Trunk Full of Flowers by Kingslan & Gibilisco Studio

Trunk Full of Flowers by Kingslan & Gibilisco Studio

Conversion Chart Book Code Archival Winsor & Newton Genesis W Soft Titanium White Titanium White White Y Cadmium Yellow Mid Cadmium Yellow Pale Bismuth or Genesis 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 or Raw Sienna 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 Code explanation: To mix the colors, identify the code: W Warm C Cool Bas: Basic Then find the hue - e.g. Green, Violet, White, etc. Then find the value - 02-18 The mixes are listed next to the swatch. For example CR8 is Cool Red Value 5. The mix next to that is R + RV + YO. Easy as that! Trunk Full of Flowers - Page 2

Painting of a Rose within a Still Life Preparation The entire top and bottom sections of the trunk were painted with DecoArt Black Green. The insert panels are painted using the same acrylic. Allow this to cure for several hours prior to the painting of the still life. Measure two inches from the edges of the lid. Mark a line with either a soapstone or chalk pencil. Tape the inside edge to form a two-inch border measuring two inches from the outside edge. Paint this border with DecoArt Black Green in order to seal the edge of the tape. Any paint that seeps under the tape will be Black Green. Next, paint the border with two coats of DecoArt Black Plum. Paint over the routed edge. The Black Plum will act as the undercoat for the Gold Leafing. Transfer the Design Trace the design with a sharp hard pencil (4H). Initially trace the entire design, including details. When transferring the design, transfer only the outer lines of the basket. In other words, trace but do not transfer each stave. Transfer the flowers, omitting centers, pollen, and tendrils. Color Coordination This lesson is an excellent exercise in balancing colors and flowing values through a design. The rose, while the focus of the lesson, is also the focal element in the arrangement. You will note that the major colors in the rose are used in each and every flower, leaf, tendril, and as reflected tones on the basket. As colors recede away from the rose, they become gradually less bright, slightly lower in contrast, contain fewer details, tints and accents. This is a slow gradation. The values and intensities of the flowers in the front row are slightly brighter and contrasting than those in the middle and back rows. The same is true of the leaves and filler flowers. The basket could have been the traditional tan color instead of gray but that would have been out of harmony with the overall cool temperature of the painting. The size of the basket dictated that the color should be very low intensity. The blue gray is more pleasing since the blue-grey is closer in hue to the cool analogous color arrangement. It is our practice to begin developing a composition in the focal area and progress to the areas of lesser visual importance. The leaves are painted after all the flowers have been developed. This is not only more efficient, but also more productive. The leaves must complement the flowers and when there is an established visual reference, it is easier to make the color choices. On a dark background it is easier to recede dark leaves and use light, bright leaves to pull the eye forward. Review the section on pages 8 for further leaf information. Warm Red Rose Create the rose using the value scales below. See page 2 for code explanation. After the other flowers have been developed it may be necessary to return to the rose and add brighter accents and to deepen the dark areas. Should the rose appear dull, it can be brightened by glazing with Red Violet. The paint on the rose should be thoroughly dried before glazing. While this glaze is still fluid, gradually increase the intensity in the light areas. The first color you would put on the dried rose is low light. Next apply light value and control its application to stay within the previously applied color. The high light value may be added if necessary. The trick is to avoid covering any previously applied values/colors. Each must show at the edge of the next application. Light: Low Light: High Light: High Dark: Dark: Low Dark: CR5 CR6 CR7 CR3 CR2 Violet CR4 Accents: Orange (R+Y), Red, WBlueTint (When dry) Initial value placement Trunk Full of Flowers - Page 3

Increase lights and darks Initial value placement Increase lights and darks Add accents, tints and turning colours Daylilies Low Light: Light: High Light: WV5 WV6 CR5 CR6 on front petals WV9 on back petals Add accents, tints and turning colours Trunk Full of Flowers - Page 4

Rear Daisies Light: Dark: WV9 WV3 WV7 Accents: Rose Colors, Warm Blue Tint when dry Rose Bud and Rose at the Rear of the Bouquet The Rose bud on the lower left side of the bouquet is painted with the same value scale as the rose. The difference is that the medium mixture is a value darker than the main rose. Therefore begin at CR3. Light: High Light: Dark: WV7 WR7 CV3 CV6 Filler Flowers These florets are a combination of all the colors in the other flowers. Those in front should be warmer and brighter, while those in the depth of the bouquet and at the rear are darker and closer to the violet ranges. Baby s Breath Cool blue baby s breath is placed near the red rose to enhance and balance the warm tones. The rest of the baby s breath are warm tones next to the warm flowers and gradually darken and cool when placed in the depth of the bouquet. First place the dark value, then the medium and finally the lightest tone. Vary the size and placement. Use an old scruffy brush or a #0 Mop. Cool Baby s Breath Dark: WBlue1 WBlue3 Light: Warm Blue Tint Initial value placement Warm Baby s Breath Dark: WV4 WV7 Light: WW9 and WV8 for variety Increase lights and darks Trunk Full of Flowers - Page 5

Centers, Stamen and Pistels CY4 Dark: CY2 Light: CY6 Basket Low Light: Light: High Light: High dark: Dark: CGrey6 CGrey7 CGrey8 CGrey4 CGrey3 CGrey5 A basket is not easy to paint since the staves, collectively, must change in value as a whole. Yet each individual stave must have a value change to create the bends in front and the bend behind the vertical staves. Initially, transfer only the outside lines of the basket, not the weave. Paint the basket first in values as shown in the first diagram. This will establish the form. Dry this portion then transfer the lines of the weave. This will make it easier to match the values and control the shape of the basket. Fill in the negative spaces between the staves with a Green Value 3 or 4. This will help to identify the parts of the basket. Some flower tones may be added later to these spaces to suggest leaves and flowers peeking through. Each horizontal band is then shaded where it goes behind the vertical bands, and vice versa. The center of each stave is raised one value with a lighter grey. Accents and tints can be added as you progress or they can be placed when the basket has been dried. Trunk Full of Flowers - Page 6

Front Daisy Light: Dark: CV9 CV3 CV8 Shadow Work The shadow work is created through reverse shadowing. The implied table area is so inherently dark that a shadow would not be apparent. Therefore a process called reverse shadowing is employed. Add a scumble of WW5 (dry brush application of paint) to the area in front of the area where the shadow would fall. By making the foreground lighter, what looks like a dark shadow appears. Reference the photo for location of this application of paint. Initial value placement Finishing Paint the routed edges around the frames with Black Plum. Gold Leaf the routed edges of the lid, the frames, and the bottom of the trunk. Seal the leaf with Final Coat Varnsih. Antique the border and the leafed edges with a glaze of BU + Black. Spatter with the same colors. Add accents, tints, and turning colours Insert Panels Rose and Day Lily Panel The rose and the lily are painted using the same value scales as on the lid. The leaves surrounding the rose and the lily are highly developed. As the leaves move away from the main flowers, the colour, intensity and details lessen and the value darkens. Tulip Panel The tulip is developed using the values as listed below: WGrey5 Light: WGrey6 Highlight: WGrey7 Dark: WGrey4 Low Dark: WGrey3 Accents: R, RV, Cool Blue Tint Turning Colour: R Streaking: R, RV, BC Increase lights and darks Initial value placement Trunk Full of Flowers - Page 7

Leaves Leaves are the support system for the flowers in life as well as in painting. Leaves must never be more vibrant nor more interesting than the flowers. However, leaves should be varied from each other in hue, tone, and value. Artistic license may be taken when coloring leaves as well as designing leaves. Emphasis is given to flowers through contrast in the leaves. Place cool tones close to warm tones; place light values close to dark values. Recede leaves and minimize emphasis by parallel placement; i.e., cool next to cool, warm next to warm, dark next to dark. etc. Use these mixtures in combination. No leaf should be entirely cool; add some warm tones. No leaf should be entirely warm; add some cool tones. Advancing and important leaves will be more vibrant and will show a wider contrast range of values. Receding leaves will be duller and show a closer contrast range of values. Temperature can create contrast. Use warm against warm, and cool against cool in order to recede into the background or connect with the neighboring flower. Use warm against cool in order to pull forward, emphasize or contrast with the neighboring flower, area, or background. The veins, spots, holes, and interesting details may be added after the leaf is dry. Basic or Natural Leaf Scale Mix a value scale of grey using black and white. The scale should range from a value 2 to a value 8.Another option is to use the Genesis Value Scale of Grey. If you mix your own, there should be at least 7 different values. Now add a small amount of Y to each portion to shift the scale to the green side. The lower values should be quieter (duller in intensity) than the lighter portions. Split the value scale into four equal portions. There should now be 28 portions of paint. Initial value placement of a standard leaf Increase lights and darks Add side and center veins with dark green. Add highlight in the center of the veins wherethey cross over the light area of the leaf. Warm Leaf Scale To one of the value scales of green, create a warm leaf value scale by adding YO to the lighter values and BU to the darker values. The addition of BU will dull the dark values if they become too bright. If any of the values become too grey, add Y to the pile. Cool Leaf Scale To the third value scale of green, create a cool leaf value scale by adding UB to each pile. If any of the values become too intense with the blue, neutralize with BU. Red or Dull Leaf Scale To the final value scale, create rich browns by adding YO to the lighter values and RV + BU to the darker values. Add R if any the mixes become too intense or bright Add Y if any of the mixes become too dull. Add tints and accents Trunk Full of Flowers - Page 8

Increase lights and darks Add accents, tints, streaks and turning colours Line drawing Trunk Full of Flowers - Page 9

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