Demonstration continued
1
Step 9
Prepare a selection of green mixes for the leaves:
A warm mid-tone yellow-green mix of transparent yellow and
French ultramarine
A deeper creamier mix of the same two colours
A mid and strong shade of a bluegreen mix, made up of proportionally more French ultramarine with a little transparent yellow. 2 Working wet on dry, apply the mid yellow-green wash on one side of the leaf so as to leave a hint of white paper before continuing with the other side. Whilst damp sweep a loaded brush of the stronger mix away from the central vein, and draw small brushstrokes away from the outer edge to indicate the serrated edge. 3 A touch of quinacridone magenta can be dropped into the damp base to add to the variety of green shades. 4 Highlights can be left as either areas of white paper or colour can be lifted out with a clean brush.
5 Light veins can also be indicated by scoring the paper with the corner of a plastic card.
Step 10
1 Once the leaves are dry, add a few veins using the point of the No. 4 brush with the stronger blue-green mix.
2 Apply a base wash on the stem with the mid yellow-green mix and, once dry, apply a brushstroke of quinacridone magenta combined with a little
French ultramarine on the lower shadowed side.
Step 11
1 Gently remove the masking fluid with a soft eraser.
2 Load the brush with a strong mix of quinacridone magenta and ultramarine and paint the stigmas in the centre.
3 When dry, apply gold pen on top of the anthers and filaments, leaving hints of white paper showing.
Step 12
To balance the gold in the flower heads, an outline surrounding the design on the vase completes the painting.
Julie King
Find out more about Julie and her work, books and classes by visiting www.juliehking.co.uk