Page 47 - The Decorative Painter Spring 2017

FRENCH ULTRAMARINE BLUE
BLUE VIOLET MIX
DIOXOZINE PURPLE
COLOR MIX
Blue Violet:
French Ultramarine Blue+Dioxazine Purple (2:1)
and gently brush into these areas. You want the surface to show through for your lightest value. Pansy 7 has a lot of the white surface showing – these areas are left unpainted.
Placement of tints can be seen on the finished paint- ing. This is a very light application of paint. I pretend that one color is “blushing” onto the item next to it when I am choosing where and how to place tints.
PANSIES AND THE COLORS USED
Refer to the Step-by-Step on page 43.
PANSIES 1, 4, AND 8: These three are red violet and are therefore painted with Quinacridone Violet. Pansy 1 has Dioxazine Purple tints, Pansy 4 has Blue Violet on the face as well as Blue Violet tints, and Pansy 8 has Blue Violet tints. PANSIES 2, 5, AND 7: Notice when painting Pansy 7 the front three petals are mostly white and therefore are not painted in those areas; Blue Violet is brushed very lightly along the outer edges as a shadow. Dioxazine Pur- ple is painted on these three pansies as described above. Pansy 2 has Blue Violet tints, Pansy 5 has Quinacridone Violet tints, and Pansy 7 has Blue Violet tints.
PANSIES 3, 6, AND 9: Now we come to the Blue Violet pansies with Pansy 9 having more of the white sur- face showing on the back two petals. Pansies 3 and 9 are tinted with Dioxazine Purple and Pansy 6 is tinted with Quinacridone Violet.
CENTERS: Load the no. 2 flat with a tiny amount of Cad- mium Yellow Medium and squish this in the centers of Pansies 2, 4, 6, 7, and 9. Wipe excess paint from brush and tuck into a very scant amount of Quinacridone Violet. Tap this onto the Cadmium Yellow Medium application creat- ing an orange tinge.
LEAVES AND TENDRILS
Using the dirty Blue Violet brush loaded with Sap Green Permanent, paint the leaves as described above and tint with pansy colors.
BASKET
Paint all the reeds with Burnt Sienna using the dirty no. 6 short shader Quinacridone Violet brush; follow the
INKING CRITIQUE
After you have inked your entire design, take a break; eat some chocolate, or go for a walk. When you come back study your work and ask yourself these questions: Do the pansies look like they are in front of the basket? Do the reeds of the basket look like they bend forward? Do the centers of the pansies recede? You may need to darken some of your shaded areas with more strokes to achieve the correct perspective. To make an edge or area come forward you will ink behind it with more strokes, thus creating a darker shade.
PAINTING TIPS
Do not clean the brushes until you are all finished with the painting. This method is done with dry brushes. You will use three different no. 6 short shaders, one for Dioxazine Purple, one for Blue Violet Mix and one for Quinacridone Violet. Use the no. 2 short shader for Cad- mium Yellow Medium.
LET’S PAINT
The paint is applied to the darkest inked areas and then stretched out thin, allowing the white background to show through, thus creating values. Refer to the Step- by-Step on page 43.
STEP 1: This shows the paint application for each petal and each leaf. Load the bottom 1⁄4 of a no. 6 shader by in- serting the bristles into the lower edge of the paint and squishing the brush against the palette on both sides. This will work the paint into the bristles minimizing globs of paint on your surface. Next touch the bristles to your surface and squish the bristles again, this time depositing paint in the area shown on the painting guide. I would recommend painting one set of three pansies at a time to completion before moving onto the next set.
STEP 2: This shows the pansies and leaves after the paint has been stretched out across the surface. To achieve this look you will wipe excess paint from your brush and then pull the paint out from the dark areas into the medium areas. When you approach a light area, wipe the brush again so that only a trace of paint remains in your bristles
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The Decorative Painter • SPRING 2017 45