Finally...some color

Voila. Or, as I like to say 'Viloa". why do you always have to bring HER up?

So...Our first color layer.

After the last step, we were left with what looked like a moonlit picture of a sunflower. If the background had not already been red (yes, yes, I know...deal with it) the effect would have been lovely on its own, but now we get to the fun part and that's...adding color.

Because we did the hard part several steps ago and established the values of our subject and then honed those value judgments in the dead layer, all we really have to do now is color it in like a coloring book.

Here's another example where I dont want you (and you know who you are) to try to reinvent anything at this point.

Look at the subject. Look at each petal. while there are varying VALUES of yellow...are there really different COLORS of yellow. In this case, because our flower was dying, there were subtle color changes, but in the case of the leaves for example...they were just...green. Light and darker green, true, but all the same COLOR of green. So...while avoiding Veridian like the H1N1 virus, mix a nice green. (Sap Green is always a good bet...nice and transparent to boot). Now...pick a leaf (or whatever subject you're working on) and simply 'color it in'. Yep, just paint right over the whole leaf with the ONE shade of green that you've mixed.

Low and Behold...Lord a'mighty...look at all of the values of green that show up. That's because we're applying a thin glaze over our established value layer thereby creating a tonal shading of the green leaf. Now, if the leaf had some yellow areas, or in this case, some brownish dead spots, those will have to be addressed later.

What we dont want to do and what you shouldnt have to do if you've followed directions up to this point is mix 'lighter or darker...color".

In this example...all leaves were painted with Sap Green right out of the tube. (very little liquin even). The petals had a little bit of variety in the yellow, varying from cadmium yellow to the Oh so delicious 'Indian Yellow" which is simply Sunshine in a Tube. What I didnt have to do is vary the shades or tints of these yellows. Straight on the canvas because, again...the value work is already done.

If you wanted really light spots, the underlying dead layer should have been white. Get it? There is rarely a need to add any white to a color at this point. later, we'll add some white for details,but not at this point.

In fact, adding white to any of our colors at this point will ruin the effect. That's not overdramatic, it's simply a fact. Adding white to any paint makes it opaque (non transparent) which means we c'aint see through it...and if we can't see through it, then all previous layers are/were a complete waste of time.

One thing that I hear again and again from my students at this stage and in about 3 more steps is "Y'know...you were right. I wish I'd listened to you...NEXT TIME..." So...save yourself the time and frustration and do it right the first time.

Enjoy the first color.

Next...MORE COLOR. Woohoo!

Step 4. The Dead Layer

Howdy.

In step four of our sunflower demo, we'll do what is known as the Dead layer, or Grisaille layer. Basically, this layer creates a layer of exact values similar to the previous umber layer, but with more emphasis on the important parts of our painting.

You can do the entire picture in the dead layer, but I think emphasizing certain elements gives the finished work more punch and pizazz.

I've applied another glaze layer to the background deepening the red/violets and plum colors. Still using Purple Madder, Transparent violet and French Ultramarine.

To create the moonlit effect of the dead layer we need a neutral grey. Now... may have gotten a sense about how I feel about black -out of the tube. So...'nuff said 'bout that. Mix a neutral black. I like to use Raw Umber and Ultramarine. Maybe the slightest bit more umber than blue. When you mix them, spread a bit out on your palette and you'll see when you've reached a deep luscious black. That's what we want. Try mixing a tiny bit with white. You should wind up with a very neutral gray. If you're not sure, get a value scale from any art store, or even compare the gray to something that you know is neutral.

So, when you've made this lovely black and ensured that your grey is neutral and NOT blue (which many people err on the side of) you're ready to go.

Note: your lighting has a lot to do with it. You may find that if you work in different lights that your greys will look different. Try to work in natural light or with a full spectrum light bulb.

Now that you've got your black and subsequent grey, you can paint your dead layer. You do this by strictly following the values you established in the umber layer. Remember in step one when I said every step is built on the one before. You're brown values followed your drawing and now your dead layer will follow your umber layer. Do NOT reinvent the wheel here. If you think you've made an error in the drawing, live with it. No one is going to have the original item or photo when they view your painting to say "hey dude, this petal isnt as full as it should be'. Trust your underlying layer.

Using your created black and varying amounts of white (I use Titanium white. ) follow the values laid down previously and basically, very carefully and purposefully, paint your subject as though the finished work will be monochromatic. Keeping in mind the surface of the thing you are painting. In this case, following the flower petals the way they naturally grow.

If you tend to paint more impressionistically day to day, be extra careful to hide brush strokes. We arent going for painterly here. We're going for glowing glorious realism. Not to say anything is wrong with painterly and free impressionism, but that's not the point of THIS painting. so...hide those brushstrokes. It might even do you well to have a nice soft clean brush on hand to smooth out any rough bits. (be sure to clean or wipe off this brush regularly).

When you are finished, as you can see in this closeup, you'll have a monochromatic very detailed painting with the grey emphasis on your main subject, in this case, the sunflower.

Next step is where the fun comes in. The color glazing.