Blog 8: Autumn Gold Beauties…

Wandering around the garden in late autumn I discovered some rather gorgeous looking Magnolia leaves still hanging onto our tree. There was a golden carpet beneath too which took my eye. I collected 3 leaves and decided to paint them. Thankfully there were still some on the tree if these ones started to fade.

The first thing to do was to try and protect them from drying up. I took reference photos and then into the fridge they went in a plastic bag! Sadly overnight they had gone very brown and the lovely gold hues I wanted to paint had disappeared. Thank goodness there will still some on the tree for colour reference.

I started by drawing up my three leaves onto tracing paper then used a black fine liner to outline my drawings. From here I could then put them on my lightbox in position and trace off carefully with an H pencil onto my watercolour paper.

Once transferred onto my watercolour paper I very carefully used a Faber Castell gum rubber to remove excess graphite. Take care not to rub, just press it onto the graphite and then lift it up as you go. If you rub you’ll ruin the surface of the paper. You also only need to do this where the painted areas are pale. You can use Bluetac to do this too.

Mixing the colours

The next stage was to mix up my colours, the lovely golden hues and browns. For your reference all are W&N colours unlelss specified: Burnt Sienna (BS), Burnt Umber (BU), Indanthrine Blue (Ind), Quinacridone Gold (QG), Indigo (I), Transparent Yellow (Trans Y), Winsor Lemon (LY or WL), Permanent Rose (PR), Sennelier Rose Madder Lake (S.RML). Also 2+QG (top row far right) equals Brown no. 2 plus QG. See photo of my swatches below.

You may notice in the next photos that I have cut out the shape of my leaves on some tracing paper and laid it over the top of my painting. This is to protect it from splashes. It’s better to use cartridge paper as tracing paper curls up a little and I have been known to catch the paintbrush on the curled edge!

The first wet-in-wet wash!

To begin with I added a pale transparent yellow wash all over to enhance the brightness of all that followed. on the next layer of wet-in-wet I started to introduce some of the tones from my palette. On the second layer I took each section of the leaf individually adding in more colour to strengthen it all up and then a little of the shadowing on the leaf ridges. This highlighted the veins a little more. There are some more videos later in this blog explaining these techniques so scroll down now if you want to know now!

Once I was happy with the intensity of the gold shades over the leaf I again worked on enhancing the veining and adding in small details, smaller veins and dots. Gradually working my way across the leaf and the furled edge. I also added more of my gold/burnt sienna mix to strengthen up the background layers in places, washing it out at the edges so it didn’t give an edge line.

I then used my Eraser brush (Eradicator) to enhance the light veins. Here is a little video which explains how I approached this. Once you’ve done this the whole thing starts to appear more 3D. I used to use 2 types, Jacksons Icon 1/8th inch series 702 and a stiffer one which is white synthetic – ProArte sterling 201 oil acrylic short flat size 0 (this is a long handled brush so I cut the end off!). Now (2020) I use a Billy Showell Eradicator brush which is perfect. It has a nice small stiff tip and is slightly shaped so you can erase really fine veins as well as bring out highlights with a very gentle circular motion. The image here shows a Rosemary & Co. Eradicator to the left and a Billy Showell Eradicator, right.

After this I started to work on the twisted broken part of the leaf. This was a challenge as I needed to show the curves and twists to get a good effect. It’s all in the shading and highlights. I painted the brown first leaving a nice highlight along it. Then added other colours as they appeared. Finally, I used my eraser brush to lift out lighter parts and darker paint to create the veined areas. It’s a case of looking carefully at where the shadows are and deepening the colour in those areas.

To get the papery effect on the little bits sticking out at the base of the leaf I used a very pale beigh tone and dotted grey into it. Painting a darker grey very occasionally along the very edge on the smaller bits.

Lastly, I strengthened up the golden areas of the leaf with a thin wash of my gold mix. Now onto the right side of the leaf using the same methods! Once both sides were done, I noticed a little green tone over some of the leaf so I added my green mix in a very thin wash to those areas. Leaf no. 1 finished!

Leaf no. 2 – lots of videos here!

As this leaf was quite large I used wet-in-wet technique on each section between the veins rather than go over the whole thing. I do each section alternately so that they don’t bleed into one another. Firstly I laid a thin layer of Transparent yellow down to keep the overlying layers nice a bright. Here’s a video to explain the process.

Once I’d completed three sections I continued into the bottom right part of the leaf. Here’s a little video explaining how I did this part.

Now for the top part, an area which thins and is very intricate. You need to be very careful to not go over the edges when wetting the paper. I’ve erased some of the fine vein lines with a soft rubber on the dry finished areas. They will erase at this stage but not after the next coat. If you leave them too dark they will interfere with your painting. Here’s a video explaining.

Here’s the right side of the leaf finished and dry. Now you just need to apply the same method to the left side of the leaf. Notice on the picture below I have left out a very small area half way down. This part of the leaf is far too small for wet-in-wet so I will fill this in later with dry brush. By the way, you can if you prefer, start with the left side, I just happen to prefer working from right to left.

I got carried away and started doing some of the dry brush work at the top of the leaf, my favourite part! The dark area with a papery feel I will also do later in dry brush. This part will be challenging and make for very interesting painting!

Well that’s the gist of it so far. I hope this blog and videos have helped you and I’ll be back soon with another Blog.

Until next time happy painting!

*All photos, content, text and videos are subject to copyright – Jackie Isard Botanicals 2017

11 thoughts on “Blog 8: Autumn Gold Beauties…

  1. Thank you, thank you, thank you Jackie for sharing your process and knowledge. I cannot begin to tell you how much I learn from you. I love the point on the brush. What make and size of brush are you using please? Sandy Allen, Canada


  2. Wonderful post, Jackie! Thank you so much for sharing. I was curious about the pencil lines and veining under the paint. You leave most of them as the veining? I know that once you paint with yellow that they don’t erase anymore, and it makes sense to leave them, but I just wanted to clarify it? I love, love, love your palette. Beautiful work!


  3. Wonderful post, Jackie! Thank you so much for sharing. I was curious about the pencil lines and veining under the paint. You leave most of them as the veining? I know that once you paint with yellow that they don’t erase anymore, and it makes sense to leave them, but I just wanted to clarify it? I love, love, love your palette. Beautiful work!


    1. Thanks so much Linda! I rubbed out the pencil lines after the first wet in wet layer, that’s after the very pale transparent yellow I laid down first of all. They rub out ok at this stage. I wanted most of them to stay anyway as I was painting over them with a greyish/beige. I used the eraser brush to erase out alongside some of these pencil veins too, to make it look more 3D. Hope this helps! xx


    1. Thank you! Well now drawing the leaf….. I tend to look very carefully at the edges of the leaf and following my way round as I draw. It’s experience really for me. You could start by drawing a rough outline on rough paper then put in the main veins, could even make a grid over it so you can do it section by section. Hard to explain in here! Hour this helps a bit though 😊


      1. Thanks! Would love to sit on your shoulder sometime and watch you draw 😉 I realize you have many years of experience…I find it very difficult to transfer the 3d object to a 2D plane. Working from photos, no problem, its the 3d to 2d transfer gets me. How did you learn back when you began?


  4. Hi again. I guess I have natural talent but the more you do it the easier it comes. I was a graphic designer for 22 years and that helps as it’s given me a very keen eye., especially when painting. There are online drawing courses which may help to get the basics from, then it’s practice, practice! Hope this helps a little 😊


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s