Blog 17: Painting a Faded Protea

I thought I would share the process of how I made this painting with you all. I discovered this dying protea in the teaching room at the Bristol Botanic Gardens when I was teaching there. It had been discarded and left to go mouldy on the shelf. You can see the green mould on the inner stamens below. I rescued it and another which I have yet to paint!

20181029_102532
The whole thing began as an exciting new project. I planned it to be painted especially to exhibit at the SBA (Society of Botanical Artists) this year. It is the most mammoth painting I’ve ever made!

I started the process by studying my subject thoroughly so that I didn’t miss any of those incredible details. What looks like a flower to start with is actually a series of inner and outer bracts which protect the inner whorl of tepals with the stamens and stigma inside. The feathery bits! The drawing took ages to complete but eventually it was all traced up onto watercolour paper (a piece of old stock Fabriano Artistico HP) and I was ready to go.

Firstly, I made a colour palette and swatch to help me with the colours of my subject. I use this as a guide. My palette consisted of 7 primaries ( Winsor Blue (Red shade), Indanthrine Blue, Indian Yellow, Quinacridone Gold, Transparent Yellow, Permanent Carmine, Permanent Rose and two others Perylene Violet and Winsor Violet. All Winsor & Newton professional watercolour pigments.

20190704_090539

 

I planned a practice run of three tricky elements first. After a practice run I was happy with the techniques I needed to use to achieve a good painting.
20181109_141901
I used a fair bit of wet-in-wet on the first layers for the larger inner involucral bracts and the bottom leaves. The tepals, outer thin feathery ones, I did mainly in wet-on-dry and dry brush. This photo below shows a few individual tepals which sit outside the whorl  (stigma and stamens) in the very centre. All are very tightly closed to start with but as they mature they spring open and spread out revealing the straight pointed stigmas. The centre part is then exposed. These don’t actually feature in my painting as they were not visible. That’s the bit we love!
20181113_123657Next I had to decide where to start! I protected my painting with layout paper and moved around the painting from left to right and then down the middle, section by section. The centre section of stamens and stigma was a little scary and I often wondered how I would approach that area. I came to the conclusion that I would cross that bridge when I came to it!

I thoroughly enjoyed painting the golden hues of the bracts and stamens with their hairy tops. Getting that shine was essential too. This meant getting the highlights right. The first layer was wet-in-wet followed by graduated soft washes to build up colour. Once I had achieved this I could concentrate on the dry brush and fine detailing. This included splaying my brush into points to created rough textured lines. At times I needed to use my eradicator brush to bring up highlights and lighten the edges of the tepals where they touched another. The following photos show the techniques used…

 


Painting the hairs…how do you paint white hairs on a white background I hear you say! Well, I used the very tip of my Billy Showell No. 2 brush and carefully painted in between the hairs (so painting the negative) where they overlapped another stamen. For the ones that were loose I used a very pale warm grey colour and painted in the fine hairs. The red hairs were much easier. There were also little white hairs on the bracts which I painted in using a white paint……..sooooooo many hairs!
20181115_152642
Suddenly, I realised I was reaching the centre section of stamens! Ugh….what to do? Taking a deep breath I checked the subject thoroughly to see how the colours changed over the stamens and where the warm/cool areas were. I had already drawn in fine lines to indicate where the stamens were and the little twirly hairy bits (anthers) which occasionally appeared within the mass. It was again a case of painting the negative and laying soft graduated washes down to create form. The anthers needed masking before I started the fine detail work. I use a mapping pen for this but you must be careful not to scratch the paper as the nib is very sharp. Great for small areas and fine lines though.

 

I started by adding a thin layer of colour to the central area. This was a creamy tone which was what I call the ‘base’ colour. From here I began painting into the negative to create the fine lines between each one. I used soft graduated washes of various beige tones to build up form on the individual stamens as well as across the whole area. Once I had built up the colour enough, I rubbed off the masking fluid. I was now ready to paint the anthers. Treating them like feathers I detailed in the shadow tones between the hairs. This took a very long time! The whole painting took about 4-5 weeks to complete.
20181120_115843Now I had to finish off the top part with twiddly stamens and hairy anthers to create the rounded top. This was all done with intricate dry brush work. Painting the shadows was important here to create form and give the impression of lots and lots and lots of stamen hairs!

20181206_151609

Mission accomplished! Next on the agenda was to finish off the right side and the rest of the inner bracts. Once complete I used wet-in-wet technique to apply a base layer to the leaves. They had really beautiful pattering and were very colourful.

 

Laying in the subtle colour tones was great fun! This was the first layer of wet in wet followed by soft graduated washes and much detailed dry brush work.

 

The hardest part with the leaves was getting them to look like the reverse of the leaf. In most cases they were reversed. Much erasing happened as whatever I did they looked the other way round! It was an optical illusion because the more I stared at it they kept changing! The reverse of the leaf needed very short shadows along the midrib to achieve this. Eventually it all came together. But if you stare a while longer…..you may still see it the other way!
20190124_115310
Next on the agenda was the stem, my favourite part. I just love painting woody stems. Essentially it’s a lot of wet on dry and dry brush work with very fine detailing. Getting every little detail in counts too! The more detail the more realistic it will look.

The top part of the stalk has lovely red brown tones with deep grooves but faded below to a beigy-grey texture. For the top I used fine detail dry brush and the bottom soft washes with a splayed brush to make the pattering as described above in this blog.

 

Finally, the finished painting emerged. What a journey but so worth it as it won the Margaret Granger Award at the SBA Mall Galleries exhibition! I am so delighted as this was a very ambitious project for me. I now have three awards on my wall. I feel very honoured! The photo below shows me receiving my award from the President of the SBA, Billy Showell.

 

Thank you for reading my blog and I hope you enjoyed it!
Jackie 🙂

Blog 16: The beginning of more RHS adventures

During the winter I’ve been very busy continuing with my RHS studies and finalising 3 compositions. It’s been a long trek! In between these studies I’ve been enjoying preparing for a course at Brackenwood which will cover White and Yellow Spring flowers. A subject many find hard to paint…even I do!

 


I also had a chance to go on an owl event where I had the pleasure of holding 6 different owls. The Owls in the photos above are a Barn Owl, a Tawny Owl and a Little Owl. My favourite was the Tawny Owl as we have a mating pair in the area where I live. I love hearing their calls, Twit – T-wooo. Apparently they are the only owls who make this type of call. I even got to hold an Eagle Owl. They are huge and very heavy! I’ve always admired these beautiful birds but never been this close up. It was delightful and I will remember it for a long time.

I have now completed my compositions for Cuckooflower, Ragged Robin and Greater Birds foot Trefoil.


Last week I started preparing sketchbook studies and botany notes for the fourth plant, Geum rivale – Water Avens. What a gorgeous little plant! It has delicate nodding flower heads and beautifully shaped leaves. Very much overlooked I think.

This plant has a very interesting botany. Quite different to the other plants I have studied. So much is learned about botany when dissecting and studying plants. I’ve really got into it! Like Cardamine pratensis it has different shaped basal leaves. They are more rounded at the top with leaflet pairs running down the stem. Quite attractive! It’s also very hairy in places and has hundreds of stamens all enveloped beneath 5 petals. There will be lots of fine details on this one. Here are some microscope images of the stigma (of which there are many too!), stamens and hairy buds…


So far I’ve dissected a young flower head, drawn up a budded branch, a flowering branch and one of the basal leaves. This is my drawing to date. I love the shape of those leaves!
20190327_165811
I have chosen to include relevant pollinators in my work and a lot of research has gone into finding out which insects use each of my chosen plants as a larval food plant. It is important for me to make the insects to be relevant to the plants. One of my plant species was altered due to this information not being available. This was Greater Burnet – Sanguisorba officinalis. Again, my hunt went on for another suitable wet meadow plant which had a relevant insect. I have sourced one now and found out where it grows so I can see it in its natural habitat. It’s Achillea ptarmica – Sneezewort. You won’t believe how long this research takes!

There are three moths in my selected insects, also pollinators too! A Marbled Coronet, Beautiful Golden Y and a Tawny Speckled Pug. They all use one of my chosen plants as their larval food plant. Three butterflies will adorn my paintings too, an Orange Tip, a Marsh Fritillary and a Wood White.

This weekend I was taken on a surprise trip to a Nature Reserve by my son. I’ve been wanting to visit this place since I discovered it late last year. It is a farm in Cricklade called Lower Moor Farm. There are many fields of meadow flowers and wet meadow plants too! Although too early in the season to see the meadows in full swing, I did see evidence of plants beginning to peep through. My heart sings when I visit these places which really helps with the intense work I’ve had to carry out. I hope to view some of my chosen plants in another natural habitat later in the year when I visit again. I also wanted to see the Snake’s-Head Fritillary which are growing wild at North Meadow Cricklade not far from Lower Moor Farm. The fields of North Meadow are protected as this species is now very rare in the wild. Unfortunately, we were a little premature as they were only just starting to grow. Another visit is planned for Easter weekend to see it in its full glory.

This plant is actually not a British native species otherwise I may have chosen it as one of my Wet Meadow species. It’s a shame because it is a much loved flower to paint by Botanical artists! I have planted some in my garden wild areas which are flowering already …perhaps because the weather is milder in Bristol than North Meadow.
snakes head
So, from here I must carry on with my Water Avens studies and composition ready to begin painting soon. Three of my plants will be flowering between April and June so time will be short! I’ll be back later in the Summer with more news and to show you how I’m getting on, plus some more meadow visit photos.

Until then Easter is just around the corner, so enjoy all that chocolate!

 

 

Blog 15: Online Course – Mixing Colour Accurately for Watercolour using Primaries

Jackie Isard Botanicals – Mixing Colour Accurately for Watercolour using Primaries 

This course has been running for 2 years and has been very successful. Please check out the student reviews at the end of this blog. (Banner photo courtesy of student Anne Maudrell)

A course for those who struggle to mix accurately with  watercolours! Learn how to mix watercolour accurately using primaries. You’ll be amazed at what can be achieved with practice and you won’t need to buy so many pigments!

THIS IS NOW AN ONGOING COURSE AND YOU CAN JOIN AT ANY TIME! PLEASE DO NOT MESSAGE ME ABOUT THE COURSE HERE as I’ve had some issues with replies not being sent through. Private message me on Facebook or email me.

This course is for Beginners and Intermediate students. The course contains lots of exercises, detailed course notes, video tutorials and a dedicated Secret Facebook Group, all designed and created by your tutor Jackie Isard. It concentrates on mixing with primaries and aims to help you ‘see‘ colour more easily whilst building your confidence in colour mixing. It’s definitely not another course with endless colour charts! An Intermediate/ Advanced Colour course will be launched in 2020.

Details of the course:

The course involves comprehensive notes, video clips together with a series of exercises which can be done in your own time. We will cover mixing with primaries, those difficult greens, botanical greys (we touch on this, the advanced course will cover this in more detail) and neutral beige/brown tones for those beautiful Autumn colours. There are tutorial videos as well as videos for beginners. You will be added to a Secret Facebook Group where the video tutorials are held. In this group you can view other students work, find useful tips and post your work for appraisal (personal appraisal is always done via private messenger not publically).

Exercises include making a few small reference charts, matching swatch colours and many other useful tips/exercises from which you will learn how to ‘see‘ and mix colour more accurately. I am always available on Facebook Private Messenger or Email (unless I’m asleep!) to answer any questions you have during the course. Please bear in mind the time difference if you are overseas! I appraise your work as you complete each of the Lesson exercises and give a personalised final appraisal at the end of the course. You will also receive a graded certificate for your efforts!

 

Some student reviews:

“I wanted to learn from Jackie the day I first saw a pic of her painting on FB. Her painting was highly detailed and showed a certain sensitivity to colour. Fortunately for me, Jackie announced an online course a few days later. I paid up for the ‘Mixing colour accurately course’ but was a bit skeptical of learning online. Having completed the course, my doubts stand dispelled. The course content, the exercises and the patient online appraisal of the exercises by Jackie, all made for good learning. I recommend the course to anyone on a tight budget. It has taught me a structured way to test a colour and it’s mixing possibilities.” Raashmi

“Mixing colour accurately is exactly what this course has taught me and a most enjoyable process too. Very much a novice, the notes were clear and easy to follow. The feedback was prompt and very helpful. All in all – Brilliant, Thanks Jackie” Sylvia

“At last! I now approach colour mixing in a more organised and knowledgeable way. I now search for ‘many’ colours within a plant and have gained the confidence to closely match them. This course should be compulsory for all Botanical artists. Jackie is a knowledgeable and encouraging tutor who responds quickly to your questions and posts on the dedicated group page.” Christine

“Thank you for the very clear instructions, I read them all and watch all the videos, they are all very useful and easy to follow. Jackie Isard you are great artist and a great teacher too!” Mari

“I am very pleased with this course! After all the exercises and tasks, I finally began to see colour and understand how to mix it. I liked the fact that I had not only charts of colours but even in the end practical tasks for a better understanding of colour on real leaves and flowers. Separately it will highlight the fact that Jackie responded very quickly to questions and supported me throughout the course. I highly recommend this course to anyone who wants to learn how to mix watercolour accurately for botanical” Svitlana

“The course material for this colour mixing course is structured, interesting and clear. The exercises explained well and the extra videos and Facebook group tips are a bonus. I have learned to look further than ‘first sight’ when looking at a plant. A green leaf is not just green but a myriad of green tones and hues. What I most appreciated was Jackie’s personal support and the speedy replies with appraisal. It is an important motivator when working online.” Hilde

See Jackie Isard Botanicals on Facebook and private message me for more details.

Payment can be made via PayPal, details will be sent on Registration. The fee is £175 UK and £185 Internationals. The difference is purely postage cost. If you do not have PayPal, it’s really simple to set up online. Just visit www.paypal.com. Bank transfer is only available using a UK bank account.

Please contact me by email or Facebook private messenger for Registration details!

Jackie Isard BA (Hons) SBA Fellow CBM

small banner

 

Blog 14 : Paint a Peacock Butterfly NEW Online Course January 2019

Ever wanted to learn how to paint a Butterfly?

Then do look out for my New online course coming in January 2019!

The Peacock is one of my favourite butterflies. The patterns and colours are just so stunning. We’ve seen a lot of butterflies this year as there’s been so much sunshine. Come and learn to paint one of the UK’s most beautiful pollinators with me, yes they are pollinators!

I will take you through the stages and teach you the techniques to create your very own Peacock Butterfly watercolour painting. You will learn how to mix the vibrant colours needed and how to add those incredibly fine details. There will be instructive videos to help you throughout the course. Watercolour painting skills essential please. Not for absolute beginners.

me painting peacock


Pop over to my Jackie Isard Botanicals page to see the Event date then private message me if you would like to join. Payment can be made through PayPal. The course fee is £75 UK and £85 Internationals. The difference is purely due to postage cost. For more details on how to register Private Message me on Facebook or email me.

For the Facebook course link, look under the Events tabhttps://www.facebook.com/jackieisardbotanicalnaturepainting/

Looking forward to teaching you!

Blog 12a: RHS working on the wild side!

It’s been one long amazing adventure since I first wrote about my RHS Sketching Adventures in 2016 and it’s not over yet! This was the year I was accepted to exhibit with the RHS (Royal Horticultural Society). My journey has been of new learning and a great deal of research so far. This Blog is about my continuing journey and the progress I’ve made so far. Up to now it’s been hugely interesting and at times very intensive but most of all a rewarding and enjoyable journey!

You’re most likely wondering why this is Blog 12a. Well, I’m not usually superstitious but today I am. So it’s 12a, not 13!

My journey began by selecting a subject matter to paint for the RHS. A theme which would be interesting as well as something I was passionate about. After all, it involves 6 paintings which need to be absolutely spot on and perfect, so I had to be excited and inspired by my theme. Just before I was accepted, I had become very interested in the importance of meadows which have been declining rapidly from our countryside. This is affecting our very important pollinators and may eventually lead to food and fruit crops failing. I also became very interested in pollinating insects, bees and butterflies. So I had to include them somehow!

My garden, over this time, has become a haven for pollinators. I selected a few areas of my garden to grow wild and planted meadow wildflowers in the grass. I purchased solitary bee homes, planted bee friendly plants, painted butterflies and bees too…I was smitten!

Just a few real facts…
97% of our UK Meadows have been lost since the 1930s, taken away by intensive farming, affecting pollinators and wildlife in a staggering way. I became very interested in this subject matter and much to my pleasure I discovered a wealth of organisations all working hard to change things. A few are listed below:

Plantlife (campaigning, sharing knowledge and working with partners for the protection of meadows and introduction of wild road verges);
Magnificent Meadows (taking emergency action to prevent the disappearance of meadows and sharing knowledge);
Coronation Meadows (initiated by HRH The Prince of Wales to create meadow in every county to mark the anniversary of The Queen’s coronation) and of course The Wildlife Trusts, the National Plant Monitoring Scheme and so on… I joined the NPMS (National Plant Monitoring Scheme) to help with their research in my area, around the Severn valley. You can volunteer to record species growing in an area near you. Sadly, the fields they allocated to me for recording species had been ploughed over. Not what we like to see!

My journey took me to many meadows and open spaces where our beautiful native wildflowers still grow.  Seeing again the many wildflowers I took for granted as a child, was like coming home after a long time away. I remember as a child sipping nectar from white nettle flowers. Everyone thought I was weird! The wildflower plants were there but I didn’t really pay attention to them much as a young adult, although I’ve always loved long nature walks. Now, I admire them each and every day and through learning recognise many species. I’m always in awe when I see one I recognise!

I even made friends along the way. Thank you Jeni Burton (pictured above) for taking me to Eades Meadow, a truly sacred place. I saw my first Bee orchid with Jeni, we were so excited! (it’s the first photo below).

I take a lot of photos of these wondrous wild flowers. Their beauty really comes to life in a close up. You could quite easily walk right past them!


The places I went to all had different habitats. Some were grassland, some damp meadows and some just road verges. I started to learn about which plants favoured particular habitats and decided that this would be my ‘theme’ for the RHS. To study a set of species which favour certain environments. Also included in my ‘theme’ would be relevant pollinators to these habitats and plants as I feel they are just as important. I went through many wildflower plant choices before I finally decided my final 6 earlier this year. I even started sketching some of them which I have now excluded. My final 6 are wet meadow plants.

My first choice was Cardamine pratensis (Cuckoo flower). It grows in the field behind my house. I like to call this field a ‘meadow’ as over the last two years more wildflower species have arrived. The local farmer looks after it. The area where I live is damp so the fields surrounding the house and garden favour wet meadow species. Nice bonus!


Here my research and preparations began. I have watched all of my chosen plants grow through their lifecycle. I decided to plant some Cardamine pratensis plants in my garden which grew beautifully. One day, I was studying the plants and discovered a butterfly egg on one of them. Soon there were more eggs. I was delighted as I knew it was most likely an Orange Tip Butterfly as they use this plant as their larval food plant. Of course, the pollinator I would link to this painting would be the Orange Tip! ….and guess what it’s latin name is? Anthocharis cardamines! 


I watched the caterpillars grow over a few weeks until they were quite large. What I didn’t realise was that they would devour the whole plant all the way down to the basal leaves. Every little bit…. so to finish off my studies I went out into our back meadow and thankfully some of those plants were still intact! One cold night this year an Orange tip butterfly rested overnight on my garden plants near one of the eggs (photo above). It was there for 39 hours!

My studies continued and involved some dissection and learning a little botany. It was important to study the whole plant, including a little botany, so that I could understand all its details. Even a study under the microscope to see what’s inside the flowers and how its reproduction works. This would make it a lot easier to draw accurately. By happy accident along the way I discovered that reproduction was not only via seedpods but also from the plants basal leaves. Left in a dish of water for a few days, my basal leaf specimen started to sprout babies! The botanical term for this is viviparous (see photo below). My composition started to form but it changed again this year to the left side composition in the last photo. I felt the arrangement and story made more sense in the second composition idea.


I have started my final 6 this year and completed research and sketchbook notes for 3 of my choice wildflowers. I approached each one with the same detailed research. The ones I have finished researching and almost done compositions for are Cardamine pratensis, Lychnis flos-cuculi (Ragged Robin) and Lotus pedunculatus (Greater Bird’s-foot trefoil).

We’re having a really hot Summer this year which means everything is going over and seeding too early. This is the same in the meadows. The Greater bird’s-foot trefoil growing in my garden didn’t grow to full height and started to seed almost as soon as the flowers opened. This made measuring very tricky! A very kind friend, from a little further north than where I live, offered to pick a few pieces near her house and send it to me. The amazing thing was, she was going on holiday and just happened to be passing my house that day! The pieces of plant were quickly measured and placed in the fridge minutes after they were delivered. These wildflowers are very fragile and fade very quickly once picked. Thank you Paula Golding, you were a life saver!


I still have 3 more wildflowers to study and make compositions of this year and early next year.  After that I’ll be painting my final compositions for the rest of the year when the plants are in flower. Here are my final sketchbook notes which will include some dried pieces of each plant on the right side page gap.

My advice to anyone thinking of applying to exhibit with the RHS is to look at Katherine Tyrell’s pages on the Botanical Art and Artists website. There she explains the procedure, rules and how to plan your exhibit. If you are accepted spend at least a couple of years watching and studying your subjects. Preparation and research for the final paintings is essential.

I will return with more about my journey next year. I plan to exhibit, if all goes well, in 2020.

I hope you enjoyed my Blog!

Blog 12: Painting a Portuguese Shell…

I was given this shell at my Daughter-in-laws wedding last year in Portugal which has their wedding date inscribed underneath it. It has a special meaning to me as you will no doubt understand. So, I had to paint it for the couple to enjoy in their home!

To begin with, shells are rather difficult shapes to draw. Full of spirals or curved lines and beautiful patterns. This shell has lines going both vertically and horizontally over a curved surface. We really need to get those right first! I started by doing the outline of it’s total shape and then worked from the top/middle of the drawing putting in the curves carefully as they go from left to right. As they go round to the edges the space between them reduces almost to a vanishing point. Once these were completed and the little cracks across it’s surface drawn on, I then worked from the centre/top, putting in the vertical lines, across to the left and then across to right. These also curve across the surface subtly….quite tricky!

20180210_104809
My shell has a number of interesting colours and I studied them carefully before I started to make my swatches. A lovely slate blue grey at the top and warm tan colours at the bottom intermingled with beige tones and yellows. I now had a good idea of what colour mixes I would use and created my swatch of colours.
20180210_120845
For the slate blue/grey I used W&N Ultramarine Green Shade (U(GS), Transparent Yellow (TY) and Permanent Rose (PR). Mix it like you’re making black (70% blue, 20% red and 10% yellow) but add in a little bit more of the blue. For the Tan colour I used Burnt Sienna (BS), Quinacridone Gold (QG), a tiny little Indanthrine Blue (IB) and a tiny bit of Sennelier Rose Madder Lake (SRML). I used the SRML to just add a little brightness to the mix. For the second tan colour which is paler and more orangey, I used QG and BS, more of the QG. I also mixed up a black using IB, TY and QM with a little of the U(GS) added for a darker slate grey used at the top of the shell.
20180210_142143
The first step was to add a wet in wet layer using the base colours, grey, beige, warm yellow and rusty browns. When the wet in wet layer was totally dry, I started to add in some of the details with a watered down mix. Step 1: starting to add in some of the vertical and horizontal patterning. Step 2 shows me adding a little more shadowing and some of the cracks in. It’s best not to work with to thick mixes at this stage or your painting will start to look smudgy. Now it’s starting to look more interesting!

20180210_165314
Step 2

From here I now added in more of the background colours to give my shell some form. These were very watered down versions of my original colours plus a slightly bluer version of my slate grey/blue. I applied these individually as a thin wash and then quickly rinse/dry off my brush before softening the edges. It’s important to soften the edges of these washes with a damp brush. It gives a lovely smooth finish.

20180212_114012

See how it’s starting to take shape! On some areas I used a Billy Showell technique to apply rough lose lines, a dry brush method. This gives a little more interest to the patterning, which are not always just curved lines. To do this, I load my brush and splay it into a fan in my palette. Then I slide the brush away from the palette until it forms little points instead of one point. Holding the brush as a 45° angle I then brush lightly across the area. For thinner lines hold the brush more upright. (There is a video demo of this technique on my Feathery Pursuits blog) This takes a bit of practice, so try it out on a separate piece of paper first!20180212_113038
To add in the spots onto the surface I used another technique. These are not just spots you see. Some are blurred and others have a line coming down from them. To achieve a blurred effect the paper needs to be damp. But rather than dampen the paper first, it’s best to do this with the brush afterwards. You have to be quick and patient! Here’s how it’s done:

Some of these dots were paler than others so I used a watered down mix for those but the same method to apply them.
20180212_171931Once the dots were finished I worked on the top of the shell. This area is not solid colour so I’ve dampened the paper first to get a more mottled effect. It looks pretty messy at this stage but once I add the fine detail it comes together. To get a stronger mix this time I’ve used Indanthrine Blue (IB), TY and PR with only a little of the U(GS) in my mix. This part of the shell is quite dark and U(GS) is a weaker pigment. It’s make the same shade of slate grey/blue though.

From here I worked at the fine detailing on the top part of my shell, even the vertical lines show up on parts of it as they go down into the striped part. To the right side there is a slight halo of light where the slate grey disappears over the edge of the shell. I left this part a little lighter and graduated it away. It’s a little like the reflected light from the surface which you get when painting pears and apples** see below for better photo!

20180212_201136

Now to join bottom and top together. There were lots of lines to do here so I had to be very careful! Firstly, to guide me I added in the lighter blue/grey section between the darker lines. Then I carefully added in the vertical lines and horizontal curves. **You can see the slightly highlighted edges at the top of the shell better in this photo below middle.

Next, I worked on the cracks to enhance their depth. I added a darker mix into the top areas of these cracks with a thin wavy line, softened this a little with a damp brush and at the same time pushed the paint back into the top part of each wavy line. This creates backup which is perfect for this type of detail. It gives a nice sharp edge with a thin graduation in front of it. Lastly, a little extra shading around the sides and bottom to make it pop off the page!

I hope you enjoyed this Blog and that you are encouraged to have a go at a shell. Happy painting!