5th part of the Blackberry on vellum story.

This is not a pretty sight; It is my desk easel at this stage of the painting.

I haven’t disposed of the original stem or leaves, nor the the additional berries used underway. As I said before, once part of the subject is past caring, I replace it with a fresh sample. There have been many fresh samples so far, therefore, although the set-up looks similar, the details are not. You will see even more when I get to the leaves!

But why have I kept onto the old berries? Because, every one is different. The arrangement of the drupelets is different even though they follow the Fibonacci pattern. They also contain different numbers in each berry. I might want that information at a later stage, even though the berries have dried out.

The picture also shows how I check the connections on my plant. Under the magnifying glass is the connection between a branch, a new stem and the adjoining leaf. The sample is in the opposite direction to my drawing, so I need to transpose the information as I paint. It’s no good me turning the stem over as the information is different on the other side.

You can see the developing painting on the right and my refreshed colour palette as well.

This time I will finish the blackberries and make a start on the leaves.

If I had been doing this on paper, I would have used graphite for the leaf right in the background, but it doesn’t look so good on vellum. Its a useful exercise as I will be using something similar when I do my Norwegian plant pictures for my RHS exhibit.

I have been trialling different methods and different pigments. For once I realised that graphite was not good enough for what I needed, I knew I would have find a pigment I felt I could use in a controlled manner. So which pigment should I use? I tried Daniel Smith’s ‘Graphite Grey’ and several natural earth pigments by several manufacturers, but each time the pigment felt too sticky for what I wanted to do with it. I needed to get a consistent fine line and be able to do delicate monotone shading. In the end I reverted to my own neutral grey that I often make using Perylene Violet and Maimeri’s Cyan; the latter is the same pigment as W&N Blue, green shade and works well for me. I can vary the grey from cold to warm and very pale to dark. By the way, the earth colours didn’t look quite right and didn’t recede enough in the background for my liking.

Now the berries. These are the remaining berries that are gradually ripening through red. I love the variation in colours here, but this is one of the areas in which I experienced problems. I will write an additional blog about my mishaps! Suffice it to say that each drupelet is a different colour. I always started off fine, keeping the colour fairly pure to begin with. But then I invariably overworked it to show the different colours. You won’t (I hope) see that on the final version of what you see here, but it is certainly something to bear in mind.

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4th part of Blackberry on Vellum story.

I am so enjoying painting this picture. To me, there are some parts that have been less than perfect and it might mean that talking about these will be an additional separate blog. I will see! But, as I have a deadline, I have a good excuse to work on it almost every and all day!

This blog is all about finishing off the black blackberries on the left hand side and some new green ones on the right.

Although I know that many of you are watching the sections as they change so that you know roughly what colours I am using, it is worth mentioning the difference in the colours used with the black, blackberries. Of the three on the left, the nearest is the freshest ripe one and therefore has more remnants of the unripe red in it. The other two are even more ripe and additionally are affected in colour by how far back they are in the picture.

Of course the latter is called atmospheric perspective and affects tone and colour. Typically more distant objects show less detail, colour and contrast. In relation to colour, they are clearer, brighter and warmer when seen close to. As objects get farther away the colours become duller, get colder, paler and eventually turn blue grey.

So what on earth do you do when the ‘native’ colour of your subject is warm, but it is further away? You need to dull the colour as it moves away and hopefully you will see this occur in my light greens and reds. If not, you can smack me over the fingers when you see me!

This is an example of what I am talking about, except, that I don’t think you will actually see it fully until you see the finished painting. As I finish off a painting I will generally check over this sort of thing.

In a couple of weeks I have my next workshop in Bosham; Hedgerow colour. I think that this picture is a good example of the general subject

. I still have one or two spaces on it and it will be the last one before coming back from teaching at the ASBA (American Society of Botanical Artists) conference in Pittsburgh. But the dates for the Hedgerow colour workshop are 27-28 September. Do get in touch if you want one of those spaces. Workshops in 2019

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3rd part of Blackberry on vellum story – and more.

Last Friday and Saturday I had a workshop called Fruit and Veg ; or Strawberries and cream. It is a very popular workshop has happened for several years running. I don’t know if it is the Strawberries and cream that tempts, or the painting. Unfortunately, I didn’t take into account that it was a bank holiday weekend this year, but those who signed up were pleased to have more of my attention..

One student was working on vellum and decided to paint a short branch from our Malus ‘Royal Beauty’ crab apple tree. It has very dark berries and I thought the best way to demonstrate was by doing one of the berries myself. Of course doing it properly also takes time, so as soon as the workshop was finished the first day I went down into the shed and started the berry so that I could demonstrate on it the following day. That was one long day!

But it was a useful exercise and the student got a clearer understanding of how to get depth and darker colours on vellum without laying it in thick layers.

The other students unusually all worked with watercolour this time.

I finished off my Royal Beauty crab apple later on.

My 5 x 7 inch picture of a Blackberry branch on Kelmscott vellum is progressing in-between teaching and demos.

My last blog finished off when I had completed the bottom-most berries on my branch; you could see a ripe blackberry under the stem. In this blog I will show you the layers needed for the berries on the left of the stem. The nearest one is almost fully ripe as you can see by the residual redness of the drupelets. Then there are two more fully ripe ones behind this; I therefore have to take this into consideration when choosing my colours. The slideshow of photos taken at regular intervals is at the bottom of this page.

I promised a picture of my art table as it was in my last blog, but bear in mind that since the very hot weather my subject is deteriorating quite fast.

In this picture the sprig is still fairly OK giving me an idea of the colours of the berries, although I have to get fresh samples to paint from; as you can see, these are scattered on the surface beside me.

Finally and unusually, I have two vacancies in my weekly botanical art class in Bosham. It is Wednesday mornings between 10:00-12:00, starting up again Wednesday 4th September. Get in touch using the contact form below if you want to know more about it or sign up. Before you ask, it is for watercolour and colour pencil artists, including those who want to learn. The class is kept even smaller than the workshops so everyone can develop at their own speed.

 

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