One of the benefits of sketching the Nootka Rose was breathing in its rich fragrance as I worked. As roses go, it’s pretty demure, but the aroma is world class!
A wild rose study page done in a Stillman and Birn Zeta sketchbook for the Oregon Botanical Artists sketchbook exchange.
Choice of Pigments
The rose’s leaves had just unfurled and were a lovely fresh green, so I mixed the bright pigments, W&N Winsor Blue Green Shade (same as Pthalo Blue GS) and W&N Lemon Yellow, with a dab of Daniel Smith Quinacridone Magenta to calm the spring green mix down to a more natural color. I discovered that putting down a very dilute tea wash of W&N Manganese Blue Hue as a first layer on the leaves allowed me to easily lift paint later for the veins. Manganese Blue Hue has no granulation and is non-staining so is perfect as a base layer for smooth leaves. (Thanks for recommending it, Heeyoung Kim!) This was especially useful because this sketchbook paper is very delicate and usually starts to break down with any kind of attempted ‘adjustments’. The MBH seemed to keep the staining pigments on the surface of the paper, rather than sinking in, so they could be lifted more readily.
I used one of my favorite pigments, Daniel Smith Quinacridone Magenta with a tiny dab of Lemon Yellow for the petals, with DS Quinacridone Pink (plus a dab of LY) towards the petal tips. Quinacridone Violet was reserved for the deepest petal shadows. I didn’t put down a base layer of non-staining pigment on the flower petals and found I could barely lift any paint at all, and even the most gentle attempt damaged the paper surface. I think a foundational tea wash of Daniel Smith Anthraquinoid Red would have been a good choice for the petals since it is non-granulating and non-staining, plus it’s a violet biased red like the others I used.
Sketchbook Benefits
I am finding these sketchbook entries to be not only a great learning tool and preparation for future paintings, but very encouraging. Why encouraging? Because I have a limited opportunity to paint a given plant during its blooming or fruiting season as it comes and goes each year. I know I’ll have to wait another year before I have the chance again, and have to pass a lot of plants by because I am already working on a different project. With the sketchbook, I can at least do a quick study and be refreshed before plunging back into one of my more prolonged and intensely detailed paintings. Occasionally it’s nice to dawdle and smell the roses along the way!
This blog is about my journey as a botanical artist--what I am learning, what inspires me and what I am currently drawing or painting. My desire is to continually hone my skills to better express my wonder and gratitude for the beauty of the creation around me in the Pacific Northwest (USA).
This is a lovely page and I particularly like the sepals and the rose hip, and what a lovely idea to add some dried petals in a little opaque envelope!
Hi Angela, The sepals and rose hip were definitely the most fun to draw and paint! Glad you enjoyed the post, and thank you for commenting.
Hi
Just love reading your blogs, full of useful tips as well as your stunning work. Is it ok to “share” on the Botanical Art Society of New Zealand Inc (BASNZ) Facebook page? We are a new page and looking for interesting and informative articles etc.
by the by….would love it if you joined! We are a very small group, so are currently “open” for new members.
Many thanks
Elizabeth
Hi Elizabeth, Of course I would be delighted if you shared my post with your group! I just replied to you via email. Thank you for all of your kind comments–I am so happy to hear that you find my blog enjoyable and useful!!
Hi Janene, I am following your blog with great interest, and was thrilled to read about the technique of laying down an thin wash of a non-staining colour to help lifting later. However I am a bit confused as you mention Winsor & Newton manganese blue: this is made of the pigment PB15, phthalo blue, which is marked as a staining pigment. Are you by any chance using the old (real) manganese blue, which is now discontinued?
Hi Kathe, You are right that pthalo blue is a staining pigment, but the pigment I used is W&N Manganese Blue Hue (PB 15:3). I rely on the website, Handprint, for much of my pigment info, because of Bruce MacEvoy’s extensive testing and he lists this pigment as non-staining and only slightly granulating. W&N doesn’t list it as staining either (as far as I can tell). I hope this helps clarify the issue. The maze of pigment names is confusing isn’t it!?
I hope this technique works for you–please test it out on scrap paper before using it on a painting–and let me know how it goes!