The Botanical Blogger with Linda C Miller

Laurel Oak   20 x 28 inches Copyright Linda C. Miller 2020 I thought that I would share this technique today as I am almost finished with this large painting of the Laurel Oak.  It has been in and out of the studio over the last two years and I decided to add a few more leaves on the horizontal stem and add more shading to the leaves and acorns.  Let me first start by saying - I did not see at this level when I began painting.  I am now at this point after eight years of painting in watercolor. I am a big believer in having a "friend" near by to guide you, especially when finishing your work.  As you can see here, I have a page opened from my "Rory McEwen The Colours of Reality" book.  To begin my critique,  I set a mat down on my work to crop the areas.  I then allow my eye to move from the painting to the book, using the right side of my brain. Allow your eyes to do the work.  If you still hear your internal critic,...

I can remember the first time I mixed a true black - I was just thrilled.  I used Cobalt Blue, Permanent Rose and Lemon Yellow.      Thank you for visiting, Linda Linda C Miller  Artist | Naturalist | Instructor http://www.lindacmillerbotanicalart.com https://thebotancialblogger.blogspot.com/ Copyright Linda C. Miller 2022 To receive my new posts visit  The Botanical Blogger  -   SCROLL UP  to the top and  SIGN UP !   

I have been painting botanicals since 2008 and here is a new painting from one of our fall treasures, the Magnolia grandiflora.  The red seeds are so striking and hang by a thin white thread!  My darks, the darkest darks are purple and the key is to ensure that both the red and blue are transparent, not semi-transparent and NEVER opaque!       Thank you for visiting, Linda Linda C Miller  Artist | Naturalist | Instructor http://www.lindacmillerbotanicalart.com https://thebotancialblogger.blogspot.com/ Copyright Linda C. Miller 2022 To receive my new posts visit  The Botanical Blogger  -   SCROLL UP  to the top and  SIGN UP !   

  When painting,  I always start with transparent pigments.  You may add a semi-transparent pigment to your mix; but DO NOT add an opaque pigment.  Opaque pigments sit on top of your paper and will move around as you add washes.  THIS will CREATE MUDespecially if the three primaries are involved ! Note: Most transparent paints are staining and do not lift out completely. Most manufacturers have small boxes on their tubes. I * A white box indicates a transparent pigment; * a black box an opaque.  * A split box – half white/half black tube indicates a semi-transparent pigment. Also, all pigments are given an alphanumeric code that is listed on every Artist Quality tube of paint.  The pigment code is the same across all manufacturers unless the manufacturer created the pigment.  All secondary colors are made with at least two pigments (ie. greens, oranges and purples.)  So if you like a color, y...

Back in 2010, I painted this lovely Lady Slipper and I scanned my progress each step of the way.   Here is a "new movie" showing how this painting was built up, layer by layer; 13 sessions.   One of the most important things to remember when painting in watercolor is to add no more than two layers of paint at a time.  If you try to add more, the paint goes onto the paper rather than building up.  You will feel like you are going nowhere.  This is especially true for 300 weight papers. Also note that there is a phenomena called "dry shifting" which means that the painted area looks "lighter" once it has dried.  Blue has the greatest dry shift of the primary colors. This will occur no matter if your blue is a transparent, semi-transparent or opaque pigment.   Thank you for visiting, Linda Linda C Miller  Artist | Naturalist | Instructor http://www.lindacmillerbotanicalart.com https://thebotancialblogger.blogspot.com/ Copyrig...

Note the dried paint in my palette bins. This is where I pick up my color! Creating Fine Lines The most important thing is that your paper is dry, bone dry.  Then using a round brush ranging from a No. 1 to a 00, place your brush in your water container, then tap your brush once on a soaking wet cellulose sponge (not a natural sponge).   Next (very important too) pick up your DRY paint and paint your line.  This technique takes out the excess water in the brush and ensures a brush filled with "loaded" pigment. Thank you for visiting, Linda Linda C Miller  Artist | Naturalist | Instructor http://www.lindacmillerbotanicalart.com https://thebotancialblogger.blogspot.com/ Copyright Linda C. Miller 2022 To receive my new posts visit  The Botanical Blogger  -   SCROLL UP  to the top and  SIGN UP !