Hi Lenet - I’m thinking it is best to get the plaid first. Then let it get really dry and put the shadows over the top. As you put the shadows on, the pattern of the plaid will start to disappear as the shadow gets darker close to the tomato and that is what the photo looks like. The color of the shadow over the red plaid should then visually mix to give you the correct color of red under the shadow. Does this make sense? Also, this shadow is a warm tone (not cool) as can be seen on the reference photo on the right side of the plate (where there are white squares in the plaid). The shadow on the table looks warm to me too and again I would do the background first, adding the shadow to the top after the background is very dry.
Terri Robichon
PS - I’m going to continue working on this painting now and will try to post another progress photo later today or tomorrow.
Hi Lenet. I’m posting again because it might help you and others like @Meme5 to see this. In keeping with my approach to “map in my colors” first in a really light wash, I decided to do my background grey next. Because the surface area to cover was so large, I wet the paper first and then brushed on the color. With all this mosture the paper expanded and got lots of large ripples. There are some of those “color blooms” that I mentioned in the last post because of the mosture and paper distortion.
The purpose of this comment is to let you know not to let this freak you out if it happens. Since the edges of the paper are secure, it will flatten out again as it drys out. And while I may still see some of the blooms its not a big deal because the color is very light and more layers and textures will eventually be going over the top.
Terri @robichon , I am following you approach. I got some color going! Taking a break, but will post progress on this one as well. Maybe if we both post progress drawings, it could help both each other and other’s as well.
I do occasionally like to see someone else’s process especially for using mediums, I’m not familiar with.
I’m definitely learning on this watercolor, so advice along the way is welcome from all.
@robichon You are the sweetest to think of others such as myself to help us learn a good process on the scary watercolors. I’d like to try the painting soon-ish. The paper naturally bucking gives me anxiety to the max. I have PTSD from the first tomatoes… HAHA Where can I find the lesson?
Hello Sonia @Meme5 , This is a challenge from another forum. Picture is posted above in a post from yesterday, so you could download and try. There is no lesson for this one. The challenge was to do a drawing or painting in any medium you choose, noting detail of different elements (patterns, lighting, shadows, textures, etc.) and artists were encouraged to try medium that we were not exactly comfortable with to have a new experience.
Hi Lenet - Your progress is GREAT. It looks like you’re using cold press paper, so that means you will have more texture to deal with. I always use Hot Press because it is smoother. (Just my personal preference. I also prefer more expensive 300# paper, but am using up some 140# on this one.) I pull out my little brushes and can really get some great details on the smooth surface.
The one recommendation I’d give you on what you’ve done so far is that you’re losing some of the lighter tones around your tomato highlights. I’d suggest grabbing a paper towel or two. Take really clean water and wet the paper around the highlight (but NOT the highlight). Then dab the wet area to try to lift off some of the red tones, thereby lightening the value in that area.
As you watch my progress, you’ll find that I use more layers, making only slight adjustments each time, thereby having an easier time managing all the subtle mid-tones.
Now I’ll tell you what I have so far. (I’m done for the day and can’t work on it tomorrow - so no more from me until Tuesday sometime.)
First I put down that really light color mapping layer on the background. Now that it is dry @Meme5 you will see that all those scary ripples are gone. Then I put the light coat on the cheese. That was a difficult color to mix. My next focus was the plaid on the plate - which was tons of layers to get the subtle differences in value, with a focus on keeping the pattern in front of the cheese lighter. Later on I’ll have to add some very subtle shadows because a lot of the white is NOT a pure white, especially on the left side. Lenet, you probably need to put the really light gray on the plate before starting the plaid to keep the plaid from bleeding into the white. I won’t have a problem with the ink. On the darker shadows putting those on top of the plaid should be fine for you. But whatever sequence you prefer. Finally I started work on the tomatoes.
Just as I started identifying all the really light colors, I’m now at the point where I will also define the really dark (as I’m doing when working on with the tomato in the background). I’m happy with what I’ve gotten done so far.
Terri @robichon , You are making good progress. I did get one layer of plaid done, and some good work on the tomatoes. I am going to have to quit for the day as well. I have to go out of town tomorrow and will not be back on this until Wednesday. But I put in a good 7 hours today. I saw that I was loosing some highlights and trid to address by removing a small amount of color and add value around. I hope it made some difference. Looking at the progression is exciting for me. I think I will bring the leaves up next to level of tomatoes, then background before attacking cheese and more plate. I need to get some of the background value before the almost white gray subtleties.
Terri @robichon , I’m beginning to get the hang of them. I think it was more of not having the confidence to use them properly before now. Previous bad experience prior to any instruction left a sour taste in my mouth. Thanks to people like you, instructors here on VI and other online teachers and the other people who freely share their experiences here, I now feel that I have the confidence to drawing anything. Rendering it with different mediums is another story. But I’m gaining confidence there, and learning about other mediums that I have not attempted is only growing my list of projects and mediums to try.
Figured it was time for another update. Clearly the focus this time was on the greens. I think I spent about 7 hours doing that color. Tomatoes are next.
Hi Lenet - after another 5 hours of painting from the previous post, this is where I’m at. I’ve been thinking, for a beginner watercolor painter who is trying to learn the media, you really picked a difficult subject. But then, succeeding at something that is hard is part of the fun.
Terri @robichon , this is coming out great. I am just trying to apply concepts to the medium. So far, not perfect but also not to surprised that careful application can generate decent results. I do love a challenge! Thanks for the encouragement.
I had a Dr. Appointment today, and did some other things while out. Got in just in time to catch Getting Sketchy. Didn’t get back into it today.
Hi @Meme5 - I usually use 300# watercolor paper, but I have some of this 140# paper and thought I might as well use it. The “wet warp factor “ is not nice, even though it is totally taped and goes mostly back to flat as it dries. Lesson learned. From now on I Will only use 300# with wet, and use the 140# for dry media like colored pencils.
I only see beauty on your work. You have such delicate touch. It’s so detailed and defined. I love it. I will take note of the use of 300 lb vs 140 lb watercolor paper though. I got some WCP sheets cold press can’t recall the weight.
