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    118676850 Florals Botanicals Walter Foster

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    © All Rights Reserved
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    84 views34 pages

    Florals Botanicals Walter Foster

    Uploaded by

    GerardoMandujanoGonzalez

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 34
    Florals & Botanicals Learn to paint step by step HOW TO BD) VN ad Capturing brilliant whites = Creating a floral landscape Mixing luminous colors = Setting up a still life WITH BARBARA FUDURICH, JOAN HANSEN,CAROLINE LINSCOTT, AND GERI MEDWAY Ie Ch sve al et td 398 tee ‘ahercen ask htc pueda he pong i eprom at “nce emmy ren phonon ne mh aso oe Florals & Botanicals a The natural splendor offtowers and botanicals makes them irresistible subjects for artistic “ig expression—and watercolor is the perfect medium for painting a delightful range of floral shapes, colors c and textures, Watercolor can be applied opaquely or translucently, and you can layer colors to achieve Lh depth and intensity, You also can create a variety of special effects using simple household items, such as lifelike flowers. You also will discover the exciting properties of watercolor and learn how to paint an sal, sponges, and tissues. In this book, you will learn about the anatomy of a flower and its basic shapes, how to set up attractive floral arrangements, and how to use form, value, and color to render amazingly = array of flowers—from delicate orchids to bold birds of paradise—that will inspire you to capture your ‘own floral scenes! Purchasing Tools and Materials. Beginning with the Basics Mastering Basic Techniques Developing Form, Aa. ‘Composing a Pleasing Design, Setting Up a Sill Lie Using Multiple References. CONTENTS 2 Mixing Luminous Colors. 4 Capturing Beiliant Whites 6 Playing with Light and Shadow 8 Creating Floral Landscape 10 Zooming non Your Subject. 12 Focusing on Formats M4 Depicting a Botanical Scene. 20 = 8 30 “ Purekaring Taal and Materials WITH THE AMAZING SELECTION of paints, brushes, papers, and other materials available, ‘every visit to the art supply store is an adventure full of exeitement and possibilities. Instead Of picking oUt one of everything, refer (o the suggested supply list in the box at right. You ‘can purchase a limited number of supplies, but always invest in the best you can afford. You always can buy additional materials as you develop your skills and personal painting style. If you'd like to lear more about watercolor tools and material, refer to Watercolor & Aerylic Painting Materials by William F, Powell in Walter Foster's Artists Lay series Buying Paints ‘Watercolor paints are available in tubes, pans, and cakes, Most artists choose tube watercolors Decause they are already moist, which makes them easy to use, and they allow you to squeeze ‘out a large amount of color quickly and easily. Pan and cake paints, however, are small and light, which makes them convenient for travel. Whichever type you choose, be sure to select antistgrade paints. Student-grade paints are mixed with more filers and additives, which decrease the intensity of the colors—and your painting, Aftistgride paints are made with purer pigments, so the colors are truer and richer. Ge pane ype sored in Sotto ba wich ou. panes trate dedaps Na or Bar ont ove oT be ple st ewig ou sar Choosing Colors Looking at Brushes A beginner's color palette doesn't have to be Watercolor brushes are categorized by size, extensive. In theory, allan amit really needs shape, and hair type. Brush size is indicated are the three primaries: ed, yellow, and blue. either in inches or by a number, but the ‘But in practice, i's more convenient and numbering system varies among the dif practical to select a small array of colors. Even ferent brands. For example, although a #2 ‘with a minimal set, or ited palette, ke the brush is usually very small, the length and ‘one shown above right, you'll be able to mix width of the bristles may fer slightly from just about any eotor you may need. ‘manufacturer to manufacturer. In this book, brushes are referred to as small, medium, fo large, s0 choose the sizes that fit your subjects. Brush shapes determine the type ¥ CHOOSING PAINTS Leki: sn ein ix color OF SUOKES YoU create—rounds will yield a ser bong egret to ht ewe une Coby ied _—-aerower fine than flats wil Hair types are "otter ber snd) wi ot Se ere ether natural or synthetic; both will do the ramen om ines seme job, but natural hairs generally cost more ‘bey tue one te F you ant see For beginners, the five brushes shown at wit oe a wer wey right make a good starter st | Medium round (hve (Care mak esr tose on we paper) Pope” Simplifying Supports You can paint on many different surfaces, ‘or supports, such as illustation board. of Bristol board, but most watercolorsts prefer Paper, Watercolor paper varies by weight and texture: Hot press paperissmooth, where as cold:press paper has some texture. Paper also is categorized by weight, designated in pounds; the higher the number, the heavier the paper. Mediumweight 1401b paper is popular and suitable for beginners, but a heavier paper, such as 260: oF 3001, won't buckle under multiple ayers of wet paint. Picking a Palette Mixing palettes are available in glass, ceramic, plastic, and metal. All are easy to clean, but ‘ass and ceramic palettes are heavier and usually more expensive. Palettes also come in many shapes, but they all contain individual ‘color wells and at least one area for mixing Fcanpian ec sqarestaed ple choos ore meh a) [Staten rigiaacormosie pst [CREATING A WORK SPACE To san five wrk sat, ee tre ngs nin cones, fn a cone Tey place a your mars within sy rex ada are you ave feu guy Naural Wh bs Bu Yo to na Getting to Know Your “Extras” ‘You'll also want to assemble a few extra supplies. A sketchpad, pencil, and eraser are great {or making quick sketches of your subject on location and blocking in compositions. I's also helpful to have an easel or drawing board with a smooth surface that can be tied or adjusted, A toothbrush, salt, plastic wrap, sponges, and tissues are also good for creating a variety ‘of special fects. Artist's tape or masking fluid (frisket) is useful for saving the white of the paper, whereas a craft knife can be used 10 retrieve whites oF light values. Keep a spray bottle or mister around to moisten your paints or your paper, and use a hair dryer to speed up the drying time. For convenient clean: up, keep rags or paper towels on hand, along with an extra container of water for rinsing your brushes, Expanding Your Color Palette For the kone nhs bok, yo eed to fd the colors ited below to your base plete Refer to each project fora complete a a nou eee Sect tee a ar acim ennerae Seadium yetow eee aes a ae ‘Spends cof money onc ke Mary ect Be asap gen Ss eee | cee Beginning with the Basies with Joan Hansen IMAGINE WALKING down a garden path and gazing at a mass of Driliant color and sunlight glistening on beautiful flowers in bloom. As the fragrance fills the air, you wonder how you can make this ‘moment last forever. By painting a floral image in watercolor! Once you've leamed to sce the basic shapes of a flower, you'll be able t0 ‘draw and paint any flower you like Focusing on Shapes Every flower, leaf, and stem can be broken down into a few basic shapes: circles, rectangles, squares, and triangles. To draw any fower's shape, I simply draw the petals’ outlines within those basic shapes, as I did with the eircular daisy shown below. And I keep in mind that all the petals always radiate from the center, As I paint, I ‘overlap and curve some of the petals, so they don't all look exactly the same. These litle tricks make my flowers look lifelike and three- ‘dimensional, as you can see in the examples on the opposite page: angie er ose Supe dye your we prin ange Whar you lok iP camps of rasta. Ings doorion mateo heb coe he non of ep THREE-QUARTER MEW om eee. Took at the iy in rol pu an om Be corti eo ep a hp lipone_ pea ard rope pres nap me the rg lomareen einéers 1 turn sanan to th camer af he Second wash These yrs help. erste ‘he in of roundness ee more abo form one 8). 4 ANATOMY OF A FLOWER cor nat to manors al he far of ower der {epee he pet naw ef aay. Th agra abv shows 2 roe acon 118 epic flower nd the major leer, arrange prs branch et rom the Indo aga of yawn oe wt res (ele “chrg cle) Tho 4 reserve a ered 20 pe ong th vente eat When pce mare re atthe ofthe fe ihr fe a) aon isda wae I pats tras fh ed ing he top ig fhe ne the bath an hen rs he Slr (te alge wi ar er PAINTING A FLAT LEAF Appia sre nth se of Yolowerean math eh top af es 0 pine ‘ror wre When iy, me aren Dara Sones nn ee og Sore of the ylowreen tse. Wien tered resp ape operant rose oer ‘he uppers of he alt sr eng {he lower secon Med to Show whee eigenen Mastering Basic Teckniques with Joan Hansen WATERCOLOR IS.A PERFECT medium for experimenting with di erent painting techniques. You don't need special tools or additives, and you can practice on any piece of scratch paper you have on hand. ‘But the best part is the added personality your paintings will have ‘when you have mastered a few simple watercolor techniques, Covering the Basics In the examples on these pages, I present detailed explanations of 4 few basic techniques—such as painting onto wet paper, applying transparent glazes of color, making graduated washes, and using ste: is. As you can see, I combined all these painting methods to give my orchids and butterflies painting a litle more interest—and because they're a lot of fun to do! When you create your own paintings, refer to the examples here to refresh your memory—and freshen up your ‘watercolor florals. | pare he es we mires of co rose srt ylow, i ie nd bre ‘semana gd math Than | wate upper oe io hepa nd ph hy wih Dc mak of he sot on wg of morarh aay. (peed round {wry taper hams bx you ma roe oma ar of cept Wa, roe hy ‘sing np 4d mas he mors pts oe pn he ngs) Then mete pt {ee aa bat ge aus of prmanre ae exaiu h ae er pee Whe ‘rar leo sy ros clr sacs on pus a th ct dows a rk {tet fh pa To sen the ton rtm an punt eS std a he ‘Spr wen car we (B_ Wen the flowers are dy, it he grou we io wet wa rarge of elo. ave colar on hap are fh adn edu aa he gran Then ‘wth very dri of sland re |p ek pes wth on th. eg ‘Seger anther ba lew Developing Form with Joan Hansen IMAGINE OPENING A DOOR from 4 completely dark room and walking into the brilliant sunlight. The light is so bright that at fist you can’t see anything, Then, as your eyes adjust to the light, you Dewin to see your surroundings. In a way, when I paint in watercolor, 1 start from brillant light—the paper—and develop my subject by ‘painting away” some of the light. And i’s exciting to see a lifelike, threedimensional form emerge on a flat, twodimensional piece of paper. The way Ido that is by developing the forms of flowers using a range of different values of color. romped ten wth pure es The Ise ping ed for tse peso ps 2 erg er een ho | nicaneafigcand teins pangs | Painting the Lights and Darks Value is the term used to describe the relative lightness or darkness ofa color (including black). And it isthe variation among lights and darks that creates the illusion of form, I've already painted ranges of valk y flower studies, but here Fl use this arrangement of White calla lilies to demonstrate how many different values you can see, even in something apparently colorless. But before you start painting, look atthe flowers in the reference photos (above) in terms ‘of their values. Squint your eyes, and really pay attention to all the lights and darks. Then look at the different values in the objects in the room around you or in the flowers in your garden, The more you Took, the more you'll see, and the better your paintings will be! 8 Color Palette aureoin yelow, burt sienna burt umber, cadiium orange, cami yellow cerulean blue, cobalt blu, cobalt turquose, mineral vile perma nent magenta, phthalo blue, palo geen ‘he sadowe Bb D1 doe wane my pea Sloe ‘parang bs ioe of eat alow on ‘ewig wah nor Sem gry ws sure ye Dos beg Selpng eh {ert ot Rowar by Segundo Comparing a Pleasing Design with Joan Hansen Fee taareancer on rene waco tps mote ve be ma COMPOSITION IS SIMPLY the organization of objects in a harmon ‘ous design, and a good composition is eye-catching and dynamic. ‘To start, I choose a format that fits my subject (See page 28). Then T establish a focal point, or center of interest, and I create a visual path, that leads the viewer's eye toward the focal point, Leading the Eye There are several ways to lead the eye through a painting. One method is to use curving lines to lead the eye to the center of inter est. Another is to ereate strong contrasts of light and dark values that ‘draw the eye in toward the focal point, as Ihave done in this painting ‘of hollyhocks. As you compose your paintings, also keep in mind! that light-valued flowers will stand out against a darker, less detailed back ‘ground, and areas of intense color will always draw more attention, A PLACING THE FOCAL POINT | ta pce ‘Se conposton sage a borg Hore he ihn [gh the pr camer pan fhe peta anny Ping When plowing composer pt of mye $ret en ate good pcre or theca feast Forti hejhod pcg adleds hunny Bird one oe tres fears ge he ge arthr pc 0 low pu, etow ocean rt era, sarin be er Color Palette bout sienna, bumt uber cadmium yelow, cai yellow pale, cobalt blue, cobalt tu qucie, mineral ole, permanent magerta, phttalo bus, phthalo. green, utrararine Bue, white gouache, yellow ochre ‘ee earner aon shen. Tho we ne pl 22 “ine anda eae Da, costar ae aera lor 35s the fowce ers and sense sop Nowet ‘hop he aes ry eer song sini lean utd te ome fe ower aang eer “aucune TnI ane he med epg) Thee ny f wr el oul pge 8 or he Sern Saring om boom a! eng my aU Ie paper ioe up to ee he pe tees ‘han Gargein oe nroud clr wih Found bad ning tees oe ry oes fhe foes ra Setting Up a Still Lifc with Geri Medway PAINTING A STILL LIFE isa long-established practice in art, and with a good reason: you have complete control of your subject! You get to choose the objects you want to include, the way they're arranged, and how to light them. Although they consist of inanimate objects, a5 Tong as you follow the rules of good composition (see page 10), your sill ies will have movement and vitality! shecing 4 rey of or rr vera ad ho oe nd arg aoe Views Gog op oF omnac te ph @ seer mating 2 cr ry piper th perc | gn an by ena he Oe ee ee | are ey ash of anak Favipumscie wana ‘Composing a Still Life Some still lifes just happen—you look at objects on a mantel, win-

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