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Poppy In Polychrome
©
These are my favorite brushes to use. I use the Wave for texture, the Flat Wash for large areas especially backgrounds on canvas. I use the Angle for floating, the Chisel Blender and Shader for painting most of the elements, Mini Script Liner for scrollwork and details. The dry Brush and Mini Mop are used to blend and scumble. I use the Shining Feather Soft Stroke for my baskets, fur, grass, etc.
Wave Brush, Series 206WV, sizes 4, 8,12, 1 in.
Wave Brush, Series 206WVCB, sizes 4,8,10,12
Flat Wash, Series # 206FW, Size 3/4
Angle, Series 206A, sizes 1/2 & 3/4
Chisel Blender # 206CB sizes 4,8,12,16
Shader, Series 206S, sizes 2, 4, 6, 8 , 10, 12
Script, Series 206SL - Size 10/0
Dry Brush, series 200, sizes 4, 6, 10, 12, 14
Black Gold Brushes Available at:
Artist Brushstrokesz;
http://www.artistbrushstrokes.com/Artists/Sharon_TCoray/artist_stc_brushes.html
Palette:
Lima Green
Cricket
Black
Magnolia White
Purple Smoke
Black Cherry
Cinnamon
Vibrant Green
Bahama Purple
Moroccan Red
Orange
Tangerine
Pumpkin
Sunrise Yellow
Sunset Orange
Primrose Purple
Glazes available at:
www.sharonteal.com
Q-tips
Masterson Sta-Wet Palette
Paper Towels
White and Grey transfer Paper
Baby Wipes
Tack Cloth
Stylus
Sponge
#400 Sand Paper
Shining Feather Soft Scrub Brush Basin
Saral Transfer Paper
Liquitex Gesso
Shining Feather Soft Stroke Brush Basin
Shining Feather Soft Glo Glazes:
Saral Transfer paper
Liquitex Gesso
GENERAL INSTRUCTIONS
My instructions are written in systematic order; they are easy to follow but it will be helpful to read them entirely before painting. Follow each step in the order given for your results to be the same as mine, if you omit any of the steps or colors given you will not achieve the same results.
TRANSFERRING PATTERN:
Tape the pattern to the project with magic tape.
Slide a sheet of Saral transfer paper underneath.
Use a soft lead pencil or a stylus to trace the pattern lines, use a light touch to trace so as not to dent your wood.
HIGHLIGHT AND SHADE FLOATING:
Using the largest Angle brush possible for the area, dip the brush into clean
water. Blot lightly on paper towel to remove excess water. Side load the long corner of brush in full strength paint and blend on your palette, working on one track until the paint fades evenly
across the brush, going from dark to light to just water.
DRY BRUSH STIPPLING/BLENDING.
Using a dry Dynasty, Dry Brush, Series #200, size appropriate to the area you are working on. Dip brush into full strength paint and remove excess on paper towel; apply the paint by softly pouncing/patting the brush on the area you wish to shade or highlight
Glazing is a technique most often associated with oil painting, but I have found I can use it with acrylics and get the same results. A glaze is a transparent application of washes, which are laid on in successive layers over dry paint. It is much like laying layers of colored tissue paper on top of one another. Each glaze changes the earlier ones, and the result is a rich, transparent glowing look. The reason for this is that a glaze, being transparent allows light to pass through it and be reflected back off the underlying color. The colors combine optically in the viewer’s eye and take on a resonance impossible to achieve by mixing them physically on the palette. Glazing requires an understanding of how different colors react with each other; it is worthwhile to experiment on pieces of scrap paper and see what the colors actually do. Because most of the acrylic paints are not transparent, I developed my Shining Feather Soft Glo Glazes, which are all totally transparent. I may ask you to apply more than one application, if so, make sure that each application is thoroughly dry before applying the next.
SCUMBLING
When I refer to a “scumble” this is a term fine artists have used forever. It is a rough application of a dry light color over a darker color. The scumble application is applied thinly, creating a delicate “veil” of color, which partially obscures the underlying color. This is a highly versatile and expressive technique. Scumbling can be applied in a circular or scrubbing motion, streaks, dabs, smudges or stipples. Using an old worn out bristle brush or painting knife is best for this application. The important thing is that the color be applied UNEVENLY. This produces a dynamic, unpredictable texture. If you have an area of color that looks flat and dull, scumbling another color over it will make it appear richer and more vibrant; for example, a dull gray will sparkle if you scumble over it with yellow or red. This is because the two colors mix optically and thus become more resonant. Similarly, colors that are too warm, too cool, or too bright can be modified with a scumble of a suitable color. Scumbling gives the look of “texture’.
BASE COAT OVER DARK
When I need to paint a light area on a dark background, I always use Gesso to base this in before applying the color I want in this area. This makes it so much easier to cover the dark paint.
SHADOWS
Shadows are a very important element in painting. Without a shadow nothing looks solid. They give form and dimension to an object. Shadow is the absence of light; they should look transparent so keep them thin so no brushstrokes show. You want to paint your shadows so you don’t call attention to them, they should look a little vague and mysterious. The edges of a shadow are very soft. I like to glaze a warm color over my shadows to give them depth.
A “cast” shadow is the shadow behind or under an object. A cast shadow will provide the object stability; it anchors the object down and keeps it from “floating”. Example: a shadow on the blanket behind or under a pot is a cast shadow.
Shading creates the shadows that create form.
REFLECTED LIGHT
When I refer to a “reflected” light I am talking about the light that is being reflected onto a shadow area from another light source. The reflected light is always in the shadow area. Reflected light is a very important element in your painting. It will keep a rounded surface from looking flat, adds excitement and awareness. It describes the way light falls over an object and bounces back onto it. Reflected light adds realism and helps to identify the shape of an object.
To Blend two wet colors together:
Apply a thin coat of Extender to the area where you want to blend two colors together.
Next, pick up the color you are going to use, on a clean brush and apply this on the same area to which you applied the blending medium.
Blend the two colors using a series #200 Dry Brush by gently tapping the edge of the paint to blend the edges. Sometimes I pick up a tiny amount of the Extender on the Dry Brush, blotting on a paper towel to extend the blending time. Always, make sure that you dry your work between each step before going on to the next application of Blending Mixture
To blend a wet color on top of a dry color:
Apply a coat of the Extender to the area, apply the paint and tap the edges of the wet paint lightly into the dry paint with a Dynasty Designer Series 200 Dry Brush.
This brush has to be dry to work, so if you need to clean it, do so on a baby wipe moving it back and forth across the wipe to remove the paint. If you put it in water, you will have to dry it before you can use it again. I have found that it is good to have several of these brushes so I can have a dry one when I need it.
General Instructions
Sharon’s Soft Blending Mixture and Technique
I have found that if I mix 80 drops of Color Float to 2 oz. of water I can blend with this having extra time to work before the paint dries.
I take an empty paint bottle and wash out old paint completely, add 80 drops of Color Float and fill with water. This way it is always handy when I need it.
Whenever you blend two colors together or blend the edges of floats follow this procedure.
1. Apply a thin coat of blending mixture to the area where you want to float or blend two colors together.
2. Pick up the color you are going to use on a clean brush and apply this on the same area to which you applied the blending medium.
3. Blend this using a dry, Dry Brush by gently tapping the edge of the paint, softening it into the base color.
4. Sometimes I pick up a tiny amount of the blending mixture on the Dry Brush, blotting on a paper towel to extend the blending time, and then pick up the paint color.
5. Always make sure that you dry your work between each step before going on to the next application of Blending Mixture.
Some Favorite Brushes
The Dynasty Series 200 Dry brushes are some of my favorite brushes. I love them to blend with, however you cannot clean these with water in between colors, as they have to be dry to work properly. With this in mind, I have found that I can lightly rub the bristles across a baby wipe to remove the paint. Then I rub it on a paper towel to completely dry the tip. I prefer having 2-3 of each size on hand because of this.
When I need to paint a light area on a dark background I always use Gesso to base this before applying the color I want in this area. This makes it so much easier to cover the dark paint.
Black and White Pottery Technique
Base coat the shadow side of the pot with the shadow color. Take this about 1/3 of the way around. Base coat the side where the light is hitting the pot with White Color. Blend this color around to meet the shadow color. While the paint is still wet, use the Mop or Dry Brush to blend the two colors together until there are no lines. You will actually create a "middle" value where these two colors meet. The pot should be the lightest on the side where the light is coming from and the darkest on the opposite.
Apply Pattern
Paint designs with colors indicated.
Apply the glazes indicated on the pattern.
Paint the reflected lights in the on the shadow side of the pot with Bahama Purple.
Paint with Black and let dry. Transfer the outline design on with the white transfer paper; do not transfer the design on the pot at this time.
Pot
1. Apply a base coat of Gesso over the pot.
2. Using my blending mixture and technique, paint over the left side with Magnolia White and add Purple Smoke on the right side, blend together using my technique listed above.
3. Dry completely and using the gray transfer paper, transfer the design.
3. Base the Black areas with Black.
4. Base the orange areas with Cinnamon.
5. Using a # 8 Dry Brush, tap on the highlight colors in this order, drying in between each application.
Orange
Tangerine
Pumpkin
Glazing Pot
Steps for glazing pot:
Glaze Sunset Orange over shadow areas and dry. Repeat at least 2 times.
Add a reflected light on the right side of the pot with Bahama Purple.
1. Base the poppies in with Gesso, dry and transfer on design for petals.
2. Base the poppies in the background with a mixture of Moroccan Red plus Orange 3:1
3. Base the large poppy in with mixture of Moroccan Red plus Orange 1:3
4. Shade float shadow areas with Black Cherry.
5. Add tiny vein lines with script liner and Black Cherry.
1. Shade float the edges of each petal with Gesso, blend the edge of this with the Dry Brush into the under color so there are no hard edges. Dry.
6. Paint the petals where they are folding over with Gesso.
7. Paint the center in with Black
8. Using the script liner paint the tiny lines in the center with Palomino Tan, then come over this with Orange, then Tangerine.
9. Base the green area in the center with Vibrant Green.
10. Paint the little teardrops on top of this green area with Black. When dry come over this with a little Moroccan Red, then Pumpkin.
11. Dry completely.
12. When dry apply 4 applications of Sunset Orange Glaze, drying in between each application, over the whole orange areas of the poppy.
13. Shade float a reflected light on the edge of the poppies in the background with Bahama Purple
1. Base with Gesso
2. Base with Vibrant Green
3. Shade float the right side with Dark Foliage Green
4. Highlight float the left side with Lima Green.
5. Build up the spikes in the buds with the script liner and Cricket on the left side and Dark Foliage Green on the right side.
6. Dry, and apply Sunrise Yellow Glaze over the bud. 2 applications.
7. Highlight the stems here and there with Lima Green. Hit the stems with glaze on the highlight areas.
8. Shade float a reflected light on the right side of the bud with Bahama Purple.
2. Base with Gesso.
3. Base with Vibrant green.
4. Float in the shadows with Dark Foliage Green.
5. Apply 2 applications of Primrose Purple Glaze to the shadow areas of the leaves.
6. Paint the centerlines in with Lima Green, Dry.
7. Float the edges of each leaf with Gesso, blend the edge of this with the Dry Brush into the under color so there are no hard edges. Dry.
8. Apply 3 applications of Sunrise Yellow Glaze over the entire leaf.
9. Shade float reflected light with Bahama Purple on the right side of the leaves.
10. The stem of the poppy is based just like the leaves.
11. Apply a glaze of Primrose Purple under the leaves that are against the pot, this is a “Cast Shadow” Dry.
12. Go over this with one glaze of Sunset Orange to soften the purple.
Finish with varnish.