Page 70 - The Decorative Painter Winter 2017

Add ever decreasing amounts of about three lighter values, such as Neutral Grey, Driftwood and Dove Grey for the lightest value. Sprinkle drops of DecoArt Thickening Medium and then squirt some DecoArt Thickening Me- dium among the colors. Draw a plastic fork in two cross directions to mingle the colors and mediums.
Apply a faux marble effect with a small, 1" ragged piece of natural sea sponge which has been moistened with wa- ter then squeezed as dry as you can. Lower the sponge straight down onto the chosen area on the plate, then do a quick stipple on a pad of paper towel to remove excess col- or. Stipple the variegated color mix onto the top flat areas of the frame. Move slowly and gradually, going back and forth slightly before the previously applied color can dry, to further soften and blend colors. Finding an example of real marble to pattern color after always is helpful. You will get some color in unintended areas. After the color dries, you can go back and re-apply background color to repair.
Apply the gold pen as with the gold leaf on the concave routed area, then varnish.
TRACE ON THE FLORAL DESIGN
Very carefully and accurately trace the design on the circular insert. Secure the tracing on two sides to elimi- nate shifting of the paper. I’ve added two areas of gold leafing to keep the design compatible with the leaf on the frame. Do the gold leaf areas after the first layer of floated color for all components of the design are in place, just
in case the finished design changes a bit. I like to use the Super Chacopaper, as lines massage away with a little water as you paint. Otherwise, use white graphite, which is not so easy to remove if you don’t trace well or follow lines exactly.
LET’S PAINT
First, let me say that I may have taken a bit of license with the leaf and flower shaping. Having grown poppies for many years, I rely on both my memories and multiple photographic reference materials ... then do as I please. I do, however, research photos of subjects and try to get as much believable accuracy in my work as I can.
Most of my painting is done using floated color tech- niques. Multiple sheer layers give a softer, more sheer effect than heavier applications. Rather than spend time with a hair dryer to finish an area, I prefer to establish/ghost in all basic design areas with appropriate color. Float in the fore- most areas, then move back into the design. This soft float allows you to correct your mistakes as you go. Strongest values are always along outside edges of any defining line,
blending away softly toward center areas without leaving an ending line of demarcation. These soft, lighter layers of color are what give my work that sheer, delicate effect. I’m certainly not timid with color, but the gradual gradations and value variation are what give my work what people seem to see as soft. Guess you could give credit back to my love for fired porcelain china painting.
Values are especially important in this design, as the only color will be the single red poppy with just a hint of green over the dark perspective on a couple of buds and one small leaf. All surrounding leaves and flowers are done by lightly floating in the shape of each petal and leaf with Midnite Green+Charcoal Grey (2:1) to create the shadow part of the design. Do not get heavy-handed here. Once the first layer of painting is completed, add the gold leaf areas, or match them to whatever accents you have chosen for your window frame. Try to remember: It’s much easier to add five (or more if needed) layers to deepen the value; it is harder to take a heavy application off. Move around so you’re sure one layer is thoroughly dry down to the surface before you add another layer.
My family loves these shadowy additions to designs. Follow the finished design, which will give an indication of the final values for the shadow flowers and leaves in the pattern. I always find the real thing easier to determine how much to finesse than the step-by-steps. Warmer or lighter values come forward and cooler or darker values drop back. This is especially evident on the cluster of stems down by the point of the two leafed areas.
TOP CLUSTER
STEP 1
Refer to the Step-by-Steps on page 67.
Establish or ghost in all the design areas softly. Make design corrections as you move from front to back areas. You might want to go around those little black fingers in against the center first. It’s easiest to draw them in with a liner brush and Midnite Green or Midnite Green+Charcoal Grey Mix, as that will show through your floated Butter- milk and they won’t be lost later.
Float in the red poppy and the little petal peeks of red in the two buds with Buttermilk to neutralize the background. Note that I use a pressure/release as I work around the out- er edge of an individual petal, often sliding in toward the center on the chisel edge of an angle or flat shader brush. The slight lifts, dips or skips in pressure just indicate multi- folds along the outer edges of the petals. You need to envi- sion your petal, but don’t try to follow a photo example (or the pattern) exactly, but rather allow a little spontaneity and
68 The Decorative Painter • WINTER 2017
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