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

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The artist has pointed out that, as her paintings are not concerned with the straightforward depiction of external events, her choice of an image, colour or texture may initially be prompted by her experience as recorded in her note-books, but when she begins to paint, the needs of the painting itself dictate the way these elements are eventually combined, amended or organised. MINIMUM OF 2 COATS REQUIRED. SUBSEQUENT COATS MUST BE APPLIED ON THE SAME DAY NO LONGER THAN 8 HOURS APART. IF NOT POSSIBLE, LIGHTLY SAND DOWN SURFACES BEFORE RECOAT TO ENSURE ADHESION. I then add the tiniest dashes of yellow to the inside regions of the claw petal. This not only echoes the colouration of the flower, but adds something of a “pop” where the dark central zone abuts the yellow. The sweet pea flower has 5 sepals and 5 petals, and their leaves are hairless. Each leaflet consists of two pairs of leaves and a terminal tendril which helps the plant to cling as it climbs upwards. Sweet peas have winged stems and the leaves carry distinct veins.

Doctor Martins PH Hydrous inks come in a lovely array of jewel-like colours, and I often add a tiny drop of these vivid hues to my watercolour washes. In this case it’s the turn of Quinacridone Magenta. Step 6: Add darks and shadows 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. 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. Now do the same for the veins in the central winged area of the flower too. The colour mix here is the same as before, but with some purple added. Before leaving London, Durrant had become increasingly dissatisfied with the direction her work was taking; she had produced no large scale paintings for some time and her output was mostly confined to small drawings. In retrospect, she sees the Canadian trip (which she has compared in its liberating effect on her subsequent work to her first visit to the United States in 1972) as a major turning point, and has attributed the bolder and more confident looking paintings she started on her return to the general sense of exhilaration and optimism the trip had given her.The first step is to draw the plant in pencil (I use pentel P205 mechanical pencils). Keeping the line crisp and simple helps avoid mess when you work into the illustration with watercolour. Drawing up the plant in pencil, considering composition I’m currently working on a series of sketchbook style illustrations of common cultivated garden plants (like the sweet pea); there’s a possibility these will illustrate a book on foraging in the garden in the next year or so. Decide if you want to focus on the flower, or want to include leaves and tendrils too. It’s worth concentrating on the flower first as they can wither fast. You can extend their lives a little by putting a twist of wet tissue at the base of the stem. It’s wise to take a photo of the everlasting sweet pea flower early on for future reference. Make sure you have several flowers on hand before you start. 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. 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.

I paint my pictures with the canvas stretched flat on the floor, viewing them from the top of my steps, and I see the painting frontally/head on, only when it feels whole or I cannot choose what to do. I suppose (as I have not changed this procedure for several years) I enjoy the surprise I get when the picture goes up and then I feel either relieved or disappointed. I often experience difficulty in making choices within the painting-what the painting needs as opposed to what I put in the painting ... I work on several canvases at a time ... and I view them as a group although I feel each painting is separate and complete itself. The sensation of place in painting is very important to me... How much you are enveloped, or brought in, or feel up against the painted surface ... I am aware of ways in which I use my experience of the visible world as starting-points for my painting. A starting-point can be my wish to create a visual equivalent for a particular experience in purely painterly terms within a tradition of painting-and in so doing, discover (for) myself. 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. Apply in dry conditions, above 5 degrees Celsius and when bad weather is not forecast, minimum of 2 coats required. The final colour will vary depending on the surface and number of coats. If adhesion is inadequate on previous coatings, lightly sand before application. Make sure wood has been pre treated with appropriate wood preserver to prevent wood and decay. In the catalogue of the 1979 Hayward Annual exhibition (op.cit.,p.66) Durrant discussed her approach and working methods:As you can tell, it’s the twirly tendrils on this sweet pea that I particularly loved drawing. Adding a second flower head, looking at venation in more detail Use your paint pretty dry, and build up layers of tiny brush marks. These should echo the areas of light and dark on the flower. Be sure to follow the line of growth, and adding some extra paint marks at the outside edge is a wise move. Your eye likes to feel anchored at the edge of a petal.

Stir thoroughly before pouring contents into a Cuprinol sprayer. Overspraying surrounding areas can be minimized by avoiding spraying in windy conditions and by using cardboard or plastic as a shield. Any overspray should be cleaned up immediately (whilst still wet) with water and household detergent.There are lots of different species and cultivars of these pretty flower; some smell amazing and come in a wonderful range of colours. These flowers can be found in gardens around the world.

As Garden Shades often goes on directly to the wood, without a primer, sometimes it will soak deep into the wood and this can create the need for a third coat. This may be noticeable with rougher woods, open end grains or indeed deep colours. If wood has been exposed and dried out for a long period of time, this may also draw the more of the product away from the surface and into the wood structure. 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 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. 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. Be mindful that it is waxed-enriched and that once these waxes are dried, they act to repel liquids, which would include an additional coats. Don't try to coat the whole project with one coat before getting onto the next coat. Instead it is better to paint sections in in time chunks of 2-4 hours.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). 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. One of the plants needing illustrating was the sweet pea. While visiting a friend, I espied her sweet peas, and immediately begged some of the dark purple and bright red-pink ones from her. I ended up with an enormous bunch of flowers as well (thanks to Layla who runs The Majestic Bus, a wonderful converted bus where you can stay, in the gorgeous hills near us in Hay); but the sweet peas went straight into the fridge to stay fresh until I could draw them the next day. Getting ready to paint the Sweet pea