This next project is a bit different from the first (see Artwork In Progress No. 1) where I demonstrated my painting process from start to finish.  This time I’m going into my pile of unfinished paintings.  These paintings were left unfinished because I felt they we failing in some way.  So let’s see if this painting of tulips can be revived.  Even if this painting doesn’t end up being something you might hang on your wall, it is likely you will learn something by finishing it.

I feel this painting is a “failed attempt” to paint tulips because it is lacking a pleasing composition and interesting value pattern.  My choice of  two tulips is uninteresting, the focal point not defined, the tulip on the right is too long and narrow and the foreground foliage is overworked (too gray).  I’m not sure this piece can be salvaged, but let’s make it the best it can be.

My first step is to tape the painting (using masking tape) to a board.  I am using my sketch board, but you can use a piece of plexiglass if you have it or some other rigid surface.  The disadvantage to taping your paper to the table is you cannot pick it up easily if needed to move the water and paint around the paper.

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My next step is to take a damp paper towel to scrub specific areas of the painting in an attempt to remove  the unwanted paint.  The Arches 140 Lb. Cold Press Watercolor paper can take a fair amount of scrubbing.  It is unlikely you will remove all the paint - certain colors are very staining - but do the best you can.  My paper towel preference is Viva, they are very thick, absorbant and durable.  Be sure to stop  by later to check on the salvaging progress!

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Okay… what I’ve done next is sketch in the additional tulips, overlapping to create a sense of distance.  I’ve decided that five tulips (imperfect balance) would be more interesting than the two I began with.  You can see here the area that I’ve scrubbed.  As I suspected, I was unable to remove all the paint, but that’s okay because in that area I intend to use a glazing technique, which is essentially layering color.

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What I’ve done here are several controlled washes.  A controlled wash is wetting only the areas where I intend to apply paint, i.e., the tulips and around the leaves.  At this point we need to let everything dry completely.  I feel the piece has already been improved a bit although there’s still much more to do.  It is likely the foliage will need to be darker than I would typically make it since I have to cover my initial mistake.  But let’s not get ahead of ourselves.  Time to let things dry.

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Now that the paper is completely dry we can continue onto the final stage.  This last stage involves multiple controlled glazes.  Glazing is a gradual building up of paint, one color applied over the other.  This technique allows the initial washes to glow through.  You can see what I’m referring to - check out the bottom of the painting, between the leaves.  You’ll notice an orangish glow coming through the manganese wash I applied on top.  adding color interest, bringing the piece alive with color.

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This close up of the tulips and leaves gives you some idea of the way these glazes were applied.  Multiple glazes were applied in order to achieve the darkest value.  If you go too dark, lift off come color by blotting with a paper towel.  I want you to be courageous.  Paint using new techniques, new colors and different subjects.  If a painting doesn’t come out just the way you’d hoped - free yourself to paint it again and again until you are happy with the result.  Once you give yourself that permission, the pressure to produce a masterpiece each time should be lifted.

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Let’s compare the original tulips with the FINAL painting.  First I’ll tell you what I think.  While I’m not 100 percent happy with the final result, I do think it is a stronger overall painting.  The FINAL has greater contrast and it is clearer the focal point is the left foreground tulip.  In a piece such as this you don’t necessarily have to have a “focal point.”  Instead you could have repeated pattern and color be your goal and guide the viewers eye around the painting with value contrast (I’ll try that later).  I also tried to retain some of the interesting patterns on the left pedal (with some success).  I feel the foliage is still a bit overworked and dark, but in order to cover the original error, I was forced to push toward the dark a bit more than I typically do.

You always learn something from pushing past a perceived failure.  I’m pleased I finished this one.  I learned that going darker creates more drama and makes the painting more interesting.  I’ll use that knowledge later when I dig into my pile of unfinished work and start to salvage again.

Please feel free to contact me with any questions or comments you may have.  I welcome the dialogue.  Paint on!

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