My second demonstration once again tapped into the importance of negative space, and observation.
The difference here is that the painting of the petals was less spontaneous and more considered.
Using a photograph of magnolia petals as my jumping off point, I made a loose sketch of the petals, and then immediately wet the area in the negative space surrounding the petals, and applied juicy paint with a loaded larger brush.
I then allow the paint to bleed out to the edges of the paper. This is an exercise in letting go of control….
For the petals I leave dry, white paper. In a much more controlled manner, I then apply tiny amounts of pigment to each petal, being careful not to allow areas to bleed into one another. The total opposite from what was going on in the background.
Given that I was painting this as a demo, there were time constraints, however, I might work on this painting over the next few days, developing more of the petal area. Note the importance of leaving dry white paper for the highlights…and also note how the white paper shines through the transparent pigment.
The most important technique used in the petal area, is the use of a wet brush with no paint to pull out the small amounts of pigment applied to each petal. This is also why it’s very important to have a minimum of four pots of water at all times….so that there is always clean water available.
I enjoy the mix of loose, spontaneous painting with a more considerers detailed area.
Again it’s important to remember that everything is interconnected, and so by bringing some of the same colour used in the background into the foreground we achieve a sense of natural harmony.
Because I was demonstrating and emphasising the importance of playing and experimenting, I then dropped some of the Winsor & Newton, Desiginer Gouache, Permanent White into the background….suggesting more petals, without any detail.
Note the two different areas of white….one using designer gouache, permanent white, and the other area on the petals, where the white is all dry white paper.
There are still a few places available for my workshop in April on the beautiful Algarve, Portugal. Situated in an historic area of the Algarve, the venue affords excellent opportunities for outside and indoor painting. With charming inner courtyards and a superb studio area, it is well equipped.
More information is available at http://www.artinthealgarve.com or you can e mail email@example.com