Page 87 - The Decorative Painter Summer 2017

STEP 16: Highlight sections with Phthalo Turquoise+ Titanium White using flattened tip of no. 1 round brush, tapping gently to create rows of iridescent color. Add two zig-zag strokes of same mix, using rounded tip of no. 1 at outer margin of hind wing between each section line (left wing). Tap with tip of brush to blend at both ends of sections to soften the zig-zag strokes as before (right wing). STEP 17: For final highlights on hind wing sections, ap- ply a few sparkles of Titanium White with flattened tip of the round (left wing). Soften the sparks of Titanium White with a dry-brush tapping of the flattened round (right wing). Add dirty brush+Titanium White highlights on body with no. 0 bright.
STEP 18: Blend to soften the highlights on body and head. Add detail lines with chisel to accent. Thin Dark Mix with a bit of odorless thinner and apply antennae with no. 1 round, pointed now to hold shape. Cover remaining section lines with Dark Mix+just a bit of Titanium White if needed to give a suggestion of separation between sections.
STEP 19: Basecoat all darks on orchid petals and sepals with no. 4 with Burnt Sienna. Ignore my practice petal (al- ways a good idea, to make sure the mixed works with the the background colors.)
STEP 20: Basecoat light values on all orchids with Cadmium Yellow Pale+Winsor Red. Vary percentage of red and yellow in mix as shown to create some areas of slightly richer orange and some of a bit yellower mix. Need less intensity? Apply colors more sparsely, as on bottom flower. STEP 21: Blend with dry-wiped chisel of no. 4 where values meet in each petal or column (the part that forms the attachment for the yellow lip). Follow natural growth direction of petals and sepals for a more realistic look. STEP 22: Highlight orchid petals and sepals as well as the one column based on right, using a mix of Cadmi- um Yellow Pale+a tad of Winsor Red+a bit of Titanium White. Don’t get too much Titanium White in the mix so lights appear chalky against the strong rich intensities of the oranges. Load from sparse loading zones to control amount of paint.
STEP 23: Again, blend on the line where values meet in each individual element. Carefully now, so you don’t muddy or overwork.
STEP 24: Stems: Dark/Ivory Black+Sap Green mixed to a dark, but still greenish hue. Light/Sap Green+Titanium White (easy – not too much Titanium White!)
Basecoat lips and other columns with these mixes: Dark/ Burnt Sienna. Medium/Winsor Red+Cadmium Yellow Pale (orange). Light/Cadmium Yellow Pale+just a tad of Winsor Red for a rich deep yellow.
STEP 25: Blend columns and lips where values meet, following natural growth direction. Do most of the blending with the chisel of the no. 4 bright so you achieve a little texture and natural veining. Lay on Raw Umber division lines in buds with no. 2 bright. Highlight buds where needed with a bit of Cadmium Yellow Pale+ Winsor Red+optional Titanium White. Blend stems where values meet, and highlight down the center of each with Sap Green+a bit more Titanium White.
STEP 26: Highlight lips with Cadmium Yellow Pale+ Titanium White using a no. 4. Highlight columns with Cadmium Yellow Pale+Winsor Red+Titanium White. Use tracing paper overlay to find the bottom of the center column on main flower and mark in the two stamens. Lift out a bit of underlying paint with corner of no. 8 dampened in thinner so pattern is easy to see.
STEP 27: Again, blend where values meet. Add more Titanium White+Cadmium Yellow Pale highlight when dry if desired. Blend the final highlights on stems to soften. Add stamens on center flower with Titanium White. Lift out deeper indents and frilled edges on a few lip areas using a brush dampened in thinner, to make them a bit more fancy. Shade buds with Raw Umber+Burnt Sienna. Highlight antenna tips with a bit of Titanium White to accent them visually.
STEP 28: Final beauty shot of Bellona Metalmark with Wild Orchids.
artist’s sketch
Sherry C. Nelson mda is known throughout the United States and across the world for her paintings of realistic wildlife, which she teaches with skills refined over her 46 years of teaching. Seminars taught in 46 states and six foreign countries have given her the opportunity to share her love of birds and butterflies and other creatures along with her techniques for painting them. Field work combined with painting seminars bring the opportunity to many to share in the excitement of creating the world of nature with brush and paint.
Sherry has been an active member of the National Society of Decorative Painters since its inception. The
National Society recognized her painting skill when she was awarded the Master Decorative Artist certifica-
tion. She is a past president of the organization and received the prestigious Silver Palette Award in recognition of her promotion of decorative painting worldwide.
Sherry has 16 instruction books for the decorative artist currently in print. For information about her books and packets and paint- ing supplies, as well as details on the current seminar season, go to her website at www.sherrycnelson.com. You may email Sherry at birdlady@sherrycnelson.com.
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The Decorative Painter • SUMMER 2017 85