Great excitement at Polly's

There's great excitement here at the moment,  my first slipper orchid,  bought two years ago at the Welsh Orchid Festival,  has decided to form a scape.   From peeking out between the centre of the top leaves,  it has now grown into a fully opened flower!

This has happened rather more quickly than the original flower when I bought the plant, so I've been hard at work recording the different stages in my sketchbook.

Study page for Paph. maudiae x Charlesworthii

It's quite a challenge colour-wise and I found that there was only one colour in my collection that was perfect for capturing the deep purply colour of the markings and stem - Perylene Violet, a colour introduced to me by my lovely friend Jarnie at Sketchbook Squirrel

Paph. Maudiae x Charlesworthii study of developing flower

Since I bought a tiny tube to try, I've been amazed at the versatility of this wonderful single pigment colour which reduces the need for mixing and gives me a deep colour with plenty of  chroma and life to it, so I'm very happy to have a project that will make use of this wonderful transparent pigment.

What colour/colours have you found you can't live without?

Painted in three days? - Really?

I've been thinking about this ever since I finished the Paphiopedilum sukhakulii painting.   It's not a claim of taking only three days over a painting.  For a botanical painting that would be just about impossible, the drawing and measuring alone take longer than that, as does the composition - for me anyway. And I need a long flowering plant, or several plants to be able to take this long, or take more than a year to finish while I wait for the plant to flower again.

Paphiopedilum sukhakulii by Polly o'Leary

No, what I mean by it, is that I've got so far with a painting and then found it impossible to continue - and started again!

Before getting to the painting stage, I will have spent weeks drawing, composing and doing colour and tonal sketches.  Once I have the composition I'm happy with, I make a master copy on tracing paper so that, in the event of a disaster, like dropping a loaded brush on the painting, or finding that a piece of the paper isn't sized properly, I can simply use the master tracing to redraw on new paper and start painting again.

This is where the 'painted in three or four days' comes in.   However, to understand what it means to actually begin the painting part,  and finish in three or four days, the hours involved have to be understood too.
For me it involves painting almost non-stop for about 20 hours a day!  So a three-day painting will have taken 60 hours,  and a four-day painting will have taken 80 hours,  for the application of paint alone.  And yes, it's hard having about 3 hours sleep a night, but if that's what it takes to get the painting finished by a deadline, then that's what happens.

Looked at like this, I'm still taking the same time to paint as normal, just cramming it into a smaller time frame.  So that three-day painting is actually two and a half weeks of painting, and the four-day painting is easily three weeks worth of painting really.

It isn't something I like to do, and it certainly isn't something I plan.  Usually it's the result of poor or uneven paper sizing, which can't be seen until you're actually experiencing it.  Under these circumstances it's often much easier and quicker to start again, rather than try to compensate for the lack of size, and of course the result is better too.

In Pursuit of Plants - Society of Botanical Artists Annual Exhibition 17th - 26th April 2015

After months of planning, drawing and painting, the time finally arrived to get everything photographed, framed, and take a trip to Westminster Central Hall, London, to submit my paintings for the SBA annual exhibition - In Pursuit of Plants.

Framing sounds easy, but framing properly is an art in itself and takes about three times as long as you think it will.   Luckily everything fitted together well.   There was just time for a little judicious tweaking of colour and tonal values before the paintings were finally framed.

Packing the frames for transport was made vastly easier by the purchase of some high tech bubble wrap.  By the time we'd finished, we looked like the Jetson's off on a trip.

Space Age packaging - Jetson style

The space age packaging worked really well and all the paintings arrived in pristine condition despite a trip in the car boot and on the tube.

Unpacking was a doddle too with the purpose made packing.  Handing in was weird, I'd never entered paintings for an exhibition before and handing my 'babies' over and leaving them felt very strange. 

Then the long wait to find out if they'd made the grade, as it's a juried exhibition....  what seemed like an age passed but in reality it was barely any time at all, when the phone call came.

All my paintings had been accepted and I was offered Associateship of the SBA as well!  I had to sit down for that as it really wasn't expected.

Then the very long wait for the exhibition date.    Another phonecall informed me that, wait for it, I had received a Highly Commended for the Joyce Cuming Award,  I think I may have squealed with excitement, but can't be sure.  It was lovely to get the letter confirming it all, just to prove it wasn't all a dream and the icing on the cake was that four of my paintings were to be hung.

All four paintings hanging together

Bearded Irises - Highly Commended

Not a bad start to exhibiting, I think it could be addictive.

Of course, the 30th  Annual Exhibition of the Society of Botanical Artists wasn't all about me.   There are 603 paintings, 7 miniature paintings and 12 three-dimensional works this year, submitted by 216 Botanical Artists from around the world - a truly international exhibition!

So many people to meet and so many superb paintings to see.  The whole time seemed to disappear in a whirlwind.  There never seems to be enough time, especially when it's something enjoyable and this is what I found when I went to the SBA Exhibition - In Pursuit of Plants.

Luckily there are some who are well prepared and take a camera and also take notes.

One of these people is Katherine Tyrrell whose wonderful Making a Mark blog is THE place on the internet to find out what's going on in the art world, and true to form, Katherine has written an excellent  Review of the 30th Annual Exhibition of the Society of Botanical Artists - well worth reading if you can't get to London to see the Exhibition.  Katherine has also written about the Prizewinners at the Society of Botanical Artists' Annual Exhibition 2015  and the  Society of Botanical Art: Certificates of Botanical Merit 2015

Phragmipedium Bel Royal - the paints

Further to my Phragmipedium Bel Royal step by step posts, I promised to post about the colours and mixes used in the painting.

Colours and Mixes for Phrag. Bel Royal

My apologies, things got a little hectic in the last few weeks and I had to spend most of my waking moments with a brush in my hand - more about that at a later date.

Now that I have a moment, I can tell you about the colours I used in the painting.

Before beginning to paint, I study the plant from all angles noting the shapes and the shadows.  I also note the colours and how they change.  This enables me to choose the colours I will use in the painting.

I prefer to use a fairly limited palette, so choosing the paints is a vital first step, as is mixing the colours to ensure I have just the right ones.   Swatches of these colours are painted on the same paper as  the painting.

In this painting I layered the paints in glazes, so I chose transparent colours.  These paints allow the layers underneath to glow through.  These are also usually staining paints, so great care is needed to only place them where they will stay - any mistakes are likely to be permanent. 

After much thought I chose
Yellows - Sennelier Yellow Light (PY154 ) and Indian Yellow (PY153)
Blues -  Sennelier French Ultramarine (PB29) Phthalo blue (PB15) and Indanthrene Blue (PB60)
Reds -  Anthraquinone Red (PR177) and Permanent Rose (PV19)

As you can see, these are all single pigment colours.  No mud-making for me!
All the colours were mixed from these, including the shadow colours which are mixed from different proportions of each of the three primaries (Yellow, Blue, Red/Pink)  the warmth or coolness of the colours used will determine the type of shadow colour you get and it's possible to vary the mix to produce subtle shades of different greys.

Thinking outside the box

Large dinner plate palette

I'd been looking for ages for a porcelain palette that suits my set up and the way I work, but have never found that perfect fit.   If the palette looks right for me, it's often too large or too small for where it will sit, or if it fits the space available, the wells are too big and the mixing space too small.   So for a long time I've been using a large square porcelain dinner plate, but battling the paint sliding into the mixed area.   Then I had an idea.   Silicone sealant!    With this, I could have wells on my plate.   So a tube of the good stuff was purchased and OH swung into action with his silicone gun.   A couple of hours later, I had just what I wanted - the perfect palette.

I wanted a cover for my lovely new palette, to keep the dust and dog fur out of my mixes when I'm not using it.   So there we were one evening in a busy supermarket (friday evening shopping), struggling in vain to fit a reluctant shower cap onto a large square dinner plate.     The looks we got!   Some people can be so judgemental. 

It didn't fit, so the search goes on.   If all else fails, a perspex panel with a few dabs of silicon sealer on the corners will serve the purpose, but a proper lid would be better.

The Finished Phragmipedium Bel Royal and a Gala Dinner

Now it's official, I can show everyone what the finished Phragmipedium Bel Royal painting looks like.   It is one of the prizes at the Gala Dinner of the European Orchid Show & Conference.  I wish I could go to the conference as it's the best place to see and buy the most extraordinary and beautiful Orchids. 

If you'd like to see the whole painting, there's a picture of it on the Facebook page of The Orchid society of Great Britain.  Some great prizes on offer for the lucky diners.

On my Easel today - Update

This is moving quite quickly, despite interruptions.   I try to plan for interruptions and if I'm lucky I can get to a stage where paper and paint need to dry, before I have to walk away.  It's good to have time away, as you can lose sight of your goal and end up over-working the painting.   So regular breaks are necessary.  Just because I haven't got a brush in my hand, doesn't mean I'm not working on it though, it's all going on in my head so when I go back to it, I know exactly what I need to do.

Phragmipedium Bel Royal - Strengthening the Shadows

 Here I've been strengthening the shadows and just bringing the whole painting up to the same level.  If I don't do this, and just paint separate items until they are finished, I find that the painting never really 'gels' for me.  there's also a danger I'll take some parts too far - usually the wrong ones!

Phragmipedium Bel Royal - Modelling in colour on top of shadows

 In this picture you can see I've been strengthening the colours and continuing the modelling in colour on top of the shadow colour.  That top stem under the bud has become too dark, so I'm going to have to take out some of the colour - not easy on this paper, as I turned it around to avoid the water mark, and the paint seems to sink in far too easily. 

Phragmipedium Bel Royal - starting to define the markings of the petals and leaves

More washes here, building up the colour in the petals and starting to define the markings of the petals and leaves, along with the bud.   I still have to change the colour of the stems and the bud, but the underpainting is about there.   Then I can start on the details - my favourite bit, as that's when it all starts to really come alive.

Next time I'll also give the lowdown on the colours I've used and the mixes.