Monthly Archives: June 2019

Painting Preparation – Autumn Aspen with Texture

“Hope Valley” Watercolor 5.5″x7.5″

This painting was my third painting done in preparation for my final texture focused class. I again used a source photo, compliments of Dee Beardsley. Dee is not sure of the location, but it looks suspiciously like Hope Valley in the fall, which near the Nevada / California border on U.S. Rt 88. B. E. A. You-ti-ful country.

Stage 1 – Masking

I began as in the other two preparation paintings, by masking off some whites using my small palette knife to “scribble” and splatter the fluid. I exaggerated the whites to accommodate my plan to add a brighter, cooler yellow to make the Aspen glow.  Speaking of color choices, I used four “yellows” for the painting; Hansa Yellow Light & Medium, New Gamboge, and Raw Sienna Light. I added two reds, Quinacridone rose (cool) and Pyrrol red (all Daniel Smith), then my one trusty blue, Ultramarine Light (Holbein).

Stage 2 – Remove Masking

Stage 4 – Almost done

After the masking (Pebeo Drawing Gum) had dried, I began by laying in the medium yellow and Gamboge below the masked area. I added a bit of the cool red to indicate the darker centers of the trees. I painted the area above the tree line with blue, and dropped in some warm yellow (Gamboge) and Raw Sienna around the edges and let the greens emerge on their own. The masking created a “fire line” between the colors, so the blue and green tones did not muddy up the bright yellows and oranges in the autumn foliage. I wet the foreground area and splattered in all of the yellows, cool red, warm red and a tiny bit of blue.

Hope Valley – Final

For auxiliary texture materials: I dropped in some Winsor n Newton texture medium using an old brush into the wet yellows. I added sea salt to the wet-in-wet when the paint was still wet, but not sopping wet. I pushed in some cling film to the greens above the yellow tree line. I then had to let the painting dry, so I worked on another in-process painting (see my two previous blog posts).

At Stage 4, I was nearly done, but I saw two areas that I wanted to correct. However, I wanted to save the corrections to show my class.

Can you tell which two spots gave me pause? How do you think the corrections were made? Sleight of hand? Magic? Do you prefer it before or after “the fix”? Answers below, please, and no rude bits. Click on images for a larger view.

I appreciate all comments, questions, and suggestions. Thank you for stopping by.

Hope Valley – Watercolor 5.5″x7.5″ with mat

If you’re interested in purchasing this little gem for $150 (with gold frame & white/black core mat), simply click the “Add to Cart” button below. Shipping is $15 for customers paying with a PayPal account or a credit/debit card. Check payments and deliveries outside the continental U.S. will incur additional shipping charges. Taxes additional where applicable (Nevada residents or International customers).

“Hope Valley” with frame & mat $150


Grasses – Calligraphy, Masking and Wet-into-wet

“Canal Grassses”

This was another painting done in preparation for my final watercolor class with a texture focus. I say texture, but really this one was about practicing some calligraphy brush strokes we learned the first week of the class.

Stage 1 – Masking

The 7.5″x5.5″ painting was completed using the backside of Fabriano Artistico 140lb cold press paper. I first masked off some whites for the grasses in the light, using Pebeo Drawing Gum. This type of masking comes out in a thin inky flow and dries to medium gray, though perhaps with a slight blue tinge. I learned in a poured painting that it is not a good idea to use a blow drier on the masking, as that melts the fluid into the paper. While the masking dried naturally, I worked on two other paintings (see previous blog post “High Desert Spring”) that also involved masking and drying times <smile>.

I came back to the painting after the masking had completed dried back. You can tell when it is dry because it changes from a milky opaque state to a translucent gray tone. I then wet the whole surface and dabbed it off with a paper towel, so it was not sopping wet.

Stage 2 – First wash

I used Hansa Yellow Light, Pyrrol Red, Cascade Green (all Daniel Smith), and Ultramarine Light (Holbein) pigments. I created a slight angle on my board and began painting with the blue, the quickly added the yellow. I returned to blue, added red, and more blue, but left a big patch of yellow alone. I wanted the mix to be a murky brown tone. About 1/3 down the paper I switched to just a blue flat wash, strengthening the pigment as I progressed down the page. I also left some random white areas for a sparkle effect on the water’s surface. After completing the blue wash, I added some Pyrrol red calligraphy strokes to imply reflections from the grasses, taking care to make sure the pigment strength was equal to or stronger than the wet blue below (to avoid back runs). I went over the top of the red with more strong blue. I then painted some grasses with a mix of yellow, green and blue while the paper surface was still quite wet. This allowed for soft edges all around.

Stage 3 – Remove Masking

I then let the painting dry completely (I worked on another painting during the drying time to avoid being “tempted” to go back in too soon or use the blow drier). I removed the masking, and painted more grasses using all four pigments.

I softened the transition to the hard white edges left by the masking using mostly yellow and some gentle scrubbing. Since Ultramarine is a lifting pigment, I was able to pull it off. I also added some dark calligraphy strokes behind the white edges.

“Canal Grasses” – Final Painting

And voila! “Canal Grasses” came to life. It appears to be a scene at dusk, which it wasn’t, but I liked it better that way.

Click on images for a larger view. Process images are taken from video screenshots, so are not the best quality. I appreciate all comments, questions, and suggestions. Thank you for stopping by,

See video preview. Click the link at left or see below for a hint at the painting process.

If you’re interested in purchasing the full 20-minute narrated video (only $6), you can purchase through PayPal with an account or credit/debit card using the “Add to Cart” button below. Shoot me a blog comment or contact me through my website if you prefer another payment method. Nevada residents will incur sales tax.


Video Link (20 minutes, narrated or captioned) $6

If interested in purchasing this original painting, you can add that to your cart too! for $150 (with black frame and white black core mat). Shipping is $15.00 if purchased with a PayPal account or credit/debit card. Check payments and/or deliveries outside the continental U.S. will pay additional shipping. Taxes additional, where applicable (Nevada residents).

“Canal Grasses” with Frame/Mat $150


Teaching Preparation – High Desert Spring

“High Desert Spring” Watercolor 5.5″x7.5″

This may be my favorite painting of the June 30×30 Direct Watercolor Challenge. I am just thrilled with how perfect the wax resist works for the distant snow on the mountains! I painted this in preparation for a watercolor class with a focus on texture. One of my students, Dee Beardsley, donated the inspiring photo. It feels to me like the scene is from the east side of the Sierra Nevada mountains in California, near Mt Whitney and the town of Lone Pine, but Dee is not sure.

“High Desert Spring” Watercolor, image size is 5.5″x7.5″. This was painted directly with no pre-drawing. I applied wax resist stick to save the highlights on the distant mountains, and used masking fluid to preserve the foreground flower.

Stage 1

I started with a flat wash of Ultramarine Light for the sky, and continued the wash right over the wax to make the mountains magically appear. As I continued to pull-the-bead down the paper, I added some cool red (Quinacridone Rose) and Raw Sienna light. I switch completely to the Raw Sienna as I brought the flat wash down to about 3/4 of the paper. I collected the bead of paint, then splattered a bright warm yellow (New Gamboge) along with the blue and Raw Sienna into the foreground.

I combined the Raw Sienna and Quin Rose together and painted the near mountain triangle on the left. I wanted darker paint to make the foreground flowers pop. I touched in some blue to hint at the middle distance trees. I hinted at the green foliage in the lower left foreground using blue, raw sienna, yellow and red. I added sea salt to the wet (but not sopping wet) paint in the middle to foreground on the right. I then put the painting aside and started a second painting, so I would not be tempted to go back in too soon (while it was still too wet).

Stage 2

After the painting was completely dry, I knocked off the sea salt and removed the masking. I used calligraphy strokes to paint in the flowers with the red, blue, saving a white section for some yellow. I painted the petals’ “cradles” with a mixed green (blue, raw sienna, yellow) and hints of red on the stems. I saved some white highlights at the ends of the petals, to make the flowers stand out from the background. After the purple had dried, I touched in the gamboge to hint at the flower centers. I added purple & dark green calligraphy strokes for the foreground foliage. I splattered some more in the right foreground with all the colors, increased the strength of the pigment. I splattered some red and blue in the middle distance to hint at more purple flowers.

Stage 3

I used the back side of Artistico Fabriano 140 cold press. There seemed to be some inconsistent sizing, and a few dark blotches interfered with my flat blue sky, so I added some hints of birds as camouflage.

This painting will be part of my Featured Artist Show at the Artsy Fartsy Art Gallery in July. Artist reception is July 18th from 4-7pm.

Click on images for a larger view. The process photos are process video screenshots, so the quality is not the best.

I appreciate all comments, questions, and suggestions. Thank you for stopping by.

High Desert Spring – Final Painting

If interested in purchasing the painting, click the “Add to Cart” button below or contact the gallery. If purchased through PayPal using the U.S.Postal service for Continental U.S. orders, shipping is $15. Taxes additional for Nevada customers.

“High Desert Spring” $150 (framed/mat to 8×10)


Teaching Day – Secondary Colors and Wet-into-Wet

Purple Beach

This is a wet-in-wet demonstration for my college watercolor class today.

We were also learning how to mix pretty secondary colors. For this painting, I used a cool red (Quinacridone Rose) and a warm blue (Ultramarine Blue).

The background just started as a purple study, but when I turned it vertical it looked like a sunset sky over the water. After it was dry, I added the deep water horizon, the hint of a faraway island, and the palm tree. “Purple Beach” 

If interested in purchasing this painting, click the add to cart button below. $50 without mat or frame. $4.50 shipping if paying through PayPal with a PayPal account or debit/credit card. Additional shipping charges for check payments or those who live outside the Continental U.S.

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“Purple Beach” $50 (no mat or frame)

“Home Means Nevada” 24th & 25th Paintings for June’s Challenge

“Home Means Nevada” – Cool Primary Colors

I am teaching a college watercolor class for the summer term with Western Nevada College. We are now in our third week of the 9-week semester, so 1/3 of the way through!

So far, we have covered basic brush strokes, flat, graded and variegated washes, and “The Value of Color.”

This week, we moved on to studying color temperature, which is my favorite lesson. It seems this property of color, no matter the painting medium, is the least understood by artists. Yet, the temperature of paints is extremely important for mixing colors.

I make my students do “color genetics” exercises, and we drill over and over on the color wheel. What are the primary colors? What are the secondary colors? What is a cool red/blue/yellow? What is a warm red/blue/yellow? What are the complementary pairs? And so on. They paint charts, and surprisingly, even seem to enjoy the process. Mostly because I allocate class time for the building of charts, which means LESS homework. Ha!

The coup de gras of the temperature assignment is to paint two paintings of the same scene. One using cool primary colors (first image), the other using warm primary colors (second image).

“Home Means Nevada Too” – Warm Primary Colors

Since the scene has to be painted twice, I suggest they plan out the scene on tracing paper and create a template for the composition. That way, the scene can easily be traced up to two pieces of watercolor paper, without the stress of drawing it twice. See video of the planning process (video link here or below).

For my example paintings, I chose to paint this scene of Mountain Bluebirds, using a photo reference taken on a winter snow day. My husband and I caught these adorable little birds lined up on a fence in nearly the shape of Nevada. Since the Mountain Bluebird is the state bird of Nevada, I titled the painting after the state song, “Home Means Nevada”. Awh! How adorable, right?

Which version do you prefer? Cool or Warm?

At least one of these paintings will be part of my featured artist show at the Artsy Fartsy Art Gallery in Carson City. The show will be up around July 10th. The opening reception is on July 18th from 4-7pm. Why don’t you come on out and say hello? Jeffery Pace, the Gallery Owner/Operator, consistently throws a nice reception with delectable nibblies and drinks.

I appreciate all comments, questions, and suggestions. Thank you for stopping by.



Fire Lilies (maybe?) Paintings 22 & 23 for Direct Watercolor Challenge

Day 2 of “patio plein air.” Paintings 22 and 23 of the 30×30 Direct Watercolor Challenge. This time I had to paint the blooming orange lilies. I have had several discussions on social about the name of these beautiful lilies. Our best conclusion is that they are the “Asiatic Lily, Orange Matrix” version of lilies. Nice!

Stage 1

I had no video camera to record the painting process, but I did remember to take a few process photos.

Stage 2

I began on wet paper with no pre-drawing. Though, because of the dry Nevada open air, the paper dried quite quickly. I painted the centers of the flowers first with the two warmest yellows on my palette, Hansa Yellow Medium / Deep, plus Permanent Orange (Daniel Smith). I painted the ends of the lily petals with Quinacridone Coral and let the coral swim into the yellow. I then added Quinacridone Rose (cool red) to turn the petals around the bend.

Stage 3

I added some foliage indications with Sap Green (Daniel Smith) and Ultramarine Light (Holbein). I added the Lily buds first with sap green and then the added Permenent Orange in the middles. While the paint was still quite wet, I put in the lily bud centers with one calligraphy line stroke and let the line diffuse.

Trying to paint so many lilies on such a small surface (7.5″x5.5″) left me confused as to where one flower ended and another began. Whew!

I added some light wet yellows and oranges to the top left to hint at more lilies beyond and added hints of new lily underbellies with the Red Rose and Red Coral in the bottom right.

“Fire Lilies” – Final Painting

After the painting dried back a bit, I added the stamen ends with the cool red and a new color Rose of Ultramarine (warm violet), stems with the coral. I couldn’t see the pistils, so I did not paint them. I added some of the Rose of Ultramarine to the foliage and ends of the petals.

I did not care for the painting while painting it, so I set it aside and painted another, focusing on larger flowers, painting one complete flower before moving on to the next.

Fire Lilies Too – Stage 1

Fire Lilies Too – Final Painting

I used the same colors and sequence as the previous painting.

For this one, I left the foreground indistinct instead of the background, painting the colors wet into wet in the foreground.

I let this one be more of a vignette and left the background white and untouched.

After a few days of “staring time,” I quite liked both paintings.

I appreciate all comments, questions, and suggestions. Thank you for stopping by.



Summer Solstice

Pots and Blooms

I do not know how it dawned in your neck of the woods, but in Carson City, Nevada, Mother Nature gave us a beautiful midsummer day on June 21st

Note, this blog post is a bit delayed. Those of you who watch the calendar will note that this posted on June 24th? Though, I did paint the 21st painting of the 30×30 Direct Watercolor Challenge on June 21st. I just have to catch up on the blog-0-sphere.

We experienced a perfect day with a temperature of about 78 degrees (F), a slight breeze, and blue, blue skies. If you have not experienced a clear blue sky in the mountain west of the U.S. (Nevada, Utah, Idaho), you have not experienced a blue sky.

Anyway, on this midsummer day, I could not bring myself to paint indoors. I took myself and my art supplies out to set up on the back patio table instead. Our backyard flowers happened also to bloom in midsummer glory; mini petunias in pots, coreopses, fire lilies, geraniums, snapdragons, roses, daily lilies.. all in splendiferous bloomage.

Stage 1

I attempted to capture it all but failed. So I flipped the paper over and just painted the coreopses, which were definitely the garden prima donna on this day. I just tried to capture the feel of them swaying in the wind. As a little girl, my favorite crayon color in the 64-pack was yellow-orange. Coreopsis!

I first just splattered Hansa Yellow Deep, Medium, Permanent Orange, and Sap Green (all Daniel Smith) in big splats on a slightly wet surface. I held my paper vertical, sprayed with my misting spray bottle underneath the splats to create drippy stems. (I only remembered to take a few process photos, since I did not want to drag a video camera out to the patio also).

Stage 2

I added more orange and green at the bottom of the yellow splatters and painted some foliage indications using pull-push calligraphy marks. I added some Ultramarine Light (Holbein) to blue down some of the leaves. I added more stem and leaf details and indicated some buds and “old” blossoms (darker orange and smaller).

Stage 3

I gave some of the flowers a little more shape and petal detail, but decided to leave most of the details out. I wanted to capture the overwhelming joy of the yellow-orange crayon colored flowers that greeted my eyes as I slid open the patio doors.

Summer Solstice – Final Painting

In the end, the painting made me happy.

If you’re interested in purchasing this painting for a mere $150 (with a gold frame and white black core mat), just click the Add to Cart button below. Pay with a PayPal account or a credit/debit card for $15 shipping charge). Those who wish to buy with a check payment or living far, far away from “CONUS” will incur additional shipping charges. Save the shipping charges and buy it off the gallery walls? Taxes additional.

This painting will part of the featured artist show with Artsy Fartsy Art Gallery in July 2018. I hope you can stop by.



“Summer Solstice” $150 (Framed)

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I appreciate all comments, questions, and suggestions. Thank you for stopping by.


Quail in the Bush – 20th Painting for June 20th

Quail in the Bush – Watercolor 5″x7″

This cute “Quail in the Bush” painting had to be another compromise with my competing painting requirements; challenge vs watercolor classes. He started as a demonstration for my community education watercolor class, where we are focusing on the fundamental topic of texture. This week we played with adding cheesecloth, alcohol, bleach, lifting, wax, scraping, and more, to watercolor pigment. After doing some texture inspiration studies, we did a “paint along” using a photo of a quail my husband and I saw on a walk the other morning, as our reference.

During the walk, we had our super zoomy lens on the camera. Those quail do scurry fast away from scary humans. With the zoomy telephoto lens, he didna even know we caught him in the act of being super silhouetted in the morning light.

Source Photo

I do not have images or video to illustrate the painting progression, as usual, so we’ll just have to rely on descriptive text this time.

To begin, we decided on a small format (5.5″x7.5″) Arches 140 lb cold press paper. We taped the edges all around, ’cause we knew we were gonna get wet! The only pre-drawing was a soft diagonal line to indicate the distinction between the foreground and the background. I like to set up elements on a diagonal to create a sense of movement. We also penciled in an oblong diamond shape for the quail placement. I could have done a better job of keeping the bird out of the center, but in the end, the plume is placed quite nicely at the golden mean cross-section of the whole composition. Nice! I wish I could say it was intentional. ha!

We used wax resist sticks to save some random twigs and dots for the highlights on the bushes, and to save the critical highlight on the back of the quail’s back and head.

We painted the background wet-into-wet. We wet the area above the diagonal line with clear water, then dried the paper back slightly. We caressed in some Ultramarine Light (Holbein), Hansa Yellow Deep (Daniel Smith) into the wet. We let some blue and yellow show independently but created soft blends of the two for a nice olive green blur.

After the background dried slightly, we puddled some blue, yellow and Pyrrol Red (Daniel Smith) into the bottom left corner, then pushed cheesecloth (with the strings “pulled about” for an organic look) into the wet paint. We dabbed strong pigment (all three colors) on top of the cheesecloth to make it “stick.”

We blew with a straw into the runny pigment, up and to the right to create some twigs and branch effects. We puddled the same mix of colors into the lower right of the painting and blew a bit more with the straw. We splattered with all three colors over all the foreground. Some of the splatters crept into the wet background, creating some unintended water bursts. It was tempting to “fix” them, but we just let them be.

We mixed up a strong (milky strength) dark pigment with the blue and red and painted in the dark mounds for the quail to rest. The wax application kept us from losing our highlights. So far, we just pretended the bird wasn’t even a part of the painting.

Stage 1 – Quail in the Bush

After drying the painting slightly, I painted the silhouette of the quail into the penciled diamond shape. I took care now to create the curves. I saved the bird’s plume for last. I tried to do it with just one “smush” calligraphy stroke, but I ended up doing it twice because I didn’t have a good paint load on the brush. Now the plume was too big. Sigh.

We added some hints of branches, twigs, and grasses on the shadow side of the white wax highlights. We dried back the painting again and added a darker middle to the quail plume. We scratched a little with a sharp knife to connect some of the “blobs” of wax.

That is where the class demonstration ended. We discussed removing the wax and softening some highlights.

After returning to my studio, I removed the wax by placing the painting face down on some Viva clothlike paper towels, put a lint-free cloth over the back and ironed the painting. The paper towel “sucks” the wax out of the paper. I have video of this process (with a different painting) posted on my Youtube channel, click the link Wax Resist Removal.

Also on my Youtube channel you can see my studio adjustments (Or just click the arrow below).

If you’re interested in purchasing this sweet little painting, it can be done for a mere $150 with frame.

This little guy will be dressed up in a frame and hanging on a gallery wall for my Featured Artist’s Show with Artsy Fartsy Art Gallery in July 2019 (unless sold prior to the show). Artist’s reception July 18th from 4-7pm. I hope you can stop by?

If purchasing with a PayPal account or a credit/debit card through PayPal, you save a ton on shipping ($15). Check payers and those living outside of the continental U.S. will incur additional shipping charges. Nevada residents also have to pay sales tax.

I appreciate all comments, questions, and suggestions. Thank you for stopping by.

Quail in the Bush $165 (w/ frame/mat)


19th Painting 30×30 Direct Watercolor Challenge – Dangling Rose

“Jedi Rose”

For my 19th painting in the challenge, I had to combine two interests competing for my time. I am teaching “value” in my college watercolor class today. The students are required to do a monochromatic painting that combines washes (a flat wash as well as either a graded or variegated wash), calligraphy strokes, and general “light touch” brush strokes, that I call the “S-caress.” The final painting also has to show at least 4 levels of value; light, medium light, medium dark, and dark. I have the students decide on a theme for the semester as well. I usually choose one of the students’ themes whenever I do a demonstration painting. One student has roses as a theme. Which, if you know me, and have followed my painting progress on social media at all, you know I paint a LOT of roses. Easy choice. Ha!

I took this photo of a drooping rose the other day on my morning walk.

The small painting is on Arches 140 lb cold press and I used only my #14 Lowe-Cornell round brush.

I used a warm (quinacridone coral) and cool red (quinacridone red), which are both medium to high-value reds. I first painted a light variegated wash on a wet surface (dried back to damp), without any pre-drawing. As you can see in the first photo below, I did not quite let the paper get to damp, as my bead was running on the left. I had to work fast to catch it with each pass. Starting with a wet surface helps to alleviate stripes between bead passes.

I dried the painting off completely, then drew in my first value layer with 2B graphite, or pencil (Sorry, this is where I had to diverge from the challenge conditions of direct and wet-into-wet). I then painted the shapes inside the lines for the first layer of value.

After the painting was completely dry again, I repeated the drawing process for the second layer of value. One more layer of drying, pencil planning and I now had the required four distinct layers of value. I did add a few pull calligraphy strokes to indicate the edge of the branch and the side of the rose, but I purposefully left untouched areas for lost and found edges, which I find to be much more interesting than outlining with a solid line all around.

I had to have some pull/push calligraphy strokes to satisfy the requirements of the assignment, so I added some extra leaves with the same strength of pigment as the final wash.

I then found a #8B (really dark) graphite pencil and drew some contour lines, just because… I may erase the pencil layer. I’m not sure… still pondering. Your thoughts?

Photos are screenshots of video clips. I cannot make them behave and align with the text. I’m not sure why?

Stage 1a

Stage 1b

Stage 2

Stage 3

Stage 4

Stage 5

I do have narrated and edited video of the painting process. Shoot me a comment or send me a message if you’re interested in the $6 video link.

I appreciate all comments, questions, and suggestions. Thank you for stopping by.

Jedi Rose – Final

Don’t forget to subscribe to keep up with all these freebie lessons, eh? No worries. I don’t even know if anyone subscribes, let alone who. It is all very private and stuff. I could be just talking to myself. Which is… not a bad thing. I tend to listen.

18th Painting 30×30 Watercolor Challenge – My Neighbor’s Roses

“My Neighbor’s Roses”

Continuing with my Facebook group’s 30×30 Direct Watercolor Challenge, I painted this little study of the roses creeping over our back fence from the neighbor’s bushes. Now some might think this an intrusion, but each June we welcome the beautiful color. For this painting, I enjoyed the purple cast shadows resulting from the early morning light. My brother actually called my attention to the scene before he headed off for work. I have two amazing artistic resources in my household. My brother, who also paints, and my husband, who points a camera lens around to great effect. Both have taught me much.

I began painting without any drawing, with a wet surface, using my trusty #14 Lowe Cornell round brush on Arches 140lb cold press paper. I used a photo reference.

This time, I began painting positively with the figure, rather than the ground. I used four reds, Pyrrol Red (warm), Quinacridone Red (cool), Pyrrol Crimson (cool and dark), and Quinacridone Coral (warm). This time I used Sap Green (warm) and Ultramarine Light (warm) for the foliage. All pigments are Daniel Smith brand except the Ultramarine Light (Holbein). I used the Pyrrol red for the light side of the roses, and Quin Red in the shadows. This for the bunch at the left that was in the light. I wanted to indicate the right bunch was in shadow, so I used Quin red and Pyrrol Crimson for that grouping.

Stage 1

Stage 2

I mixed up a neutral brown with the Sap Green and Quin Red for the background fence. I skewed the green to blue for the shadow areas of foliage. I left a white edge on the left to indicate light direction, and let the shadow side bleed into the fence. I added straight Sap Green into some areas of the red for foliage indications. Adding the green on to of the red had the effect of neutralizing the leaves to olive green, but some areas showed bright and warm. I tried hard not to lose all the white sparkles.

Stage 3

For the cast shadows (my favorite part of the painting!), I waited until the paper had dried back some. I mixed the Pyrrol Crimson with the Ultramarine to achieve a nice violet mix. When I touched the shadows on top of the brown fence, the intensity was knocked back a bit. I loved the resulting violet tones. I added some boards and planks on the fencing using the same violet tone. For the light side of the angular support plank, I dry-brushed some Ultramarine Light.

Stage 4

I let the paper dry back even more, and indicated some petals on the rose bunch in the light with Pyrrol Red and Quin Coral. In the shady bunch, I used Pyrrol Crimson to indicate shadows. For these strokes, I almost just “scribbled” with the tip of my brush.

A note on the process images. I usually videotape when I paint. It helps me remember my sequence. It is a great learning tool, both for me and my watercolor students. But I really don’t have time (or the storage capacity) to edit every video of every painting, so this is a nice compromise, right? These process images are screenshots taken from the video clip, hence the blurry quality. The photo of the final painting was taken with my SLR camera, though, and shows the details a bit better.

My Neighbor’s Roses – Final Painting

If you’re interested in purchasing this painting, it can be had for the low, low price of $150 (she is all dressed up with her mat and ready for a show). Shipping is $15.00 if you live in the Continental U.S. and pay through PayPal with a PayPal account or a credit/debit card. Check payments and shipping to those in distant lands will incur additional shipping charges. Nevada residents have to pay sales tax (sorry).

My Neighbor’s Roses $150 (w/frame & mat).

I appreciate all comments, questions, and suggestions. Thank you for stopping by.