![]() The rule of thumb is to start with the darker tones first. To achieve a realistic look to this coat, a darker undertone should be slightly visable so that the lighter hairs can sit on the top, and depth is suggested. Mix in a touch of water so the lovely warmth of the tint can be seen through the topcoat to an extent.īees are covered with many hair like filaments called setae. So give these a glaze with a colour created from Burnt Sienna with a touch of Yellow Orange into the mix. The first step is the legs, these will be top coated but they require an appropriate body colour. The final stage is the stem, this can be created by laying in a thick coat of Yellow Ochre and whilst this is still wet, blend in some Mid Green and then Burnt Umber along the edge in shadow The left section of the flower head is in deep shadow so add spots of Paynes Grey along this edge. As we know pollen is Yellow, so add a spot of Cadmium Yellow on the top of each anther, spot this colour sporadically around the flower head also. Add some of the darker spots into the centre of the flower and sporadically over the head in areas. Add 1 part Burnt Umber to the mix and continue these darker spots on the side of the flower head. Continue the spots until you reach the edge of the flower head. Create this colour from a mix Cadmium Yellow and Yellow Ochre in equal proportions.Įnsure you watch the accompanying video as these ‘anthers’ need to be laid down in a specific order to effectively portray the spherical nature of the flower head. The many little stamen inside the flower are called the anthers these can be suggested with a series of neat spots created with a filbert Brush. ![]() Dry brush over the Grey areas with Titanium White so the darks amalgamate. Next paint in the remaining areas of each petal with Titanium White. Paint in the shadow areas of each petal with this colour. First create a Mid Grey by mixing Titanium White and Paynes Grey in equal proportions with a touch of Phthalo Blue. Squeeze out some Paynes Grey, Phthalo Blue, Yellow Ochre, Cadmium Yellow, Titanium White and some Burnt Umber. The Daisy can be broken into stages 1) the shadow, 2) The White of the petals, 3) the anthers, 4) the pollen and 5) the stem. Don't make the clouds too uniform in regards to shape and size. Build the cloud up slowly so that it is more opaque in the centre and the edges are softer. Charge the large Filbert Brush with paint and wipe off the excess onto a paper towel then apply the paint in circular motions. The clouds are going to be dry brushed on, so squeeze an amount of Titanium White onto the palette. The blend doesn't need to be overly smooth, in fact you will find it looks better if it is patchy. When you reach the middle, blend the 2 Blues into each other. Next start from the right side and move into the middle of the canvas. Bring the colour across until you reach the middle of the canvas. Start with the Cerulean Blue from the left side, cutting in around the flower as you go. Use a large artist brush ( I used a 50 mm Abstract Expression Brush). ![]() Into each spot squeeze out some Mont Marte Retarder Gel to the ratio of 25% Retarder to 75% paint. To create the sky, squeeze out some Cerulean Blue and Phthalo Blue in 2 spots on a flat palette. The background is comprised of the sky and the clouds. On the other hand ensure that you don’t thin it too much, causing the paint to well in the hollows of the canvas. Let this dry.Įnsure that when the tint coat is laid down, it is adequately thinned so the underlying drawing can clearly be seen beneath it. Add a little water to the paint so it is the viscosity of cream and apply it over the whole canvas. For this project the tint colour is a mix of 1 part Burnt Sienna to 1 part Cadmium Yellow. Tinting a canvas provides the overlaid colours with a warmth and the tone is used in the centre of the flower and the bee. ![]() What ever method you use, don’t start on the next step until you are happy with your transferred drawing. Alternatively you can use an over head projector or create a grid system and transfer it that way. Using a HB Pencil transfer the line work as closely to the original as you can. We've used Mont Marte Satin Acrylic Semi Matte paint for this project, and the lesson covers a range of unique techniques essential for creating realistic work with a fast drying medium. Bees are magical creatures, and in our latest lesson we paint a beautiful macro bee coming in to land on a daisy. ![]()
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