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 Delmus G. Phelps

Statement of purpose within the work:

I’ve been an active painter since the mid 70’s creating works in the Realist tradition. Being inspired by the nature around me and in the things we tend to collect, I produce still life and floral oil paintings in the Classical/Contemporary Realism style on canvas and panels.

With a particular interest in sharp focus realism I produce still life works of incredible detail.  My floral pieces exude a peace and serenity much needed in today’s hectic lifestyles.

Using the Flemish method of 7 layers, a 400 year old technique perfected by the Dutch Masters of the renaissance era, my paintings are meant to stand the test of time in lasting quality.

Oil Painting Technique, Rainbow Hydrangea Demonstration, flemish technique explained…

Below you will find an excellent video demonstration that will explain how Artist Delmus Phelps creates a beautiful floral oil painting using the old master Flemish Technique.  He uses a 7 layer technique that produces amazing works of art as you will see after watching the video demonstration below.

Step 1

He first creates an ink drawing.  This drawing is allowed to dry.

Step 2

After the ink has dried, he tones his canvas.

Step 3

A Burn Umber underlayer is added at this stage.  After the underlayer is completed, it is allowed to dry.

Step 4

A Layer known as the “Deadlayer” is applied.   Delmus created another video that discusses this Deadlayer application in more detail.  This video can be accessed here. At this stage, all of your half tones and shadows are developed.

Step 5

Layers of color are now added. Color is blocked in and then blended.  A large mop brush is used to soften edges and brush strokes…

Watch the video below by Delmus to see how he completes the rest of the painting!  The results are truly remarkable.

http://www.youtube.com/watch?v=EX6-YB3LyMY

Highly Recommended Painting Course From Delmus Phelps!

A Real Art Lesson

Capture the joy of painting and creating things of beauty with your own gorgeous oil painting. An oil painting that you create following this step by step technique, and once learned, can be repeated over and over again so you’ll enjoy a lifetime of artistic freedom in creating many more masterpieces.

Here’s what you’ll DISCOVER within “A Real Art Lesson”

• You will learn all the technique needed to do any painting you would like.
• With over 140 pages of information and 225 photos you get a complete how-to manual.
• How you place your objects, lighting and composition.
• How to prepare the canvas step by step.
• How we transfer the drawing to the canvas.
• You will see up-close, the umber under-layer, and how it is done.
• The finished umber under-layer and all the steps to get you there!
• You will learn how to mix your paints.
• How to make the “dead layer” or Gray layer, and why.
• Closeups of brush strokes and how the paint is applied.
• All the details are taught to make your paintings stand out.
• And many more photo’s and explanations than what I can give you here.

Follow this link to learn more about this exciting course!

About Beatriz

Beatriz Socorro began her formal art training at age 10. During 5 years, she studied art with the Sisters of the Holy Names of Jesus and Mary in Montreal, Canada, where she learned drawing, perspective, the use of light and shadow to obtain depth and likeness as well as clay sculpture.

Professionally, she worked as a photographer and today uses her own photos as subjects for her colorful oil paintings which are characterized by their vividness and visual impact.

Her art falls under the category of Contemporary Expressionism. She definitely considers her work to be an expression of her own spirit.

To put it in her own words: “I only paint when spirit-within leads me and only paint what spirits wants. I myself don´t know what I am going to paint or what the end result will be. I work mostly through the night and sleep during the day. This way I can work without distractions. Sometimes I´ll wake up in the middle of my sleep with the desire to paint and so I do.”

Beatriz Socorro’s Websites:

http://artinstructiondemos.blogspot.com/

http://beatrizsocorrofineart.blogspot.com/

Oil Painting Lesson/Demo

STARGAZER LILY

(Click Images For Larger Views)

Stargazer Lily

It doesn´t matter if you don´t have the same colors in your palette as I do. Experiment with the colors you already have and you might come up with something even nicer.

STEP 1

Background: First apply a wash to the background. For this painting, I mixed Prussian Blue + Carmin + White and thinned it with turpentine until it became almost transparent.
Now allow to dry.

STEP 1 - Oil Painting Lesson and Demo - Stargazer Lily

STEP 2

Flower: Grumbacher Red + White + pinch of Magenta

Using the same technique as the Pink Tulip Demo, add the dark and light areas of the flower. Leave a small space between the two colors so that when you blend their edges together, it creates the middle tone.

Now, gently and softly blend the edges of the two colors.

Leaves: Viridian Green + Cadmium Pale Yellow.

Use the same technique on the leaves as you did with the flower.

STEP 2 - Oil Painting Lesson and Demo - Stargazer Lily

NOW ALLOW TO DRY WELL.

STEP 3

Remember the Fat-over-Lean Rule.

Using the same colors you used for the flower but with a much darker tone, add the red lines to each petal.

To paint the lines, I used a very small “bright” brush. Don´t apply too much pressure or you could scratch the underlying layer.

Then with pure White, mixed with the appropriate medium mixture for this layer (see Pink Tulip Demo), highlight the white areas of the flower.

Now, using lighter and darker tones of the same colors previously used on the leaves and adding the adequate medium mixture, do the same with the leaves.

Do this until you´re satisfied with the results.

Remember that bright colors come forward and dark colors recede. Keep this in mind to add depth to your painting.

STEP 3 - Oil Painting Lesson and Demo - Stargazer Lily

NOW ALLOW TO DRY WELL TO THE TOUCH.

STEP4

Always keep track of the layers of paint you have already added and use the appropriate medium mixture for each layer.

Using the same color you used on the leaves, glaze the center of the flower.

To make the spots on the petals, do it first with charcoal. This way, you can make corrections if need be.

With the tip of a paper clip, dipped in the same color as used for the lines of the flowers, add the spots on the petals.

Step 4 - Oil Painting Lesson and Demo - Stargazer Lily

NOW ALLOW TO DRY WELL TO THE TOUCH. REMEMBER THAT THE MORE LINSEED OIL YOU USE IN YOUR MEDIUM THE LONGER IT TAKES TO DRY. BE PATIENT. YOU’RE ALMOST DONE. GO TO WORK ON ANOTHER PAINTING

STEP 5

With charcoal, lightly outline the stamens where you want them to be. If you need to correct, remove the charcoal with a paper towel dipped in diluted dish-soap and then tap dry.

Remember the fat-over-lean rule.

With the same “bright” brush you used to paint-in the lines of the petals, without applying too much pressure, add the stamens (using a lighter tone of the same color you used on the leaves).

For the base of the stamens, you can add and blend the paint with a small soft brush or a brush of your preference.

For the pollen, mix Medium Red + Cadmium YellowPale. Use the small “bright” brush to add the color.

STEP 5 - Oil Painting Lesson and Demo - Stargazer Lil

Note: If you see a letter missing in “Stargazer”, it´s not a spelling mistake. It´s just Google having a good time at my expense.

You´re Done. Congratulations!!!

Hope you enjoyed it.

God Bless !!!

Beatriz Socorro

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.

About Cyd Rust

Growing up in a family of painters, it was not surprising that I was only nine years old when my Grandmother entered me in my first juried show. Life as a child was a joyful blend of unrestricted creativity and unconditional love. Art overflowed the small house my grandparents lived in. Artists constantly came and went, and every medium imaginable was held within its walls at some time.

In 1994 I moved to Loveland Colorado where I immersed myself in classes at The Loveland Academy of Fine Arts, taking thousands of hours of study from some of the top artists in the world.

I found my niche in sculpture, and it wasn’t long before my work was held in numerous private collections, and I had been accepted into juried shows across the United States, including showings at the Palm Springs Desert Museum and the prestigious North American Sculpture Exhibition.

In 2008, after overcoming cancer, I realized I needed color in my life, almost as a form of celebration for being alive. So I put away the brown clay and began to paint.

I love to paint. Often the sun rises and sets before I even realize the day is gone… so absorbed have I been in the process of creating. I love using color, and shapes to express myself in a way that brings joy to me and I hope, to those who view my art.

Cyd Rust is an award winning Painter and Sculptor, who’s memberships include the Artist’s Association of Northern Colorado, the Thompson Valley Art League, and also Associate Membership in the National Sculpture Society.

Please take a moment to Visit Cyd’s Websites:

http://cydrust.com/

http://www.paintingamileofcanvas.com/

Painting A Zinnia With Acrylic Washes

ZOWIE by Cyd Rust Copyright 2009

This is an acrylic painting demonstration of a Zowie Zinnia I created from a photograph I captured at the Colorado State University Floral Testing Site in 2008. The purpose of this demo is to show how Acylics, with good pigment content, can create lovely washes for the artist, almost similar to those achieved with watercolors. This demo uses an Ampersand Aquaboard, and Stephen Quiller Acrylics.

Step 1: The Initial Washes

I applied my first two coats of Stephen Quiller Acrylics…using Cad Yellow. Did a very light wash of Cad Orange for shading, and created a light neutral gray with the yellow and Stephen’s own Quiller Violet to overlay the vibrant white of the board’s background. I took the same color darker for the flower center and stem. This entire step is more to give me a blueprint as it were, of where I want to be going, and a guidance of color with an underlayment of hues.

Step 2: The Intermediary Washes

This second round of washes used the same colors on the flowers as before, but I upped the heat a little with Quin Red. That and the mixes I created from the group were then used to begin creating petal definition.

Step 3: The Final Washes Before Beginning Details

Next I added my first wash of Magenta. I will come back in later and brighten it up even more when I do the detail work. Again, more time spent defining of the flower petals and shadows.

Step 4: Beginning The Background

Before I begin the final detail work, I wanted to begin placing my background to get an overall feel for the painting. All colors in the background are values created using the flower petals and their complimentaries, with the intention of creating varying degrees of neutrals to amplify the already vibrant painting. I am quite pleased at how it is looking.

Step 5: Softening and Defining

In this image I have spent a little more time delineating petals, adding shadows, correcting petal shapes, and beginning to soften edges and play with the background colors a little more. I am still keeping to the limited color palette I started with.

Step 6: Clean Up

This was basically the final step before adding the Stamens. I took out a few unnecessary small petals. Reshaped a few to look nicer. Darkened my background as the vibrant colors just weren’t popping as much as I had wanted with the softer background. While I did hate sacrificing that, it just wasn’t allowing the glow I was looking for. I also added the final bit of Magenta and Quiller Violet to the petals.

All that is left is a final coat on the background to even it out where there are thinner areas that soaked into the Ampersand Aquaboard; add the stamens, and sign it.