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Today’s Botanical Artists On Watercolor »

Today’s Botanical Artists On Matching Colors

June 24, 2008 by Tania Marien

5) How do you match your colors? Do you achieve this by glazing or do you mix your colors in a palette?

Julie Sims Messenger:
I use glazing technique to achieve form and color. Starting with studying the subject, I choose lots of pigments, cool/warm, transparent and opaque, and then I begin with the thinnest of glaze and work from back to front. I work intuitively and every couple of hours have to stop and come back to reassess the work for color correcting. After the form is apparent, I start working drier gradually. It is very slow work. I also feel free to keep over-glazing all or part of the work as I go along to keep color correcting and to soften hard edges. I just feel this way works for me to keep the nuances of color and light reflection alive in the work.

Rose Pellicano:
Through study and experience, I know which colors to mix to achieve a close match. I begin by applying a light wash of color, I then place the appropriate color and I dip my brush in water and move the color to achieve appropriate values. I intensify the color by glazing or by applying tiny brush strokes.

Louise Smith:
My paintings contain both glazing and colors mixed in the palette. This can go back and forth.

Wendy Smith: This can be done both ways and each artist has their own opinion and preference. Some feel that glazing allows a purity of color and light to show through in the paint. I’ve tried both and generally prefer mixing the color on my palette before applying it to the working surface. I like to see the color on a white porcelain surface first in order to match colors; however, in some instances I use glazing to enhance details, shadows or highlights, especially if I’m using an opaque medium.

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