

I have added some Permanent Sap Green in the cooler, shady areas near the bottom of the piece. I varied the concentrations, values and edges to help create depth and interest.

Sunlit Coconuts Lesson 3

The next big wash will be on the coconuts. I have puddled some clear water onto the areas of the coconuts that I will be adding pigment to. Allow the puddled water to soak in just a little to sink into the paper. This will give you more time to add colors and tip the paper, which will blend the pigments. I want to use a rather strong concoction of Aureolin Yellow and a little New Gamboge, here and there.  Since the paper is already wet it will dilute the pigments. I drop some yellows into the wetted areas of the paper. The bottom coconut is in a little more shadow, so the colors will appear cooler. I use the same wet-in-wet method to drop in some yellows with the addition of Permanent Sap Green. Again, I have used the same method to add some greens to the coconut on the very lower left of the picture. I have also added some yellows to the palm tree trunk at the right.
Don't brush too much. Put your brush down and pick up the board. Tip it back and forth and allow the water and pigments to blend with gravity. Don't let them blend too much, as this takes away the effect of the soft edges of color transitions.

Sunlit Coconuts Lesson 2

When I start a painting I generally look for the largest and simplest washes first. Here I have used French Ultramarine Blue and created a flat wash in some of the areas where the sky shows through behind the plant. Mix up a puddle of pigment and water and test it on a scrap piece of watercolor paper to see if your mixture will provide the correct value. I like to use a value chart number 1 through 6 to help me define and establish the values in a painting - the lights and darks. I really believe that if you have a nice composition and a good range in values you will have a successful painting. Use some of the French Ultramarine puddle to glaze in the shadow area of the tree trunk at right also.

New Lesson - Sunlit Coconuts

A new lesson! This is a fun lesson with lots of washes. The end result will have lots of textures and patterns that will tickle the eye. If you would like to get the drawing and photo references for this project, please visit my online etsy shop and click on the Online Class Icon. For $5.00 I will send you a pdf file with all of the references and the drawing so you can follow along. Most people prefer to order the references, and then print the daily lessons until they are complete. Then they use the printouts as a workbook to do the painting.

Today I have just put the drawing on the watercolor paper by scrubbing a soft layer of graphite onto the back of my drawing. Then I tape one small spot on the drawing to the watercolor paper and lightly trace. It's really important to use a very light touch so that you don't deposit too much graphite onto the fragile watercolor paper.
Remove the tracing, and tape your paper onto a foam core or gator board with masking tape. Now you are ready to paint!