New paintings at the top!

If you have any questions; I would be happy to answer them! 

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Boat in calm water:

The start for this paintings work in progress starts further down!

 This is the finished Process Painting
Support: Arches 185 gr. fine Cold Pressed

 6.) I rubbed of the masking fluid and discovered that the white marks were far to much, I wanted it much much less. Ok; had to start rubbing around the painted colour with my flat hard acrylic brush to move it on top of the whites. Also adding some more colour on those areas. I liked the dark lines from the back of the small brush much much better than the white waterreflections bellow the boat on this painting.. I had to make them white lines dissapear some, therefore the dark reflections from under the boat are bigger on this last painting. Oh; I also painted the yellow (Raw Sienna) and red (Scarlet Lake) before putting to much dark reflections underneath, to keep the colours pretty clean.
 picture number two.

5.) I wet the paper on and around the tree area. Also where the water reflections were going to be. I put on some "Transparent yellow" and "French Ultramarine blue" on the tree area and also some on the water area bellow.
Picture number one

1 .) After the light drawing I put on some maskingfluid. I put on a very thin wash of Antwerpblue on
the whole paper (exept from the boat). I let it dry completely. 

2.) The second wash was the same, but this time I didn´t paint on the sky, only the rest of the paper. I let it dry completely. 

3.) Third wash; the same Antwerp blue, but NOT on the left mountain and sky. 

4.) Fourth wash I painted a very thin layer of "Permanent Rose" everywhere except from on  the sky and the left mountain. This gave the painting a bit warmer feeling. Let dry completely.

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A streetscene in Alcudia:

A pre drawing I am working with right now. A lot of measuring 
to get everything right!
You can actually SEE the drawing if you click the photo!  ;)

To be continued!

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 Here I have made a drawing and then painted the petals with Scarlet lake. I used a hairdryer to dry the paint.

Winsor lemon on the outlines of the petals.

I mixed a violett colour an added as shadows between the petals at a few places. And I also put one more layer of Scarlet lake.
I painted several layers of Permanent Rose also, to shape the petals more. More layers of it at the bottom of the tulips to make the tulip more round at the bottom. The Permanent Rose containes a little blue so I thought it would be good for this. Also it gave a little more "life" to the tulips, if you know what I mean.
 I use the primary colour for this painting. And for the leaves I have used both the redshades blue and the greenshaded blue, depending on the effect I wanted to give. The greenshaded blue is "cooler" and good for the cooler spots, and the redshaded is a bit warmer and fits for the lighter spots. The redshaded blue is also good if you think that the  green gotten too sharp in colour, and you want to soften it down abit. The red is the greens opposite and is therefore good for that purpose.

Here is the finished painting. I have painted some Paynes Gray (not primary colour) in the wet background , dripping some water on top to make it shange form. The pedicles are painted with a little Indian red (not primary colour). And I have darkened some arias on the leaves with Paynes Gray to get more contrast and deepen the shadow.
To finish of the painting I painted some white spots on the lighted arias. (I also finished of with spots of Permanent Rose on the tulips).

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Titel: Stjärtmes (english:Tit)

First I made a drawing of the bird and the branches. I wet the entire background and let som greens and yellows float around by themselves on the moist paper. I worked in several layers letting it dry in between. I also painted som blue.

I lifted spots of colours to create light coming through the leaves. I lifted some colour from the branches too where I wanted it to be softer. I also put som colours on top of the branches at some spots (wet on wet) letting it float out, because I wanted to erase some of the sharp lines in the branshes to make them "disapear some. The bird should be the interrest of the viewer, and therefor I thought that the bird should have the sharp edges.



Alltidhult in Sweden:

White flowers. . .Vita blommor.

This flower is made wet on wet. No drawing before putting the water and paint! 
I have lifted the colour with a dry cloth from the spots where I wanted the 
white flowers. You might do this several times, as the pigments tend to run 
back into the still damp spots! Continue with several layers of the blue 
to intensefy the shadowy side. Details last with the reds and yellows.

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First I wet the entire bckground. I painted it all with
Paynes Gray. Before it dried I painted in Antwerp blue
 at the top and right side of the painting because I
wanted it abit lighter and a bit more blue instead of
grey. I continued with throwing some tablesalt on top
of the wet paint (everywere except on the left 
darker side).

The salt is starting to melt. . .

. . . and melting some more. It´s inerresting to watch the 
painting change!
Ok. Now I just let the paint have a moment to dry.

I have made it darker (Paynes Gray of course) at the
back of the birds. On the left ones back I let the paint
run down the paper, just dropping in the dark colour with
the top of the brush, helping the colour to run whenever
needed so.
Letting It dry properly again. I often use a hairdrier as
I can´t wait! 

 Painted the beaks on  WET paper, and the 
eyes on DRY paper. After the eyes dried, I took a very small
brush and wet small, small spots in the eyes and emediately
pressed down a towel on top, lifting the colour and leaving
the spots lighter blue -ish in colour.These spots are 
important as they make the eyes more "alive".

 Carefully wet the paper all the way 
to the outer line of the beak.  Before the yellow (Raw sienna) in the beak
dried completely I continued with the other beak colours,
letting them flow abit to make it soft. The darker 
beak colours are Neutral tint and Indian red.

Ok. Now we have arrived at the very last thing to do!

Be careful! I used some fine sandpaper on the left birds
backfeathers to get some more movement in the painting. 
And I also used it on the right hand bird, on the neck,
as I wanted to have a softer line there.

Delaporte: Egg basket:

Raw Sienna is the colour I´ve used for the first outlines of the painting.
I have also put some Cerouline blue in the corner of the wall in the back.

More Cerouline blue in the corner. Sephia is used for the background.
But there is more layers of the Sephia on the wall than underneath.

Burnt umber for the mushroom and the Chestnuts. Lifting the
colour with the brush on the lighter spots.
I drew the eggs carefully and then painted the
outlines of the eggs with Sephia.

On the appels I started up with a layer of Raw sienna (not too thin).
Save the white on the highlights!
A very, very thin layer of Burnt umber on the eggs (only spots).

Alizarin Crimson as a second layer on the apples after the first
layer of yellow has dried completely.
A very thin line of Sephia to the right of the 
basket and the apples- Between the apples I chose to 
use Viridian green as shadow.
Finally; A thin mix of Cerouline blue and Alizarin Crimson as
shadow on the eggs.


This page is ALLWAYS under construction 
with paintings step by step. If you have any
questions, I will be happy to try to answer them
for you. Write down your question below as a
comment please.

Thank you for the visite and wellcome back!

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