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Cuprinol 5122247 Garden Shades Exterior Woodcare, Sweet Pea, 1L

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Lit: Judy Marle, ‘Jennifer Durrant, Recent Paintings’, Arnolfini Review, March–April 1979, p.2; Alister Warman, catalogue introduction for 13 Britische Künstler, eine Ausstellung über Malerei, Neue Galerie-Sammlung Ludwig, Aachen, December 1981–February 1982, and tour [p.10] I add another wash of pink to the centre of the flower. You’re trying to keep the lights and darks in tact, but also want to unite the different areas of the flower. It’s something of a balancing act. I use Winsor & Newton watercolours, and work quite dry. This mix is Opera rose with a touch of Cobalt blue. I always use a Winsor & Newton series 7 paintbrush, normally a number 1. I also wanted to look at one of the pink sweetpeas, but decided this would be a study of the venation within the petals; a line drawing in watercolour, if you will. This helps if asked to draw a sweet pea again; once the purple ones are complete, some of the detail will be swallowed up in the dark colours. Getting going on the colour: Painting the stem

Once your botanical illustration has dried, work into the inner petals a bit more. Add some detail, and balance the different parts of the flower by adding pinks to this central zone. Having put down the initial green on the stem and calyx, I work into it, adding the flush of purple. I try to keep my colours fresh and light, and don’t erase the pencil in these sketchbook studies, which gives me a little more freedom with the paint as it doens’t have to delineate any edges. Mix a darker pink for the central petals. I used purple lake, Alizarin crimson and opera rose; but be informed by the colour of your own specimen. Here the illustration is pretty much finished. All that I altered is adding some darks. With the purples, these were quite an extreme mix of purple, brown, and prussian blue.Sweet peas are beautiful flowers, and a joy to paint. This blog is a step by step guide to painting the Two-flowered Everlasting Sweet Pea Lathyrus grandiflorus. About Sweet peas I simply loved painting these tendrils, the way they knot and twist is fascinating. A simple green line either side then a very pale top wash suffices. Here I’m adding some darker areas; the green mixed with prussian blue and purple. Painting the Sweet pea petals In relation to ‘Other Cloud’, she has no special recollection of having seen anything resembling the drop or ‘tear’ shapes, and the central blue form relates to a formal problem she had tried to resolve in earlier works, the setting of a circular shape into a rectangular format. As with all her titles, this one hints at a mood in the work rather than defining the painting's sources. She told the compiler that ‘Other Cloud’ suggested the names of Native Americans but could equally well relate to the cloud formations she remembers having seen from the aeroplane on her way to Canada. She had also been reminded of Georgia O'Keefe's paintings of sky and clouds seen from aeroplanes, (the ‘Sky Above Clouds’ series 1962–5).

These [ T03305 and T03306] are two from a group of paintings, started after a holiday the artist spent in Canada and the USA in the summer of 1978 and completed between February and March 1979. Six of the paintings were first shown in her exhibition at the Arnolfini Gallery, Bristol, in March 1979. You’re going to be putting a layer of pale pink on the flower next. Mix up a very pale tint of pink, and be sure you make it paler with clean water rather than with white paint. This is my trusty paintbox (what a mess) with me mixing up some purple to go into the green on the stem. I favour Winsor & Newton paints, and much prefer using Winsor & Newton series 7 brushes to any other sort. Below is a real-time video of me painting this everlasting sweet pea. It’s a very long film, over an hour, but I discuss every process in detail as I go along. This is the completed sketch. This image is a scan rather than a photo; it’s interesting to note the difference in tone and colour due to the different ways of recording the illustration. Generally, scans are lighter and yellower. You can always adjust for discrepencies between colour of scans or photos and the true illustration’s colours in an image editing programme such as Adobe Photoshop.If you put cut plants into a closed plastic bag in the fridge, with a paper towel wet with water, it really extends their lives and keeps them fresh for illustrating. Plants, paper and pencil ready, and most important of all, the cup of tea. Good to go. Getting ready to paint Mix up an ever paler and wetter tint of pink. Apply this wash across almost the entire flower (including the parts which got the first layer of colour). Leave the palest areas as white paper, right next to the stem of the flower. Mixing up the wash to go on the sweet pea. This is a similar mix to before, but with much more water and no brown. In the catalogue of the 1979 Hayward Annual exhibition (op.cit.,p.66) Durrant discussed her approach and working methods:

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