Cuprinol 5122247 Garden Shades Exterior Woodcare, Sweet Pea, 1L

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Apply this to the outer edges of the flower, and the darker zone at the centre of the flower. Be sure to follow the lines of growth with your paint brush, and don’t be heavy handed. You can always make watercolour darker, but you can’t lighten it! Here the illustration is pretty much finished. All that I altered is adding some darks. With the purples, these were quite an extreme mix of purple, brown, and prussian blue. More detail on the stem and calyx, this is alizarin crimson and purple lake, with a touch of vandyke brown.

Doctor Martins PH Hydrous inks come in a lovely array of jewel-like colours, and I often add a tiny drop of these vivid hues to my watercolour washes. In this case it’s the turn of Quinacridone Magenta. Step 6: Add darks and shadows These [ T03305 and T03306] are two from a group of paintings, started after a holiday the artist spent in Canada and the USA in the summer of 1978 and completed between February and March 1979. Six of the paintings were first shown in her exhibition at the Arnolfini Gallery, Bristol, in March 1979. In relation to ‘Other Cloud’, she has no special recollection of having seen anything resembling the drop or ‘tear’ shapes, and the central blue form relates to a formal problem she had tried to resolve in earlier works, the setting of a circular shape into a rectangular format. As with all her titles, this one hints at a mood in the work rather than defining the painting's sources. She told the compiler that ‘Other Cloud’ suggested the names of Native Americans but could equally well relate to the cloud formations she remembers having seen from the aeroplane on her way to Canada. She had also been reminded of Georgia O'Keefe's paintings of sky and clouds seen from aeroplanes, (the ‘Sky Above Clouds’ series 1962–5). Before leaving London, Durrant had become increasingly dissatisfied with the direction her work was taking; she had produced no large scale paintings for some time and her output was mostly confined to small drawings. In retrospect, she sees the Canadian trip (which she has compared in its liberating effect on her subsequent work to her first visit to the United States in 1972) as a major turning point, and has attributed the bolder and more confident looking paintings she started on her return to the general sense of exhilaration and optimism the trip had given her.Decide if you want to focus on the flower, or want to include leaves and tendrils too. It’s worth concentrating on the flower first as they can wither fast. You can extend their lives a little by putting a twist of wet tissue at the base of the stem. It’s wise to take a photo of the everlasting sweet pea flower early on for future reference. Make sure you have several flowers on hand before you start. MINIMUM OF 2 COATS REQUIRED. SUBSEQUENT COATS MUST BE APPLIED ON THE SAME DAY NO LONGER THAN 8 HOURS APART. IF NOT POSSIBLE, LIGHTLY SAND DOWN SURFACES BEFORE RECOAT TO ENSURE ADHESION. Having put down the initial green on the stem and calyx, I work into it, adding the flush of purple. I try to keep my colours fresh and light, and don’t erase the pencil in these sketchbook studies, which gives me a little more freedom with the paint as it doens’t have to delineate any edges. Work into your darkest areas with a blue purple mix. Be brave and don’t dilute it too much. I love the colour you get when you mix Cobalt blue with purple lake and often use this mix to add dark areas. Untreated wood: should be pre-treated prior to adhesion test with an appropriate wood preserver to prevent rot and decay.

I paint my pictures with the canvas stretched flat on the floor, viewing them from the top of my steps, and I see the painting frontally/head on, only when it feels whole or I cannot choose what to do. I suppose (as I have not changed this procedure for several years) I enjoy the surprise I get when the picture goes up and then I feel either relieved or disappointed. I often experience difficulty in making choices within the painting-what the painting needs as opposed to what I put in the painting ... I work on several canvases at a time ... and I view them as a group although I feel each painting is separate and complete itself. The sensation of place in painting is very important to me... How much you are enveloped, or brought in, or feel up against the painted surface ... I am aware of ways in which I use my experience of the visible world as starting-points for my painting. A starting-point can be my wish to create a visual equivalent for a particular experience in purely painterly terms within a tradition of painting-and in so doing, discover (for) myself. This is the completed sketch. This image is a scan rather than a photo; it’s interesting to note the difference in tone and colour due to the different ways of recording the illustration. Generally, scans are lighter and yellower. You can always adjust for discrepencies between colour of scans or photos and the true illustration’s colours in an image editing programme such as Adobe Photoshop. As Garden Shades often goes on directly to the wood, without a primer, sometimes it will soak deep into the wood and this can create the need for a third coat. This may be noticeable with rougher woods, open end grains or indeed deep colours. If wood has been exposed and dried out for a long period of time, this may also draw the more of the product away from the surface and into the wood structure.You’re going to be putting a layer of pale pink on the flower next. Mix up a very pale tint of pink, and be sure you make it paler with clean water rather than with white paint. This is my trusty paintbox (what a mess) with me mixing up some purple to go into the green on the stem. I favour Winsor & Newton paints, and much prefer using Winsor & Newton series 7 brushes to any other sort.

Mixing up the wash to go on the sweet pea. This is a similar mix to before, but with much more water and no brown. Sweet peas are beautiful flowers, and a joy to paint. This blog is a step by step guide to painting the Two-flowered Everlasting Sweet Pea Lathyrus grandiflorus. About Sweet peasIn the catalogue of the 1979 Hayward Annual exhibition (op.cit.,p.66) Durrant discussed her approach and working methods: I used Opera pink and a touch of the purple used for the flower veins. Go slowly and make sure you don’t take everything too dark too swiftly. If you put cut plants into a closed plastic bag in the fridge, with a paper towel wet with water, it really extends their lives and keeps them fresh for illustrating. Plants, paper and pencil ready, and most important of all, the cup of tea. Good to go. Getting ready to paint

I use Winsor & Newton watercolours, and work quite dry. This mix is Opera rose with a touch of Cobalt blue. I always use a Winsor & Newton series 7 paintbrush, normally a number 1. Mix a darker pink for the central petals. I used purple lake, Alizarin crimson and opera rose; but be informed by the colour of your own specimen. I then add the tiniest dashes of yellow to the inside regions of the claw petal. This not only echoes the colouration of the flower, but adds something of a “pop” where the dark central zone abuts the yellow. There are lots of different species and cultivars of these pretty flower; some smell amazing and come in a wonderful range of colours. These flowers can be found in gardens around the world.

I’m currently working on a series of sketchbook style illustrations of common cultivated garden plants (like the sweet pea); there’s a possibility these will illustrate a book on foraging in the garden in the next year or so. Be mindful that it is waxed-enriched and that once these waxes are dried, they act to repel liquids, which would include an additional coats. Don't try to coat the whole project with one coat before getting onto the next coat. Instead it is better to paint sections in in time chunks of 2-4 hours. The first step is to draw the plant in pencil (I use pentel P205 mechanical pencils). Keeping the line crisp and simple helps avoid mess when you work into the illustration with watercolour. Drawing up the plant in pencil, considering composition