About Barbara Fox

Barbara has achieved a tremendous following on both the national and international level as a watercolor painter with a vivid and unique style.

Her paintings have been featured in solo and group exhibitions in museums and galleries throughout the United States, including the Phillips Museum of Art in Lancaster, Pennsylvania; the Millicent Rogers Museum in Taos, Mexico; the Salmagundi Club New York City; The Neville Museum in Green Bay Wisconsin; and the Pittsburgh Center for the Arts

Barbara is a signature member of the National Watercolor Society, the International Guild of Realism, the Pennsylvania Watercolor Society, and the Northeast Watercolor Society, among others.

She has been published in the major watercolor publications Splash: the Best of Watercolor Painting, and  Secrets of Watercolor Masters. Barbara has been a featured artist in the leading national art magazines American Artist and Watercolor Magic.

Barbara is represented by the Oxford Gallery, 267 Oxford Street, Rochester, NY 14607

Visit Barbara’s Websites Today:

Main Website

Barbara Fox – Daily Paintings

Barbara Fox Studio

Barbara Fox Art Studio

Perfectly Pink Watercolour Painting Demonstration

(Click Images for Larger Views)

Perfectly Pink watercolor 6 x 7"

Here is the photo I used for reference; taken many years ago with my SLR camera.

Step 1 Pencil Drawing

I did a quick, pencil drawing of the rose on watercolor paper.

Step 2 Color Field

Each petal of the rose is painted separately using Permanent Rose, Opera, Winsor Violet, and Cobalt Blue. Remember to paint every other petal, so the paint washes won’t run into each other.

I paint the petals in one of two ways:

A. I wet the area of the petal with plain water, then add pure colors, letting the water do the mixing.

see below

OR

B. I painted the petal with Permanent Rose, then immediately added a little Cobalt Blue along the top edge while the paint was still wet.

see below

I painted the background using technique A., getting the paper very wet, adding the color, then tipping the paper to let the colors flow together. I don’t try to paint the whole background at once. Here you can see that I painted the background in 2 sittings. This is the big advantage to doing a splotchy, washy background.

The leaves are painted with Sap Green, Viridian, Peacock Blue, and Alizarin Crimson. Plus, I mixed Alizarin Crimson and Viridian to get a black.

Step 3 Shadows and Texture

The cast shadows are added to the flower petals, using Winsor Violet with a bit of Opera here and there. Remember to paint every area separately, so the colors don’t bleed.

Cast Shadows on the leaves are Black, Viridian, and Prussian Blue.

Suddenly the rose has dimension! I also added some detail texture to some of the petals, but that is done after the shadows are completely dry.

see below

Step 4  More Layers/ Richer Colors

I added another layer of pink color over the rose, using Opera and Permanent Rose. Again, painting each petal separately.

The last layer of pink wash was not painted in a flat manner. I tried to follow the gradations of light and dark I saw on the photograph. I also didn’t paint the edge of the petal with the second layer. This gives the flower more shape and dimension.

I added a very dark wash to the background using Viridian, Peacock Blue, Winsor Violet, and Prussian Blue, with a few dabs of Opera, and some black (Alizarin Crimson and Viridian) lines added to the wet wash to give the impression of foliage.

I washed water over each leaf. This “melted” a bit of the heavy pigment and diminished the contrast a little. Too much contrast draws attention, and I don’t want the leaves to be the center of interest in this painting.

The pinks and cool blues and greens balance each other very well in this painting. The painting as a whole is quite dark, but the vibrant pink color, and the value contrast of the rose make it the center of attention.

There are 3 simple ways to make something stand out in a painting:

Value contrast – Shadows!

Lines around the subject -you get this very subtle effect when each area is painted seperately.

Complementary colors – The pink flower against the greenish background.

If something is inclear in this demonstration, please let me know by leaving a comment or sending an email.

Happy Painting!

About John Fisher

I was born and educated in England, graduating from the Luton School of Arts (now Barnfield College) in 1945. It was my hope to become a graphic artist, but at the end of the Second World War returning service men and women had first crack at the few jobs available, and rightly so. I took a number of jobs while I tried to break into my chosen field, and ended up being a reluctant carpenter. Many years passed and I emigrated to Canada in 1952, married a Canadian woman, started a family, and in 1955 finally started on a career which took in graphic arts, owner of my own graphics arts company, art director at an advertising agency, and careers in marketing, advertising and public relations.

I wish I could claim that my passion for art burned brightly throughout those years, but alas, the need to make a living took prominence. As with many people, I always promised myself that when I retired I would get back to painting again. That time came in 1989, when my wife and I were living the winter months in our condo in Destin, Florida. Robert Long, a talented watercolour artist, was offering private lessons from his nearby condo. He was my mentor, and made my retirement years infinitely richer.

In those days Robert taught only technique, and there were rarely more than four to six of us in those early classes. From Robert I regained my interest in photography as an adjunct to painting, and as the cliche goes – I never looked back. I have had many paintings accepted and hung in exhibitions in Florida and Ontario, where I now live. I’ve won some prizes, come first in some exhibitions, and occasionally won the Citizens’ Choice awards. But I mainly paint for fun – hence the choice of name for this site.

To learn more about John and to view more of his work, please follow the link below:

===> http://www.watercoloursforfun.com/

Step by Step Watercolor Landscape Painting Demo Part 1

A step by step demo of a landscape for my class of beginners in watercolour.

My class for beginners in watercolour tackled their first serious landscape recently, and I wanted to incorporate many of the techniques we have been using over the past season. I chose this subject matter based on a old pencil sketch I’ve had kicking around in my “ideas” file for years as it uses wet-in-wet, dry brush, stone and brick, reflections, foliage, sky, and water.

Step 1

With beginners I always like to emphasize a careful drawing first, as a kind of underpinning to allow them some leeway to bring their own style to bear. I intentionally left off the reflection of the cottage until later as too many lines prove confusing at this stage.

Step 2

Next we paint in the basic roof colour, using a mixture of Raw Sienna, Brown Madder, Cadmium Red, and a touch of our standard shadow colour made from Brown Madder, and Antwerp Blue. Notice how I’ve left some negative spaces for the leaves where they cross the roof. You may notice I accidentally painted over an area on the gable which should have been left white. I corrected this by masking it off and lifting it out with plain water and facial tissue. This is why I always insist my students use only 300 lb. paper as it helps in correcting mistakes.

Step 3

We indicate the tiles or shingles with the same colour over our first wash. Using a #2 round brush we give the impression of the roof covering. No need to paint in every tile, but try to stagger them a little. Be sure to extend your tile courses under the white spaces left for the leaves.

Step 4

Now I went over the tiles with a number 2 round brush, using our standard shadow colour to emphasize certain areas. Personal style will come into play here, but the idea is to create a realistic roof area without painting in every single tile.

Step 5

Here’s how it should look at this stage, after blending this area with a #2 round brush loaded with water. Try to emphasize the ridge tiles and show he edge of the tiles along the outer roof line. Lots of opportunity here for personal style in colour and texture.

Step 6

Step 17

Next we begin blocking in the background trees, using the same technique from our recent tree project. Begin by selecting areas for negative painting. Note we have left out the lower hedge for later work. Use a #4 or 6 round brush loaded with colour. As these trees are in the background they will contain more blue than our foreground mix. With the cottage protected with liquid masking, you can paint quite freely up to the edge.Next we begin blocking in the background trees, using the same technique from our recent tree project. Begin by selecting areas for negative painting. Note we have left out the lower hedge for later work. Use a #4 or 6 round brush loaded with colour. As these trees are in the background they will contain more blue than our foreground mix. With the cottage protected with liquid masking, you can paint quite freely up to the edge.

Step 18

After the second layer blend all this with a wash of clean water using a 1/2″ square brush.

Step 19

With some emphasis on the lower trees were it gets darker, step back and view the results. You should gently soften the tops of the background trees and make sure there are no accidental shapes needing treatment.

Step 20

Now indicate some tree trunks as with did in our previous tree session. Keep the distant tree trunks smaller and thinner to indicate perspective and distance. Remove the liquid masking except from the lower wall.

Step 21

Block in the foreground tree with a #6 round or 1/2″ angle brush, with a wash made from Aureolin Yellow, Sap Green, a touch of Antwerp Blue and our basic shadow colour. Switch to a #4 round brush where the leaves meet the cottage and lake.

Step 22

Here is how it should look. Note some open areas in the foliage for the sky and tree branches to show up.

Step 23

Using our foliage technique again, block in the second layer with a #6 round brush. Darken the green with Antwep Blue and our shadow colour. Keep your brush fully loaded with colour at this stage.

Step 24

Step 34

Now we rough in the grassy areas using an initial wash of Aurolin Yellow, Sap Green and a touch of our shadow colour. Our middle-ground rocks are finished for now, and we may come back to them later once our water reflection are painted in. We may need more contrast.

Step 35

An extreme close-up show our rocks with various colours and textures. You can achieve various effects using wet-in-wet or dry brush. Although only a small portion of this painting, it’s a secondary centre of interest so it deserves special attention. I used mostly #4 and #6 round brushes on this.

Step 36

About Barbara Fox

Barbara has achieved a tremendous following on both the national and international level as a watercolor painter with a vivid and unique style.

Her paintings have been featured in solo and group exhibitions in museums and galleries throughout the United States, including the Phillips Museum of Art in Lancaster, Pennsylvania; the Millicent Rogers Museum in Taos, Mexico; the Salmagundi Club New York City; The Neville Museum in Green Bay Wisconsin; and the Pittsburgh Center for the Arts

Barbara is a signature member of the National Watercolor Society, the International Guild of Realism, the Pennsylvania Watercolor Society, and the Northeast Watercolor Society, among others.

She has been published in the major watercolor publications Splash: the Best of Watercolor Painting, and  Secrets of Watercolor Masters. Barbara has been a featured artist in the leading national art magazines American Artist and Watercolor Magic.

Barbara is represented by the Oxford Gallery, 267 Oxford Street, Rochester, NY 14607

Visit Barbara’s Websites Today:

Main Website

Barbara Fox – Daily Paintings

Barbara Fox Studio

Barbara Fox Art Studio

Golden Blush Rose Painting Demonstration

Golden Blush Rose (SOLD) watercolor 8 x 10"

Here’s the photograph I used

Paints used for this painting( Winsor Newton and M. Graham and Holbein Brands):

• Sap Green
• Hookers Green
• Peacock Blue (Holbein)
• Cobalt Blue
• Ultramarine Blue or French Ultramarine
• Winsor Violet Dioxazine
• Permanent Rose
• Quinacridone Violet
• Quinacridone Red
• New Gamboge
• Lamp Black

Paper is Jack Richeson 300 lb cold press watercolor paper

Step 1 -the color field

I paint in layers, so step one is laying in the first layer. I call this my “base layer”, because I am painting the color of the subject, albeit with some variety. This is done in sections, painting every other petal, for the rose. Let each section dry completely before painting the section next to it.

I let the colors blend with a wet-on-wet technique, either

A. wetting an area with water, then touching the colors on it,

OR

B. laying in a colored wash, then adding the second and third colors.
I use both techniques.

Remember, the pigments flow with the water, so let the water do the work!

When the rose is completely painted with the first layer, and dry, I paint the background, in this case a spotty color field, again painted wet-on-wet. I used Hookers green, Peacock Blue, Sap Green, Ultramarine Blue, Permanent Rose, and Prussian Blue.

Step 2 – shadows

Once the color is laid down, I proceed to paint the shadows. I don’t use a “shadow color” but paint what colors I see. Usually the shadows on a flower are the same colors I’ve been using, only darker, and sometimes with a bit of purple (to grey the color) or cobalt blue (to cool the color) put in.

Just as I painted step 1, I paint the shadows wet-on-wet, letting the pigments mix on the page.

Step 3- deeper colors

Background: I use black when painting the second layer of the background. I feel like it “anchors” all the other colors used in the background, and because it is so dark, I don’t have to paint multiple layers just to get a good dark. I avoided black for a long time, but appreciate that it saves me a lot of time.

The lighter areas are made by touching the wet colored area with a dry paper towel, then adding a drop or 2 of water. The water pushes the pigment back.

This technique makes very different effects depending on how wet the paper is, so practice it a bit. Pigments also react differently; the staining color pigments like to stay put.

I use another layer of paint (the same colors) to enhance the colors, still painting wet-on-wet. People ask “doesn’t the paint on the paper come up when you paint over it?”.

It shouldn’t, if:

You use good quality paper

And

You don’t push the water around too much with your brush. You can guide it with the brush, but too much brushing will loosen the dried paint.

I got a little carried away and began painting some veining and other textural details on some of the petals. See how much more vibrant the flower looks with richer color?

I also added a bit more black to the background. As the values and color deepen in one area, it may make the colors and values in other areas look weak. That is why I like this layered process, and like to work the whole painting; I can constantly adjust colors and values as I’m working

Finally, I add some textures and veining, and make the dark red areas really dark.
It now looks luminous, colorful, and realistically 3 dimensional.