Making it Work

How wonderful it is to return once more to the routine of my studio after the break! 

Iris foetidissima seeds on vellum... almost there!

 Alas, my Iris foetidissima seed heads didn’t  fare too well in my absence. The lovely orange seeds have lost much their plump juiciness, the crispy husks have darkened, and the leaves are really only fit for the compost heap. Fortunately I took a few photographs at the start of my set up, and so the painting continues using both the sad looking iris and the photographs. However I am pleased with how the painting is progressing.

ALWAYS take a photograph at the beginning of a painting!

Photographs are undeniably a great resource and so useful as a back up, but they can never be a substitute for the real thing. I much prefer to work from life. You can see and understand so much more from your subject when it’s sitting in front of you.

Using Artistic Licence to Make it Work

Very often you will find that the only way to paint a plant is to use a several different specimens of your chosen plant and combine them.  One plant might have a fantastic flower, but no buds, another might have some really super leaves but no flowers. Or, as in the case with my Iris seed heads, the seeds are still there (just about) but the foliage is completely beyond rescue! Photographs are useful, but they won't help you in this. It's much better to have a selection of plants in front of you and to use a little bit of  artistic licence to create the perfect specimen.

Ceiba speciosa, Silk floss tree 2010

The Ceiba speciosa painting above was one where I had to use a lot of artistic licence to make it work. It’s a beautiful flowering tree that grows everywhere in Egypt. Unfortunately as soon as it flowers, it begins to lose it’s leaves, and I really wanted to show both the leaves and the flowers in this painting. 

A Ceiba flower in Egypt and some dying leaves

 At the time that I was painting this, Egypt was having a mini heatwave, and everything that I picked was wilting within a few hours. It was a nightmare! I managed to find a tree that had both it’s leaves and it’s flowers, and every day I set out early to get fresh cuttings. I started by drawing out the main stem, noting where the leaves and flowers should be, and then it was just a matter of trying to find a similar plant part each day to match up. 

Flower by flower, leaf by leaf, I completed this painting. Photographs would not have done because this perfect specimen only existed in my head.

So back to my iris… I am almost finished (at last!!) The photographic references have helped me with the berries, but I am going to have to seek out some fresher foliage this weekend and try to select leaves that will add elegance and interest to the composition. Sometimes you have to take a few liberties to make it work!

"Even in front of nature one must compose." Edgar Degas

Vellumptuous

We keep moving forward, opening new doors, and doing new things, because we're curious and curiosity keeps leading us down new paths. (Walt Disney )

Iris foetidissima study on paper

 Last week was one where life’s distractions kept me away from the easel, and although it was great spending time with family, I was eager to get back to my art work. Fortunately the Iris foetidissima is a patient plant, and although the leaves had yellowed slightly, the seed pods last quite a long time.

The first thing that I needed to do was sort out the colour of the leaves, so I made up a small green colour chart and tried some different mixes. I wanted to keep the greens quite fresh as they made a nice contrast to the dried stalks and wispy bracts, so I substituted some fresher leaves for the yellowed ones of my subject. It’s always better to replace a leaf than to revert to using a photograph of how it looked when you started. 

Some messy sheets with possible colour mixes written out and different mixes used.

A colour chart like this quickly shows me the right mix to use. Here I found that winsor yellow+ perylene green, with cerulean and indigo, were the best match.

I liked how some of the leaves had holes and yellowed tips... my little bit of Wabi-sabi, the Japanese art of celebrating beauty with all of it’s flaws.Wabi sabi recognizes that all life is in a constant state of change and that decay is as much a part of life as growth.

So having worked out my colours, I finished off the little study that I began the other week.

At last, it was time to start on the vellum. Before I started on my larger piece, Dianne suggested that I first do a small study on the goatskin parchment that I have. It’s thinner, rougher and more transparent than the kelmscott vellum, and when you hold it up to the light, you can see all the pores. However it would allow me to try out the new techniques that I have learned  and give me a feel of what it is like to paint on vellum.

I await joyous surprises while working, an awakening of the materials that I work with and that my spirit develops. (Odilon Redon)

I felt a little like the beginner at the ice rink… you know the one who clings desperately to the edge, taking short faltering steps whilst hopelessly trying to stay upright. I started first with a few squares of flat washes, graded washes, dry brush and stippling. So far so good. But just as the novice ice skater gains a little confidence and takes a step too big, and crashes to the ground, I tried to put on one wash too many and soon found that I was inadvertently lifting paint with my brush and ruining my lovely first washes. Sigh!

However, if at first you don’t succeed, try again!

I drew the seed pod out on tracing paper first, then carefully went over in black pen, refining the image. Then I redid the lines with a HB pencil on the reverse, and then transferred the drawing onto the vellum by going over the lines once more with a sharp H pencil. Just don't press too hard!

 "Imagine that you are painting an butterfly's wing which would tear if you were heavy-handed"  (Margaret Stevens, former president of the Society of Botanical Artists)

Carefully, cautiously I began to paint.

I love my magnifiers!

Tucked away in my cozy studio, I soon found myself absorbed in the task of gently building up form and texture with layers of paint. The trick it seems is to use very little water and not disturb the layers underneath. 

My very dry palettes of paint. I used to use watercolour tubes but am slowly switching to pans as they contain more pigment, last a lot longer and are easier to travel with.  Janene Walkky wrote a great blog post on the subject which made me really think.

I found the new brushes (Winsor &Newton Series 7miniatures) wonderful for this. They held just the right amount of paint and kept a nice shape. As I paint, I like to listen to audiobooks and this week started The Goldfinch by Donna Tartt, which I have to say is brilliant, full of plot twists and turns. Tucked away in my quiet little sanctuary, I painted away, lost to the world… what bliss!

Taking shape... carefully!!

My desk... with everything that I need within easy reach

Almost there!

The final stage is to lay a sheet of tracing paper over the almost finished piece and with a pencil, work out which parts need darkening, as I have done on the lower left. I then use this as my guide for the final washes. Somehow the tracing paper makes it easier to read the tones.

I enjoyed working on the vellum… it imbues a softness and rich intensity to the pigments that you just can’t achieve on paper. "Vellumptuous" is my word to describe it. My mother is a gilder and art restorer, so I am now thinking about trying out some gold leaf and creating some illuminated botanical art on vellum. 

Wouldn’t that be fun?

However, first things first! My kelmscott vellum awaits! Having put so much time into preparation and practice, I feel a lot more confident with this one.

Iris foetidissima seed pod study on goatskin vellum

“The object isn’t to make art, it’s to be in that wonderful state which makes art inevitable.”  

Robert Henri

Getting to know you

The thing that makes a painting difficult is uncertainty. Whereas if you plan in advance, the uncertainty is removed.  Dianne Sutherland Ball

File image from Wikipedia

It was the flash of orange at the side of the road that first caught my eye. Every day as I drove my daughters to school I noticed it, but this was a busy road, so I couldn’t stop. However I couldn’t stop thinking about it either. So when I spotted that same beckoning orange in a friend’s garden, I was thrilled. She kindly gave me some cuttings and the name of the object of my desire … Iris foetidissima.

The orange that I had seen was not the flowers, which are apparently quite dull, but rather the gorgeous seed pods, which burst open each winter to reveal brilliant scarlet orange seeds. Iris foetidissima is native to this part of the world and is said to have the constitution of an ox, willing to grow just about anywhere. It’s also known as the Stinking Iris or Roast Beef plant because the leaves are supposed to smell like roast beef when crushed.

Nicholas Culpeper wrote about it in his 17^th century herbal of medicinal plants, The English Physitian, calling it `Stinking Gladwin', and described the leaves as having "a strong, ill scent". Even so, it was highly valued as a medicinal herb, especially for making poultices for drawing out splinters and the odd arrow head.

Pong or no pong, after all my practicing of washes and dry brushstrokes last week, I was eager to move onto the next stage of the painting, or the “Getting to know you” stage. The better you know your subject, the easier the painting will be, or at least, that’s the theory!

I usually work with two magnifying glasses to get up close and personal with my subject and it's portrait.

Art is born of the observation and investigation of nature. Cicero (106 BC - 43 BC)

The first thing that I did was a quick line drawing in my sketchbook, just to get the feel of the plant. I couldn’t resist adding a seed, which I discovered is actually known in botany as an aril. It’s similar to a pomegranate seed in that the seed has a fleshy covering. 

Aril – fleshy and usually brightly coloured cover of some seeds that develops from the ovule stalk and partially or entirely envelopes the seed. Arils, such the red berry-like arils of the yew (Taxus baccata), are often brightly coloured to attract animals who eat them and disperse the seeds. 

After the first little section, I decided that I wasn’t too happy with the husk of the seedpod. The colours were a little too dull and that textured surface was a challenge! So I took one of the seed pods, pulled it apart, removed the arils and did some studies of the husks.

As I want to paint this on vellum, I thought carefully about the opacity of the pigments that I am using. The smoothness and translucency of vellum can bring a vibrancy and depth to colours, so transparent pigments really come into their own. Usually I don’t worry too much about how opaque a colour is, in fact I’ve quite a few opaque colours that I really couldn’t live without. However to get the best out of my vellum, it is worth taking time to reconsider your colour choices. So out went light red, to be replaced with burnt sienna + winsor orange and winsor orange-red (also used in the arils), and perylene violet came in to replace the caput mortuum. Gold ochre replaced yellow ochre.

 You can read more about the transparency of pigments here.

      

I continued to work on my seed pod study, experimenting as I went along, and was quite pleased with the potential of the subject. However I needed to work out the colour choices for the arils as I felt that some colour mixes were a little muddy.

The vellum is the creamy coloured section at the bottom... already the colours look smoother and the arils glossier.

I couldn’t resist trying out the tiny sample of vellum that I have. It’s such a lovely surface to work on, and to my great surprise, quite forgiving. You can literally wipe off what you have painted with a damp brush… but that is a double edged sword, because sometimes you might not want to wipe off what you have painted!!

The Iris foetidissima  seed pod study so far

So the practice continues. I’m onto the leaves now. I still haven’t quite worked out what colours to use… but transparent yellow is probably going to play a starring role. I have a small sheet of parchment, which is goatskin vellum (a slightly rougher surface) to play on.  It’s not quite the same thing but will help me test out colours and brush techniques.

My kelmscott vellum is ready, all powdered up and waiting for me to begin. My new sable brushes arrived yesterday and I have some fresh seed pods waiting to have their portrait painting. I am excited!

This suspense is terrible. I hope it will last. (Oscar Wilde)