Laburnum Revisited

“Be Patient.

Respond to every call that excites your spirit.”

Rumi

Patience is an attribute that every botanical artist needs to have. Choosing to paint from life means that we are very much at the whims of nature, constantly marking the seasons and watching the weather. It’s not unusual for a botanical artist to set aside a painting for a year whilst they wait for a plant to bloom once more or a fruit to ripen.  

In my garden I have a beautiful laburnum tree (Laburnum anagyroides) that for a few weeks each year, fills my garden with cascades of glorious golden flowers and a wonderful perfume that sends bees into rapturous joy. Every year I promise myself that I will paint it but time has always been against me. 

Last year I managed to do a small study for the sketchbook exchange and I promised myself that this year, I would be ready!

So I have been patiently watching my garden with a growing sense of anticipation. I have a gorgeous piece of honey coloured natural calf vellum which will really set off those golden flowers. 

Whilst I waited, I decided to do a few small studies to hone my palette. Yellow is a tricky colour to paint. It can slip from glowing to drab in a few washes, which makes varying the tones quite difficult. Some artists achieve wonderful results by doing a monochromatic study first in greys and then painting a wash of yellow over it. Others mix their yellows with tiny bits of purple to create shadow tones.

 Personally I prefer to keep my colours as clean as possible and use the large range of yellows available to create the tones. That said, a few shadow colours, purple-grey or green will slip into the mix towards the end if I felt it is needed.

There is no right or wrong way. If it works, do it!

So first to make a huge yellow colour chart. Yes, I really do have all those colours, and yes, the Daniel Smith dot chart makes me want to whip out that credit card and invest in a few more. 

However I resist the urge and finally decide on my favourites of winsor lemon, winsor yellow and new gamboge as my basic yellows.

My biggest struggle is always with greens, especially on vellum where opaque paints can feel a bit like kicking a lead-filled football around a pitch. So I needed to find a good transparent green mix. Fortunately my good friend Sigrid Frensen mentioned how nice turquoise was with quinacridone gold, both wonderfully transparent. 

Winsor Blue Green with Quinacridone Gold ... a fabulous mix!

So having played around with several mixes, I settled on Winsor Blue-Green with quinacridone and a little transparent yellow. I have had Winsor Blue Green for years but always ignored it as it was just too bright for any of my mixes. The Quin gold tames it beautifully.

Playing with green mixes

Of course it is not just botanical artists who revisit favourite subjects to paint, artists have done this for centuries. Each time they paint their subject, they discover something new. It allows them to develop their techniques, their composition and their colour palette.

Inspiration stimulates creativity.

My imagination has been caught! Bring on the blossoms.

“The glow of inspiration warms us and it is a holy rapture”

Ovid

Daffodil Days

Golden daffodils are always the first to appear each year, heralding the start of spring and the promise of warmer brighter days.

 William Wordsworth's beautiful poem comes to mind whenever I see them.

I wandered lonely as a cloud

That floats on high o'er vales and hills,

When all at once I saw a crowd,

A host, of golden daffodils;

Beside the lake, beneath the trees,

Fluttering and dancing in the breeze. 

Feeling quite cheerful myself, I decided to paint daffodils in this month’s Nature Trail sketchbook. This sketchbook belongs to Julie Douglas, a remarkably talented artist living in Belfast. Julie teaches art, or rather, she inspires her students to paint. Her sketchbook is certainly a reflection of her personality… it’s bold, it’s fun and it dares you to step out of your comfort zone!

Daffodils would certainly make a statement, but they were also going to be a challenge, not least because they are yellow. Yes, I know that I’ve grumbled about greens before, but yellow is a tricky pigment too. How do you depict subtle hue changes and the delicate nuances of light and shade, when you can’t mix in another colour? Yellow mixed with any other colour is just not yellow.

A old sketchbook study proved really useful in terms of colour and technique. The top flower on the right was done mixing yellows with shade colours, the one beneath was done using shade first, followed by a wash of yellow

The answer is layering. You need to paint the underlying shade tone first and very lightly build up the form of the flower in soft greys. I found that my daffodils had two shades of grey- one leaning to green (cerulean+ cobalt violet+ perylene green) and the other leaning to purple (cerulean+ cobalt violet + light red). Once you have established the form of the flower, you can then paint over with a washes of yellow.

I began with some very quick loose sketches on cheap A4 paper just to get the feel of the plant. I did lots and lots of these quick sketches and most were not as neat as this one!!

Once I have drawn out my flower, I paint over the pencil lines with a thin line of the paint and then erase the pencil lines.

I used lemon yellow, winsor lemon and winsor yellow as my cooler yellows, whilst cadmium yellow, winsor yellow deep and winsor orange provided the warmer tones of the corona.

The result is a page of happy daffodils. I think it’s a bit looser than my normal style but I quite like that.

And then my heart with pleasure fills, And dances with the daffodils.

(William Wordsworth)

Draw In

I’ve another reason to be smiling this week. I’ve been invited to take part in a Symposium to celebrate the value of Drawing, which will take place in the Belfast School of Art Saturday 30th and Sunday 31st  August.

 This event will bring together some incredibly talented artists, PJ Lynch, Colleen Barry, Paul Foxton, Julie Douglas, Peter Cooper, Matt Weigle, Ian McAllister and Katherine Tyrrell, all of whom are passionate about art. 

"The aim is to celebrate excellence in drawing. You will view some amazing drawings, paintings, sketch books and work in progress by the invited artists and learn how to improve your own skills in a friendly, inclusive environment. Drawing is relevant and contemporary, even in this world of technology. Drawing is a powerful tool towards personal well being, far beyond the delicious act of mark-making itself. Drawing is not a luxury, it is a necessity."

There will be workshops, talks, demonstrations, and lots of creative and inspiring ideas being shared. As well as the weekend workshops, there will be workshops running the week before and also the week after. 

You can read more about the event on Katherine Tyrrell’s excellent blog Making a Mark.

Please take time to check out the Draw In website too- it's wonderful!