INSTRUCTIONS AND TIPS

Painting poppies does not seem to be that difficult at first.Yes, but what red ?! Cadmium, dark, clear, Japanese red, vermilion, carmine! Hum, it becomes complicated …

Everything in painting is a matter of rigging and interpretation.

If in nature the poppies are always the same color, the red poppy will vary according to the subject.

When I almost always use the same red base, cadmium, ie medium, they modulate them with yellow cadmium (and also white, more yellow) for the orange tree and give a nice shine. Sometimes I even paint a yellow background before laying my red background to avoid the pink hue that makes it transparent. To darken them without getting them dirty, the addition of carmine paint is the trigger. With cobalt violet we have dark red, but bright values, ideal for shaded areas.

These tips are also useful for painting ripe tomatoes, peppers, strawberries, candies or garden, the small goldfish that has been won in a carnival, the nose of a clown and all that is, of course, red.

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CREATIVITY AND PAINTING TECHNIQUES

Today, we find a theme more related to the practice. Indeed, I’m going to talk to you about the green color. In fact, the green in itself does not exist, so many variations. It’s a very big family. The green color is nature, vegetation. A still life, a landscape, a face itself, is amputated of a primordial element if it does not have this hue or on the contrary is not valued by it.

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We only really see it when we pay attention

In the 17th century, it was fashionable to paint vanitas. These paintings included food, fruit and vegetables, but in a sad and lifeless way. These still lifes were really dead in the true sense of the word. It was, so to speak, a philosophical painting tending to recall the ephemeral character of life whose sole purpose was death. One did not attach value to everything that was perishable. Thus, stale bread, dried cheese, corpses of animals, sometimes a human skull were seen. To obtain this morose effect of dead matter and fruit and vegetables without freshness, the fresh greens were carefully avoided by charging them with red or brown to make them duller and sadder. They were gray, pale, dark or dirty.

The theory of color tells us that to make green, it is enough to mix yellow and blue. That’s exactly right, but it’s obviously also extremely reductive. There are infinite possibilities of shades, depending on the proportion of yellow or blue used. Just as, according to the blues and yellows used the result will of course not be the same.

THE PRIMARY COLORS TO START PAINTING

What do you call primary colors? How many colors does it take to start painting and which ones? Many of you are wondering.

In front of the multitude of colors proposed in tubes, how to know those which it is necessary to take first, history to be limited a little anyway. Especially if we know that we can get almost all of them by blends.

You remember that at school, you were told about primary colors: red, blue and yellow. Those already there, you want to take them and, in principle, you’re right. So you choose the red that seems the most red, a blue that corresponds to the image that is made of blue and a yellow neither too bright nor too dark.

As you may know, surely, in theory, it only takes three basic colors to get all the colors possible. These three colors can not be obtained by mixing other colors together. That’s why we call them the three primary colors.

BRUSHES AND THEIR VARIOUS USES FOR PAINTING

Brushes are obviously always one of the most indispensable tools to make a table. It is thanks to them that we will deposit the painting on our canvas, draw the outlines, fill the surfaces, make gradients, impastos or glazes. But what brushes do we need and why? Depending on their shape, the length or the firmness of their brushes, they will have functions completely different from each other. The brush is an extension of our hand. According to the use intended for him, one does not always hold him in the same way.

Superfluous

However, contrary to popular belief, having good brushes is very important. They will make the job easier by making it more enjoyable. Letting yourself be carried away by your inspiration instead of having to reload your brush all the time, remove hairs escaping on the canvas, reattaching the shell or not having it in your hand also contribute greatly. to the good quality of a work. Having the mind free of any technical constraint allows the flow of creativity to flow freely. Its very important.

A Great

Candice in her studio has hidden her windows with a black film, and she works with a natural light projector. This allows him to always have the same light during his work, and it also gives a more intimate light.She tones her canvas with paint diluted with odorless gasoline. For this first layer, she often uses burnt sienna because of her rich heat, but for the peonies, she chose a mix of cadmium and brown for a cooler color temperature.Working alla prima, she draws her forms with the same diluted pigment used to tone the canvas.