Once this first layer of color was dry, I worked from left to right, adding background color by mingling rich mixtures of Green Gold, Winsor Blue (GS), Burnt Umber, Sepia, and Burnt Sienna. I'm using a Robert Simmons brand #785 White Sable Round brush, Size 8. It's a great brush –– not only is it affordable but it holds an edge/point nicely, carries a full load of pigment, and when a loaded brush is dragged sideways across dry paper it makes a nice "scumbly" mark which is helpful when adding a suggestion of background foliage, etc.
Next, I began defining the red and pink portions on some of the canna lily leaves with a light wash of Anthraquinoid Red (Daniel Smith brand), a staining, transparent color. Once this wash was nearly dry, I added a few red stripes to indicate veins. (Having the paper slightly damp meant the red stripes would blur a bit. I'm saving hard line details in red for a later step.)
I continued to enhance depth, and add more color, leaf by leaf, leaving lighter areas for highlights and deepening the shadows to indicate layers of plant foliage. I applied thin lines of Anthraquinoid Red (in a thick mixture with very little water) to the edges of the leaves and to the stems. Where the tips of leaves curved under, and where the leaves drooped, I used a combination of Shadow Green (Holbein brand) and Daniel Smith's Undersea Green.
The two vine-like branches at left were further defined with Burnt Umber. And then I used washes of French Ultramarine in varying intensity to indicate cast shadows throughout.
|"Canna Lily, study" |
transparent watercolor 10.5" x 7.5"