BACKGROUND FOR WHITE ROSE, YELLOW GLOW
The techniques I used for the background of this piece: wet into wet and layering. After completing the rose in the foreground, I chose mixtures of staining pigments to begin the background. I wanted to accent the rose so I chose neutral green colors as well as hues from the rose. I also wanted to leave some white shapes (the rose has white shapes).
Pigments used: Winsor Blue, Red Shade, Alizarine Crimson, Quinacridone Gold (Daniel Smith).
Quinacridone Gold is not considered a staining pigment, but it mixes well with all other pigments and neutralizes greens (when they become too bright) I may mix in sap green at times with the pigments above.
I prefer making rich and juicy puddles of the three pigments above and mix several shades of neutral greens. First I mix the Winsor Blue with the Quin Gold, in 3 or 4 shades of green, then I add small amounts of Aliz Crimson into the different puddles so I have a number of shades and values of green, gold green, blue green, gold, etc.
Ready: Dampen the background with a large brush (2 inch squirrel is the best for me) Begin at the corners with the darkest dullest hues. Let the paint flow from the corners toward the center, use a damp (almost dry) large flat brush to help pull the paint into organic or leaf shapes making sure the edges are soft. You can also tip the paper to help the paint flow faster. When you think you may have a satisfactory first layer, let it dry.
TIP: If you pull your brush through two or more different hues before applying the pigment, you will have a beautiful mixture of varing hues that mix on the paper and flow together to make even more beautiful fresh colors.
These staining pigments will dry much lighter. I usually apply three to four of these washes to build up color and shape. It is important to use a very soft brush when layering so the dried paint underneath does not lift.
A damp, clean brush can be used to lift out lighter shapes while the paint is still wet or damp.
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