Skip to main content

Painting a Pansy: Step-by-step

When painting small flowers like pansies, it’s often hard to recognize a good composition from a poor one. The immediate response is usually to clump the small flowers together and make a bouquet. I recommend, instead, treating the pansy as you would any other flower: Focus on shape, shadow and color—the elements that can transform these small wonders into a bold composition.


1. Mixing Naples and Indian yellow, I started with the lightest petals and worked one petal at a time, filling each petal with water and adding the color to the outside edge with a No. 14 brush. Applying the color only to the outside edge left enough area white so I could later place a complementary color and not have it mix with the yellow and turn muddy.



2. As the surface started to dry and become more matte in its finish, I mixed carbazole purple, French ultramarine blue and quinacridone magenta to make a purple. Using a sweeping motion, I applied the purple with a No. 14 brush, starting at the center and moving toward the outside edge


3. As the surface started to dry and become more matte in its finish, I mixed carbazole purple, French ultramarine blue and quinacridone magenta to make a purple. Using a sweeping motion, I applied the purple with a No. 14 brush, starting at the center and moving toward the outside edge.


4. To eliminate unwanted brushstrokes, I used a No. 20 brush to blend the areas already in place and to lay down color over larger areas quickly.


5. Leaving a few white areas along the lip of the petal helped separate the petals. I continued working all over the flower, adding layers of color in the center to make the area rich and dark.


6. After I’d added all the color and the petals were dry, I started working on the shadow. To create a neutral gray, I combined my earlier mixtures of purple and yellow. To make the shadows, I followed the same procedure: applying water first and then the color. It’s important to allow the water to carry the color


7. Once the petals and shadows were done, I began work on the background. I used sap green with a (Daniel Smith) Hansa yellow and a French Ultramarine blue to make a vivid dark.
8. To create an interesting gray for the shadows, I mixed the complementary colors already on my palette, yellow and purple, together. Another tactic would be to place complementary colors next to each other. I called this painting Little Pansy (above; watercolor, 15×10).

Pansy Palette

Naples and Hansa yellows

Indian yellow

carbazole violet (or violet dioxazine)

French ultramarine blue

quinacridone magenta

permanent sap green


View entire DVD program online

3 day ($ 9.95)

7 days ($ 12.49)

30 days ($ 19.95)


Returning User


Pay-per-View - and how it works.

1. Simply click the desired viewing time and create your password.

2. Use your existing PayPal account or if you don't have one select the "Don't have Pay Pal button" and use your credit card. (If you using an e-check or creating a new PayPal account there can be a 3-5 day delay due to verification.)

3. Then click the "Access Content" button.

After purchase to return to your program click returning user then log in




Comments

  1. Thank you for sharing this Birgit. You are very generous. is it ok if I share the link on the Bayview watercolour society blog?

    Ona

    ReplyDelete
  2. Sure Ona that would be great. I am planning on posting another one tomorrow. Best wishes Birgit

    ReplyDelete
  3. Birgit I really enjoy watching demos and truthfully adore all the article you write in magazines and others. As Ona mentioned you are always so generous. Thank you for sharing and being there when ever we need help.

    ReplyDelete
  4. Thank you for a super demonstration Birgit. I have shared with a friend in Indiana, who is teaching himself watercolours right now.

    You are the best!

    ReplyDelete
  5. Thank you for all this information Birgit, much appreciated :D)

    ReplyDelete

Post a Comment

Popular posts from this blog

Warm & Cool Colors

Have you ever wondered about warm and cool colors and whats the difference. Warm color appear to move forward while cooler colors recede into the background. That's why when painting a landscape I prefer to use warm colors in the foreground then move to cooler colors and lighter values (meaning more water) in the background. If I was working on a floral I prefer to use warm or even a mix of color in the flower then use cooler colors in the shadows to give depth to my subject. 


Warm Colors Cadmium Yellow Pale, New Gamboge, Cadmium Yellow, Winsor Yellow Deep, Indian Yellow, Cadmium Yellow Deep, Cadmium Orange, Winsor Orange, Winsor Orange (Red Shade). Cadmium Scarlet, Scarlet Lake, Cadmium Red, Winsor Red, Rose Doré, Quinacridone Red, Opera Rose, Quinacridone Magenta, Permanent Magenta, Cobalt Violet, Permanent Mauve, Winsor Violet (Dioxazine), Cobalt Blue Deep, French Ultramarine, Ultramarine, (Green Shade), Winsor Blue (Red Shade), Cerulean Blue (Red Shade), Winsor Green (Yellow Sha…

Tips: Tools to Apply Masking Fluid

Most often people will use an old brush, incredible nib or Masquepen but depending on the flow, coverage and detail you want. There are a couple of other things you can try.
Lets say you want a nice continual flow of fluid to leave detail areas white. Consider an embossing tool (used for paper, foil, clay etc) or a calligraphy pen, both feel good in your hand and hold a nice amount of fluid. The flow of masking or drawing gum can also depend on the brand you use. Personally I like Pebeo drawing gum because it's thinner and applies easily.
Examples from students
 When signing paintings with a dark backgrounds Karen Richards like to use a Calligraphy pen to her apply masking. Once the composition is created she applies a light wash, lets it dry then signs her name. She will then continue with the painting then when done remove the masking to reveal her signature.
Karen Richards
Calligraphy pen
Pebeo Drawing gum
Revealed signature --- To get basically the same results Linda likes to use an e…

Glazing (layering) in watercolor

Glazing is a term for layering or stacking color, for instance think of different sheets of colored glass or tissue paper one stacked on top of the other. You are able to see through the transparent layers to the ones below, glazing in watercolor is the same idea but instead using thin washes of transparent color. For the cleanest color mixing and purest glazes use only the most transparent color. The reason is these colors allow light to pass through and reflect off of the papers surface leaving beautiful jewel-like effects.
Here are only a few of the transparent colors you may want to consider, New Gamboge, Indian Yellow, Winsor Red, Alizarin Crimson, Carmine, Permanent Rose, Quinacridone Magenta, Winsor Violet (Dioxazine), Indanthrene Blue, French Ultramarine, Cobalt Blue, Antwerp Blue, Prussian Blue, Viridian, Winsor Green (Yellow Shade), Perylene Green, Hooker’s Green, Permanent Sap Green among others.
More opaque the colors have a greater coverage and are useful to tone down color…