“Yummy” Painting Demonstration

Yummy

watercolor  6 x 9"

Paints used for this painting:

(Winsor Newton and M. Graham mostly, Holbein where noted.)

• Cadmium Lemon
• New Gamboge (similar to Cadmium Yellow Medium)
• Cadmium Orange
• Permanent Rose
• Napthol Red (similar to Cadmium Red)
• Alizarin Crimson
•  Dioxazine Violet
• Peacock Blue (Holbein)
• Cobalt Blue
• Ultramarine Blue
• Hookers Green
• Burnt Sienna
• Burnt Umber
• Indanthrene Blue + Maroon Pyrelene = Black

Paper I use is Jack Richeson 300 lb cold press watercolor paper.

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Here is the photograph I used for reference.

Step 1 - pencil drawing on the paper.

For a complicated composition like this, I wanted an accurate drawing.  I printed the photograph, then made an outline drawing using tracing paper.  Using my home-made carbon paper*, I transferred the drawing unto the watercolor paper.

The drawing was quite dark, so I gently rubbed a kneaded eraser over it to lift up some of the dark pencil lines.

I put masking fluid on the small white highlights on each of the candies.

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Step 2 -the color field

I paint in layers, so step 2 is painting the first layer. 

I call this my “base layer”, because I am painting the color of the subject, albeit with some variety. This is done in sections, painting every item separately.

 First, I put in a wash of clear water, then flood the colors into the water, using a variety of colors.

For example:

For the red candy, I used Permanent Rose and Alizarin Crimson

Remember, the pigments flow with the water, so let the water do the work!

 You can tilt the paper to let the colors mix, but don’t do too much brushwork.  This mingling of the pigments in the water is the beauty of watercolor.

Let each section dry completely before painting the section next to it, otherwise the colors will run.

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Step 3 – Shadows

 Once the first layer of color is laid down, I proceeded to paint the shadows.

I used Dioxazine Violet to paint the shadows on almost all the candies, except for  Ultramarine Blue for the blue candies and black for the brown and green candy.  I painted the dark shadow of the candies, then used clear water to soften the edge of the shadow. 

For the cast shadows, I painted wet on wet, using clear water and flooding Dioxazine Violet and Cobalt Blue into the water. 

I also added that touch of paint that makes the little glow of color from the candies.

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Step 4 – Value adjusting

The darks needed to be a little bit darker, so I repainted them all using black (a mixture of Maroon Pyrelene and Indanthrene Blue), Burnt Umber, and Dioxazine Violet. Again, wet on wet, using clear water and flooding in the paint.

 Look how beautiful these shadows are! You don’t get that by mixing colors on your palette. **

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Step 5 – Deeper colors

The best part about painting in layers, is little fear of getting muddy colors. Again, the wet on wet technique, this time repainting the candies and the candy wrapper with the same pure, rich colors I used in the first layer.

Look at those yummy colors!

finished painting  "Yummy"

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Step 6 – details.

When the paint is dry, I removed the little spots of masking fluid. The hard-edged spots don’t look realistic, so I use a small hard bristle brush and water to soften the edges.

I also use a sharp brush to dampen the right edge of the candies, and then pick up a little pigment with a paper towel. Add a touch more color if you feel you've removed too much paint

The final analysis-

A problem with working from a photograph is that I can see too many details. I frequently step back from my painting to see if it is working: color, value, edges, etc. If it looks good, I don’t worry about how accurately it copies the photograph. In this case, I love the combination of hard and soft edges that keep my eye roaming around the painting.

*Home-made carbon paper-

I prefer this over the commercial art transfer papers I’ve used.

a sheet of tracing paper plus a very soft pencil, like a 7B or 8B. Draw dark strokes over one side of the paper until looks covered. Rub it with a paper towel to get off a lot of the loose graphite. This will last a long time. It does leave a lot of smudging on the paper, but  I usually rub a kneaded eraser very light over the transferred drawing to pick up some of the smudged areas.

** Doesn’t the water wash out the color underneath? No, not as long as you aren’t brushing it too much. The dry paint will stay put for the most part, unless it is disturbed with a lot of brushing. Water, good, Brush, bad.

3 MACINTOSH APPLES watercolor painting demonstration

3 MacIntosh Apples

watercolor 11 x 11"

This demonstration uses lots of richly colored layers.

Paints I used:
Dioxazine Violet
Permanent Rose
Napthol Red (Cadmium Red medium is comparable)
Cadmium Orange
Alizarin Crimson
Sap Green
Hookers Green
Prussian Blue
Ultramarine Blue
Cobalt Blue
Burnt Umer
Burnt Sienna
Raw Sienna
Sepia
These paints are either Winsor Newton or M. Graham brand paints

Paper I use is Jack Richeson 300 # cold press watercolor paper

Here is the photograph I worked from. I generally do a simple outline drawing, then blow it up to the size I want to paint.

Here is the drawing.

Step 1. Base Layer
My first layer of wash I call the “Base Layer”. This is generally a wet on wet wash using the actual colors of the subject, in this case, red and green for the apples (Permanent Rose*, Napthol Red, and Sap Green). The apples were first wet with pure water, then the colors were applied by just touching the brush to the paper. The paint is carried by the water, and the 2 colors mix beautifully, with just a few nudges of the brush. Too much brushwork at this point would muddy the colors. Remember, there are lots of layers of color to come, so there is plenty of time to tweak the image. Also, leave white areas for the very light areas and highlights on the apple.


A close up of one apple, Step 1:


The apples were first wet with pure water


Then the colors were applied by just touching the brush to the paper.
Leave white areas for the very light areas and highlights on the apple.










The paint is carried by the water, and the 2 colors mix beautifully, with just a few nudges of the brush.


An extra bit of Permanent Rose on the lower left side, and blotting the hard edge around the stem.



The wash under the lace material is Burnt Sienna, Dioxazine Violet, and Permanent Rose, all flooded into a wet wash. Again, notice how well they mix when added to the wet paper.
The background wash is Burnt Umber, Dioxazine Violet, and Ultramarine Blue.



Step 2. Shadows (photo above)
I use Dioxazine Violet to paint the shadows on the apples, leaving the highlighted areas.
I begin painting the shadows and the detail on the lace using Dioxazine Violet, Cobalt Blue, and Raw Sienna. I don’t mix them, but just dip my brush into a different color from time to time, and let them mix themselves. It can look a little garish at this point, but I know I will be painting over them again , and the shadows will eventually be darkened which will unify the colors.



The lace detail and shadow is coming along. Although painting the lace is tedious, I know that rendering it carefully will make a better painting.

Step 3. Second Layer (photos above and below)
I painted a layer of Ultramarine Blue in the background, and a layer of Burnt Umber below the lace. You can see where I have a few more holes to fill in the lace. I painted another layer of green (Sap Green) and red (this time Alizarin Crimson) on the apples.
For Layer #2 on the apples, I wet the entire apple with water, then flood in the colors**. Remember to leave the highlights.




I painted a very light layer of Raw Sienna over the entire lace area. This helps unify the colors that I used for the shadows, and keeps the material from being too glaringly white, and attention grabbing.




Step 4. Value adjusting (photo above)
The painting needs deeper shadows, and I would like the apples to have richer colors. I paint over the apple’s shadows using Dioxazine Purple in the red areas, and Prussian Blue in the green areas. I paint a little Cobalt Blue on the highlight on the middle apple, and a wee bit of Cadmium Orange on the top right of the first apple.
I deepen some parts if the folds in the lace, and work on the lace detail a little more.

Step 5. Details (photo above)
Another layer of Alizarin Crimson and Sap Green on the apple, this time with a little Hookers Green for the cooler green areas.
I use Dioxazine Violet and Sepia on the stems of the apple.
I deepen the shadows between the apples using Dioxazine Violet and Ultramarine Blue, with a little Alizarin Crimson.
More detail work on the lace, and another layer of Dioxazine Violet under the lace AND in the background.***
The final step is making really dark areas darker (the stems, and shadows right under the apples), and lightening some highlights. I scrub out some lighter areas around the stems, and the highlights and reflected lights with a small, stiff brush and plenty of water.




* when painting a red subject, I usually start with Permanent Rose. It is a rich and warm pink, and looks better then a lighter wash of Alizarin Crimson. I use Alizarin Crimson for dark, intense reds, but a washy version looks dull to me.

** Doesn’t the water wash out the color underneath? No, not as long as you aren’t brushing it too much. The dry paint will stay put for the most part, unless it is disturbed with a lot of brushing. Water, good, Brush, bad.

*** Why so much Dioxazine Violet??? Not quite sure why, but I love it. It is a lovely purple, but also the perfect neutral. It seems to work great as a shadow color on any other color, and seems to cool when a color needs to be cooled, or warm when a color needs to be warmed. Take note, that I almost never mix it with another color, but use it as a wash over another color.