Phew! What a truly exciting couple of weeks it has been. With the Squirrel Website already proving popular, the tutorials and Technique Tool Box tip videos going down pretty well, and the first of the sketchbook in practice exercises going online, it's been a happy whirwind of a month. Many of the new members have said that being a member is like a lovely get together. Just how I wanted it to be.
Thank you to everyone who has dropped by, left a lovely message, signed up for the Freebie or taken out a subscription.
Elsewhere, the You Tube channel has had something of a boost, with lots of new subscribers, eagerly waiting for the preview tip video for the next tutorial. It's been such a surprise, as just now I only have two videos on the channel. I'll have to make sure I keep adding plenty of lovely content, so everyone has something new to watch when they come on by.
Here's the trailer I made for the channel.
Speaking of which, the next tutorial for August will be a delicate pink lily bud. It's quite a challenge to capture white and pale flowers without them looking overly muddy, or flat. The disappearing edges are the most tricky, as without enough colour here to give them an obvious placement, the flower can have little shape or form against the white paper. A lovely challenge, even for complete beginners to tackle.
Here's the Pink Lily Bud, with some insights into it's progression
|Starting with a sketchbook exercise to get the colours and tone right.|
Generally, with all my botanical paintings, I start with a worked up sketch in my sketchbook. This one was actually done some time ago as a demonstration for one of my workshop classes, just to give a general look at how to tackle the subject. As I go, I make loads of colour 'dabs' in the margin, and if I remember, jot down the initials of the colours I used, and in which order I applied them.
It's a good idea to start with the palest colour, or hue that you can see and work up from there. In pale flowers, it's down to the shadow tones mostly, to bring forward all the dimension, forming the roundness of the subject. This can be very difficult as shadow tones tend to be quite grey. By deciding which colours I will need for the complete painting, I find I can mix naturally harmonious shadow mixes from these. But I won't spoil it for you, the rest is on the tutorial.
It was ages before I finally got the chance to work this little study into a final piece, and thought it would make a wonderful tutorial for students wanting to paint a pale flower.
|Working the early washes and beginning to get the shape and form|
My 'first wash' is actually a series of washes, to build up the whole piece to an even level of finish. Subsequent layers build up the initial layers to give a greater depth of tonal variation
|The finished piece|
After working wet-in-wet washes, the dry brush techniques can be deployed to really work up those fine details and surface textures. This one was an absolute pleasure to paint, and as it only took a couple of days to do, quite a quick little project.
Last week, I was asked by the lovely Charlie O'Shields over at the amazing blog Doodlewash, to be a guest artist with the ever popular Guest Doodlewash series. It was a great honour and a lovely surprise to be asked, and be among so many wonderfully talented artists. In the interview, Charlie asked me about how I got into botanical painting, where I started, how I paint now, the kit I use, and what keeps me going. It was great to share my experience, and read back all the wonderful comments from the readers. Take a peek
|My happy badge of homour|
Proud to have been Doodlewashed!