May 6, 2022
The first part of this post is a recap of what we did in the last session. The second part explores painting pale flowers and backgrounds.
By increasing the pressure as the stroke is made and then decreasing the pressure as the stroke is ended and the brush lifted from the paper leaf shapes both thin and broader can be made with round brushes. We also used flat brushes to make a variety of marks resembling leaf shapes by twisting the brush as the stroke is made. Depending on whether the broad or thin edge of the brush is presented to the paper a variety of line widths can be made with flat brushes. Some of the best fun can be had by loading a brush; any variety and using it sideways as a printer on to dry or damp paper.
Below is a demonstration of a cornflower where flat and round brushes were used on wet and dry paper.
A wash of water was applied to half the sheet with a large brush and allowed to dry just a little. Colour was added as the paper slowly dried. Defined shapes occurred where the wash has been mopped with a “dry brush”, tissue or sponge.
When working in watercolour, especially when working on wet paper it is essential to have your colour washes mixed and at the ready, together with a sponge, tissue paper or to pick up excess paint as you proceed or to remove moisture from your brush so that the brush can be used to control very wet washes.
Now it is time to consider backgrounds both for dark and especially for pale paintings of pale flowers.
With a lighter touch a dark background to pale flowers can preserve a feeling of freshness as in the watercolour sketch of some apple blossom below. Here I did have a model in front of me and applied some colours using a round brush and very fluid washes on dry paper.
This was allowed to dry before dampening large areas of the sketch and dropping in colour. the shapes were refined using a small brush while the paint was still wet. Washes were allowed over the leaves in places refining their shapes. This time I stopped before the whole thing got too heavy and finally added some very pale yellow at the flower centre and a couple of pencil marks to indicate stamens. The result was lively and playful rather than accurate reflecting the joy apple blossom brings.
The point is that the background can often determine the mood of the painting and it is important that the way the subject is treated should be complemented by its background.
This week’s challenge is to paint pale or white flowers. Painting a background reveals the shapes of white flowers and is easier than painting pale blooms with no background. Colour, tone and how much to simplify backgrounds are all important factors to consider as well as deciding how free and loose you approach should be.
Inevitably you may question whether to mask or not to mask parts of the composition. Masking fluid can free you up to be more adventurous with the background but may make your flowers appear more graphic and less painterly. Painting around the subject may make you simplify more than was the original intention but that is not always a bad thing.
At the end of the day the only way is to experiment.
Some more ideas for painting white or pale flowers can be found on my Pinterest Board, Link below:
So first find some white flowers for the session and we’ll investigate ways to paint them in a way that has enough structure but still feels free and lively.