Botanical Painting with Gouache by Simon Williams

Author:Simon Williams
Language: eng
Format: epub, pdf
ISBN: 9781849943888
Publisher: Pavilion Books
Published: 2016-03-04T05:00:00+00:00

STAGE 6

For the final stage I worked across the whole painting. The pear needed a detailed calyx and using a size 1 brush I mixed Van Dyke Brown and Delft Blue to paint the inner circle. Then a mix of Raw Sienna and Permanent White was used for the star-shaped outer ring. Japanese Yellow Light, Celadon Green and Persian Violet created the subtle shading. The top edge of the pear was a little uneven so to clean up the curve I made a creamy mix of Naples Yellow, Celadon Green and Raw Sienna. This light outline indicated a disappearing edge. I darkened it where it touched the apple with a mix of Celadon Green, Delft Blue and Van Dyke Brown.

The apple calyx needed further darkening with Van Dyke Brown and Delft Blue and I also neatened the edge of the star shape with Naples Yellow and Persian Violet. Beginning with the apple at the back, I used Permanent White and a No 1 brush to paint on the highlights, which absorbed some of the underlying colour and worked to my advantage, varying the intensity of the highlight as it passed over red and green. I increased the highlight on the right-hand apple and also increased the dark contrast at its base, particularly behind the fig. For this I used a mix of Havana Lake, Indigo and Bright Red.

I also darkened and lightened the figs as necessary, making sure I showed good tonal contrasts where one abutted the other. Indigo with Persian Violet neutralized with a little Celadon Green gave the darker shade, while Permanent White and Persian Violet made up the lighter mix. By comparing Stages 5 and 6, you can see where this was applied.

It is important to show the wet juiciness of fruit such as figs or pomegranates. I used Permanent White stippled over in several layers to achieve thus. I worked between these highlights with Havana Lake, which gave a good contrast. I finished off the top of the stalk section with a mix of Naples yellow and Van Dyke Brown, then used neat Van Dyke Brown to dry-brush lines which indicate its woody texture. Celadon Green with the ready-mixed grey painted around the left-hand side gave it a better rounded form.

Finally, the pear had highlights dry-brushed on using Permanent White, then more detailed stippling and fine brush speckles were added to finish it off. Note that even tiny spots merited this extreme attention to detail.

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