Subjects where everything blends / Door, Wisteria
Door
After carefully drawing the hand-shaped knocker, wet the entire sheet and apply washes: Schmincke orange and burnt sienna on one hand, and cobalt turquoise on the other.
The cobalt turquoise will turn brown when it meets the Schmincke orange on the wet sheet.
If possible, go over the same spot only once in order to obtain clean colors.
If overly large halos form in the openings cleared by the lifting (enlevés), pump them up without waiting using the tip of the medium brush (always clean and wrung out). Let it dry.
In the matte finish, depigment the wood grains, that is to say, carve out the liftings with the beveled brush, clean and wrung out (but still damp), without rubbing.
Mix your colors to find a beautiful gray wash (for example, perylene maroon and Winsor blue). When the paper is completely dry, apply this gray on the left to represent the shadow triangle and blend its edge. Careful, do not blend the outline of the cast shadows under the knocker.
Wisteria
Carefully draw the subject. You can use a ruler. On well-moistened paper, with the beveled brush, deposit small dancing touches of violet (magenta and cobalt blue mixed in varying amounts).
We almost never draw vegetation. Here, you will place the wisteria progressively with the paint. It will only be more lively for it.
For the gray of the wall, use the medium and large wash brushes with magenta added to blue and a little Chinese white for a milky effect.
Apply a wash on dry paper. Breathe well and slow down your movements for the details.
Blur the areas where the wisteria overlaps the wall color with blending.
Finish with the orange touches on the pillar and the greens of the wisteria leaves.
