Apples and Berries

Apple & Berries

20 cm x 18 cm; watercolor on 140-lb Arches paper

Blog Post 94

This is my take on Yuko Nagayama’s ‘Apples and Berries’. (See ‘You Can Paint Vibrant Watercolors in Twelve Easy Lessons’ (cover and pp. 2, 5, 6-11, 15. 16). I started t by sketching one apple, laying down a yellow underpainting but leaving some white spaces for highlights. After drying, I painted a lighter red tone over the yellow underpainting, dried it, and then touched a deeper red color to make the apple 3D.

A fresh apple which was lit by a desk lamp was my constant reference for painting shadows and highlights.

Yellow Apple Red Apple

Brushes used: Silver Brush sable brush #s 2, 4, 6, and 8.

Watercolors used: Winsor & Newton, Daniel Smith, and Holbein

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Maya Bang

Maya Bang2

20 cm x 18 cm; watercolor on 140-lb Arches paper

Blog Post 93

I started this painting by reviewing how to paint Chinese roses. Then, I added an angry Maya to serve as the focus of the painting.

Brushes used: Silver Brush sable brush #s 2, 4, 6, and 8.

Watercolors used: Winsor & Newton, Daniel Smith, and Holbein

Chinese Rose Bush

 

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No Blue Rose?

No Blue Roses?Watercolor on 14-lb Archers watercolor paper, 18 cm x 18 cm

Blog Post 91

This is my take on Yuko Nagayama’s impressionist painting of a bouquet of roses. I had a chance to watch her watercolor impressionism workshop session on January 5, 2019, from 10 A. M.-4:00 P. M. at La Fuerza Plaza, Chino Roces Ave., Makati City.

The painting above was not the one she demonstrated, but it was my study based on on one of her paintings in her book, ‘You Can Paint Vibrant Watercolors in Twelve Easy Lessons’.

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View from Land’s End

thumbnail

Acrylic on canvas; 46 cm x 61 cm

Blog Post 90

I usually paint landscapes while on tour. This was the painting I started while in San Francisco, California in 2018. Good I took a photo before I left the place. So, whatever needs to completed, I was able to do, through the photo I took.

It was late spring when my family was in Land’s End, one of the most famous places in San Francisco, California–a bit sunny, but still foggy at a distance where the Golden Gate Bridge could be seen.

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White Chrysanthemums

 

Acrylic on leatherette pencil case; front (left) and back sides; 27 cm x 15 cm

Blog Post 89

I painted White Chrysanthemums on my pencil case so I can easily identify it when ‘pack up’ time comes, ending painting workshops I attend.

I used five left-over artist-grade paints left on my palette: titanium white, lamp black, lemon yellow, yellow ochre, and burnt Sienna; i. e.:

-for the bamboo fence: a mix of burnt Sienna and lamp black;

-for the stems: a mix of lemon yellow, yellow ochre, and lamp black;

-for the leaves: a mix of lemon yellow and lamp black to make olive green;

-for the flowers: titanium white for petals; and lamp black for the outline of petals.

So don’t just leave left-over paints on your palette, especially artist-grade paints. Use them to personalize your things, like the painting I did on my pencil case.

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Magnolia

magnolia

Acrylic on boxed canvas; 30 cm x 30 cm

Blog Post 88

This was my first painting for 2019–an upward view of Magnolia flowers. I ┬ápainted this to apply one thing I learned from Yuko Nagayama’s advice: ‘You can paint shadows without using black.’ I attended Yuko’s demonstration painting on January 5, 2015, from 10:00 a. m.- to 4:00 p. m., @Warehouse 8, Chino Roces Avenue, Makati City, through the event planner: des_ art room @Instagram).

How did I paint the dark branches and sepals? By mixing yellow and black. Shadows of petals were done in three to four tones of mixed red, blue, white, and sometimes, raw Sienna.

I did this painting in one afternoon–from background to detail painting. It is now hung below a wooden Crucifix which came from a burnt, centuries-old church in Daet, Camarines Norte.

This one way of getting myself ‘to flow’ in painting–to offer a painting for a cause bigger than myself. Have you tried this ‘to flow’, too?

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