#308 Colour Wheel Wreath of Flowers

Transcription

1 #308 Colour Wheel Wreath of Flowers An original packet by Kingslan & Gibilisco Decorative Arts, 4670 Hickory St, Omaha NE (402) web site:

2 Colour Wheel Wreath of Flowers Surface 15 Lazy Susan BRUSHES Ann Kingslan Signature Brushes (available through mail order - see address on the cover page) Fabulous Filberts, Series FF Sizes 2 through 10 Fabulous Blenders, Series 605 Sizes 2 through 12 Mops, Series 600 Sizes 0 through 4 Wipe Out Tool Spotters and Liners Royal Oval Wash Brush PREPARATION Mix ¾ DecoArt Titanium White with ¼ DecoArt Blue Mist. This colour was chosen to simulate a warm summer sky. Paint the surface with two coats of this mixture. Use an oval wash brush for initial preparation. Apply a final coat of the same mixture with the sponge roller brush. As follows: Moisten the roller with water and squeeze out the excess. Roll the sponge through the paint until the white has been covered. The paint should not be dripping, the roller only moistened. Roll in all directions creating a textured surface that is similar to an eggshell finish. When dry, the paint should feel like the shell of the egg. If too porous, sand lightly and wipe with the tack cloth to remove the paint dust. Palette Set up and mixing The original piece was painted with Genesis Heat Set Oils. There is a conversion chart included if you care to use traditional oils. Look over the conversion chart for packet codes also. Paint the flowers in the order given. The flowers compose a wheel of colour and each of the twelve hues will be explored and experienced. Do not attempt to bring the flower to its completion until all flowers have been painted with the first stage process. Details, centers and characteristics of each flower will during the final stages. Final adjustments and harmonizing will be made at the end of the painting. NEUTRALIZING OPTIONS Value of grey Complement Earth Colour White Black Neighbor Colour on the colour wheel Glazes A dull colour previously mixed A combination of the above options Painting Information: The formulae for the flower mixes are given in this order: a. The first two colours given will establish the hue and value. b.the next colour given will control the intensity. c.the next colour(s) are adjusting colours. These will adjust the temperature and/ or brighten or further dull the tone. These colours may be used to shift the hue into another colour family. Colour Wheel Wreath of Flowers 2000 by Kingslan & Gibilisco Decorative Arts Page 2

3 WILD ROSES (Yellow) Yellow is a primary colour and cannot be mixed. The complement of yellow is violet. 1. Yellow may have a tendency to shift into the orange or green range if dulled with Violet. 2. If it is necessary to "kill" an orange cast, the complement if orange is used, i.e., blue. 3. Neutralizing light value yellow with dark value violet will automatically lower the value of the yellow. 4. Addition of white to neutralize the yellow will not raise the value as it lowers the intensity. 5. Yellow that has been overly neutralized or dulled will become brown or black. 6. At its full strength yellow is very intense and demanding. Petals: Medium:Y + W + YO Dark: Medium Mix + YO + Red + UB Low Dark: Dark Mix + UB Light: Medium Mix + Y + TW High Light: TW + Y DAYLILY (Yellow Orange) This colour is a derivative of a primary (Yellow) and a secondary (Orange) and is technically termed a tertiary or intermediate tone. It is termed Yellow Orange since it has a higher percentage of yellow. The complement oropposite of Yellow Orange is Blue Violet. This hue has many of the same tendencies as Yellow. Medium:TW + Y + R + YO + UB High Dark: Medium Mix + R + YO + UB Dark: High Dark Mix + UB + YO Low Dark: Dark Mix + UB + YO Light: Medium Mix + TW + Y (Maybe a bit of R) High Light: Light Mix + TW + Y Petal markings, stamen and pistils of the daylily are added after the above steps are dry to the touch. Accents: TW + UB, YO + UB, YO + R, RV + YO (These accents can be used for all flowers) Center (Added when flower has dried) Medium:Y + YO Dark: Medium Mix + YO + UB Low Dark: Dark Mix + YO + UB Accent: RV + YO Colour Wheel Wreath of Flowers 2000 by Kingslan & Gibilisco Decorative Arts Page 3

4 DAYLILY BUD (Orange) Composed of two primaries, red and yellow, orange is termed as a secondary colour. When properly mixed, neither red nor yellow can be seen. The complement of orange is blue. 1.When neutralized with blue, orange may have a tendency to shift into the green or violet range depending upon how much red is in the orange. 2. If it is necessary to "kill" the violet cast, the complement of violet (yellow) is added. 3. A green tinge is toned by adding its complement, red. 4. Orange can be neutralized with its complement blue until it turns black. 5. Pure orange will brighten any mix that has become too neutral. POPPY (Red Orange) This colour is a derivative of a primary (Red) and a secondary (Orange) and is technically termed a tertiary or intermediate tone. It is termed Red Orange since it has a higher percentage of red. The complement or opposite of RO is Blue Green. This hue has many of the same tendencies as Yellow. Medium: TW + Red Orange (Yellow + Red) + Blue Green (UB + Y) High Dark: Medium Mix + RV + YO (Add R if too dull) Dark: High Dark Mix + RV + YO Low Dark: Dark Mix + RV + Blue Green Light: Medium + Red Orange + TW + Y High Light: Light + TW (+ Y if too dull) Medium: High Dark: Dark: Low Dark: Light: High Light: TW + Y+ R + YO + Tch. UB Medium Mix + RV + YO + UB High Dark Mix + RV + YO Dark Mix + RV + UB + YO Medium + TW + Y + R Light + TW + Y After the Poppy has been painted and dried, use the dark and light mixes for the center of the poppy. The pollen is composed of small dots of lights tints of pink (TW + R) and yellow (TW + Y). Colour Wheel Wreath of Flowers 2000 by Kingslan & Gibilisco Decorative Arts Page 4

5 TULIP (Red) Red is a primary colour and cannot be mixed. The complement of red is green. 1. Red and green are nearly equal in value and thus produce mixes that do not change appreciably in value. In other words, when red is neutralized with green it neither darkens nor lightens. 2. The red tone tends to easily lose its identity in the most dull ranges. 3. An imbalance of blue in the green complement could cause the red to show a violet cast. 4. Red will usually turn to a deep rich brown when totally neutralized. Medium: R + TW + Green (UB + Y) High Dark: Medium Mix + RV + Green (UB + Y) Dark: High Dark Mix + RV + Green + UB Low Dark: Mix + Green Light: Medium Mix + Y + TW + YO (Add R if too dull) High Light: Light Mix + TW + Y + YO (Add R if too dull) SINGLE PEONY (Red Violet) This tertiary colour is made with red and violet; with red being the dominantly visual tone. Quinacridone Crimson (AC in traditional oils) is used a higher percentage than R since this paint is already closer to red violet in nature. The complement of Red Violet is Yellow Green. Medium: RV + R + TW + YO Dark: Medium Mix + RV + Blk (Add RV if too dull) Low Dark: Dark Mix + RV + Blk Low Light: Medium Mix + R + TW + Y + YO (Add R if too dull) Light: Low Light Mix + Y + YO + TW High Light: Light Mix + TW + R Center (When peony has dried) Medium: TW + Y + RV + UB Dark: Medium Mix + UB + RV Light: Medium Mix + TW + Y When dry, the light area at the stem end of the tulip is glazed with Yellow. Add a small amount of warm white (TW + a teensy touch of Y) above the stem. A blue tint may be added at the outside edges. Colour Wheel Wreath of Flowers 2000 by Kingslan & Gibilisco Decorative Arts Page 5

6 LILACS (Violet) Violet is mixed with RV + UB. Violet is a secondary hue composed of two primaries, red and blue. However, Red cannot be used since the chemistry causes the colour to become dull, therefore red violet is substituted in order to achieve a pure tone. The complement of violet is yellow. 1. When violet is neutralized with yellow, the value remains approximately the same. Yellow is highly pigmented and it takes very little to neutralize violet. 2. Violet becomes black when totally neutralized. 3. It is a bit more difficult to neutralize violet with yellow. An easier choice is to use gray or an earth tone. 4. Any shift of the colour into another family can be managed by adding the complement of the undesired colour. Medium: Dark: Low Dark: Highlight: Centers: Violet (RV + UB) + Blk + TW Medium Mix + Violet Dark Mix + Violet (Add Blk if too bright) Medium Mix + TW + Touch R Same Mixes as Peony Centers Leaves and Stems of Lilac Buds Dark: Green (Y + UB) + BU Medium: Dark Mix + TW + Touch Y (Add gray to dull) Highlight: Medium Mix + TW + Touch Y MORNING GLORY (Blue Violet) Blue Violet is a tertiary or intermediate colour created by mixing the primary blue with the secondary violet. Like its "sister" colour, red violet, and its parent violet, a true red violet such as Quinacridone Crimson must be used instead of Red. N OTE: The throat is painted with warm white (W + a touch of Y) and is deepened with dark gray (Blk + TW). When the flower has dried, glaze over the throat is Yellow to produce a clear yellow. The markings are applied after the flower has dried. Mix RV + Black Dark : Medium: Light: Highlight: Blue Violet (UB + RV) + Blk Dark Mix + TW + BV Medium Mix + TW + Red Violet Light Mix + TW + RV (Use BV to brighten if too dull) MORNING GLORY (Blue) Blue is a primary colour and cannot be mixed. The complement of blue is orange. 1. This combination of complements will most readily produce black when fully neutralized. 2. Since the orange is highly pigmented and the Ultramarine Blue is very weak, it is quickly neutralized. 3.This colour has a very short range of neutral scales. 4. It is easier to neutralize blue with gray or earth tones than its complement. Dark UB + Blk + Teensy touch of Gray Medium: Light: High Light: Dark Mix + TW + UB Medium Mix + TW + UB + Touch RV Light Mix + TW + UB Colour Wheel Wreath of Flowers 2000 by Kingslan & Gibilisco Decorative Arts Page 6

7 BEARDED IRIS (Blue Green) This tertiary tone is mixed with primary blue, and secondary green. The complement of BG is Red Orange. HYDRANGEA (Yellow Green) The tertiary, yellow green is made with primary yellow and secondary green. Its complement is red violet. Medium:Blue Green (UB + Y) + YO + TW + Y Light: Medium Mix + TW + Touch Y or UB High Light: Light Mix + TW + YO + Y High Dark: BG + YO + small amount of TW + YO Dark: BG + YO Medium: High Dark: Dark: Low Dark: Light: Centers: YG + TW + YO + VIO Medium Mix + VIO High Dark Mix + VIO Dark Mix + VIO + Blk Medium Mix + TW + YG + VIO (May need some UB or RV) Use Dark Mix and highlight with Light Mix Colour Wheel Wreath of Flowers 2000 by Kingslan & Gibilisco Decorative Arts Page 7

8 LEAVES (Green) Green is a secondary colour composed of two primaries: blue and yellow. When this color is used for many leaves, we take into consideration that there must be variety in hue, value, intensity and also temperature. The complement of green is red. 1. Green and red are nearly equal in value and thus produce mixes that do not change appreciably in value. In other words, when red is neutralized with green it neither darkens nor lightens. 2. The green tone tends to easily lose its identity in the most dull ranges. 3. The temperature of blue is created by shifting the mixes from the yellow side of the spectrum into the blue side, or by adding white 4. Green is warmed by the addition of Y or YO. 5. Gray or black is also a good choice for neutralizing green. Warm Leaves Dark: High Dark: Medium: Light: High Light: Cool Leaves Dark: High Dark: Medium: Light: High Light: UB + Y + RV Dark Mix + Y + Gray High Dark Mix + Y + TW + YO Medium Mix + TW + YO (Add a bit of Y if too dull) Light Mix + TW + Y Warm Dark Mix.+ UB Warm High Dark Mix + UB Warm Medium Mix +UB + TW Warm Light Mix + Y + YO+ UB (+TW if too dark) Warm High Light Mix + UB (+TW if too dark) Second Stage (After first stage is dried) Center of Wild Roses Markings on petals of Daylilies Stamen and pistils on Daylily Markings on Poppy (Black + RV) Center and Pollen on Poppy Third Stage (Adjustments and Fine Tuning) 1. Glaze base of tulip with Yellow, adding necessary highlights while glaze is wet. 2. Glaze throat of Morning Glories with Yellow 3. Glaze front petal of Iris with Yellow, highlight with TW + Y. Add a weak glaze of Red + Black at edge of light on front petal. Soften by rubbing with a cloth. Strengthen red tones with Red. Final Touches 1. Reestablish lights, darks and accents where needed. 2. Glaze Yellow behind lilacs and other areas to balance and repeat tones. 3. Glaze Yellow + Red where warm tones are needed. 4. Pure colour may be glazed over any area that has become too dull. 5. Shines on hard flowers, such as the tulip, may be worked into a colored glaze. Gold Leafing of Edges The routed edge of the turntable should be painted with Russet or any other dull red acrylic. Assemble materials: Wax Paper, Gold Leaf, Talcum powder (optional), Sizing, Brush to apply the sizing, Soft cotton balls, Powder puff or small piece of velvet Proceed as follows 1. Spread wax paper over the surface upon which you will be working. This prevents the glue from adhering to your work surface 2. Paint the sections where you wish to leaf. Be very attentive that you apply the glue only to the area where you wish the leaf to adhere. The sizing must be fairly thin. Any ridges or runs will be obvious when the leaf dries. 3. Permit the sizing to dry until it feels tacky when touched. The time required for the sizing to become sticky varies from one brand to another. If using varnish for a sizing agent, it takes about 15 minutes or until the varnish looks clear. Glue sizing has a longer tack period. 4. When the sizing is ripe it is time to begin. Talc hands to prevent the leaf from sticking to your moist skin. 5. Take the leaf from the package. Untie the strings holding the sheets together. These are called a "book". 6. Lay the package on the work area in such a manner that you can easily grab the sheets. You will notice that there is a sheet of paper separating the sheets of leafing. This is called "rouge paper" and is chemically treated to prevent adhesion to the leaf or the sizing. 7. Be sure that the rouge paper is on top of the stack of the leaves because as you grab the leaf you want a sheet of rouge paper between your hand the leaf. Grab them together - the rouge paper on top of the leaf, between the leaf and your hand. 8. Squeeze slightly in order to crush the leaf. Then slap it onto the sizing. This sounds frightening, but the rouge paper and talc will prevent the leaf from sticking to your hand. Crushing will give the leaf a soft look and will leave fewer holes when polished. Colour Wheel Wreath of Flowers 2000 by Kingslan & Gibilisco Decorative Arts Page 8

9 9. Now, with the rouge paper on top of the leaf, hold the rouge paper with one hand and with the other hand, press back and forth over the rouge paper in the fashion of pressing or ironing a garment. The objective of this pressure is to force the leaf into the sizing. At the same time, you will be smoothing the leaf. Repeat Steps 7 and 8 until you have the entire surface covered with leaf. 10. Softly brush away any excess leafing with a cotton ball. Cure overnight. This allows the glue sizing under the leaf to dry thoroughly. 11.The next day, or several hours later, lightly buff and polish the leaf with a powder puff or a piece of velvet. Be gentle, You don t want to scratch the leaf. 12.The leaf must be sealed with a varnish before antiquing. JW Varnish works well. 13. Follow usual antiquing procedures over the leaf, or you may opt to leave the gold bright. Conversion Chart Pkt Code Archival Winsor & Newton Genesis W or TW Soft Titanium White Titanium White White Y Cadmium Yellow Mid Cadmium Yellow Pale Bismuth Yellow R Cadmium Scarlet Bright Red Genesis Red RV Permanent Alizarine Alizarin Crimson Quinacridone Crimson UB Ultramarine Blue Ultramarine Blue Ultramarine Blue BU Burnt Umber + CS Burnt Umber Burnt Umber YO Raw Sienna Raw Sienna Yellow Ochre Blk Mars Black Ivory Black Carbon Black PB Cerulean Blue Cerulean Blue Pthalo Blue 5 NY Naples Yellow Naples Yellow YO + TW + Y OG Olive Green Olive Green YO + UB + BU BC or PM Purple Madder Alizarin Purple Madder RV + Blk PG Pthalo Yellow Green Cadmium Green Pale UB + Y + W For acrylic conversions reference the Tru Color System available through: TCS, P.O. Box 486, Danville, IN Phone: / Fax: or Any product mentioned in this packet is available through our retail mail-order catalog. Request a copy by writing to our address found on the cover page Colour Wheel Wreath of Flowers 2000 by Kingslan & Gibilisco Decorative Arts Page 9

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14 Value Scale Notes - Wreath of Colour Name of Item Painted and Samoles of Paint Mixes Value Wild Roses (Yellow) Day lily (Yellow Orange) Daylily Bud II Poppy II Tulip II Single Peony (Orange) (Red Orange) (Red) (Red Violet) Center Lilacs (Violet) Leaves, Stems and Center High Light ---- ~ I Light Low Light Thls ls the Value of Object Generally, Mix This Value Finl Medium High Dark Dark Low Dark Accents & Tints ~

15 Value Scale Notes - Wreath of Colour Pg.2 Name of Item Painted and Samples of Paint Mi Value Morning Glory (Blue Violet) Morning Glory II Bearded Iris II Hydrangea II Leaves II Leaves (Blue) (Blue Green) (Yellow Green) (Warm Greens) (Cool Greens) Ribbons High Light Light Low Light,.. ~:- ' < };_/ This is the Value of Object Generally, Mix This Value First Medium - ~-.. -." -... ~,,,..,,... _ High Dark Dark I l- -- ~. _;_ "' ( ;<' I /:q~ ''.,, j ' -.!.+..:; :...' ; ~~-' Low Dark Accents & Tints... ~ I T-