Embracing the Dutch/Flemish style of painting has been a delightful challenge for me. The vibrant hues of sunflowers, a burst of happy yellow, have been a refreshing escape from the winter blues, fueling my artistic journey.
Combining the need to learn another style of painting with the cheerful yellow/gold, I now have the start of a Sunflower Diptych wet on my easel! I had managed to click off some photos at the end of the 2015 growing season, capturing the last days of my sunflowers, which I had planned to paint.
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Sunflower Diptych (TOP) Bee 12"x 12" oil on canvas by Minaz Jantz |
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Sunflower Diptych (BOTTOM) Lady Bug & Caterpillar 12"x 12" oil on canvas by Minaz Jantz |
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Sunflowers in my garden. |
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Sunflower Diptych CLOSE-Up of BEE & Hidden Heart by Minaz Jantz |
Sunflowers, with their vibrant blooms and their role in nourishing Mother Nature's critters, hold a special place in my heart. Their wild, carefree nature resonates with my own artistic spirit.
I wanted to work with oil paint, using the glazing technique, where an underpainting is first applied and then each subsequent layer is built by adding more translucent oil paint to depict light and chromatic subtleties.
This style of glazing reminds me of stained glass and utilizes transparent, colored oils with an oil medium, such as Winsor & Newton Liquin. It helps to smooth out brushstrokes and thin the paint colors to achieve the glowing optical effect popular in Dutch/Flemish Still Life paintings. Read more here...
Years ago, I came across a library book written by Jane Jones called 'Classic Still Life Painting: A Contemporary Master Shows How to Achieve Master Effects Using Today's Art Material,' and later purchased the book for my own copy and all her DVDs.
Jane really takes her time to explain and demonstrate giving up tips in glazing techniques and color mixing exercises that really helped me better understand mixing values & color temperatures.
Jane's artwork is modern, breathtaking, and her colors are vibrant.
Getting Started
with Sunflower Diptych:
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My Thinking Sketch Book in Red |
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SketchBook is a great place to warm up to painting ideas with thumbnail sketches and notes. |
My red sketchbook serves as my thinking book, where I record notes, drawings, ideas, and design possibilities using thumbnail sketches to plan out values, patterns, and designs. The Sunflower diptych is created on two 12" x 12" square canvases, which can be displayed vertically, side by side, or on separate walls.
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ALL Brushes, Mop, and Wipe Out Tool from Jane Jones... to buy go here. |
My brushes were all purchased from Jane Jones, and having the right tools is half the battle of any painting method. Her Wipe Out tool, shown in the above photograph, features two size ends and keeps edges crisp. It is an easy way to remove paint cleanly and quickly from the surface with no fuss.
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Transparent Oil Paint Sample Palette for Sunflower Diptych |
My Palette for Sunflower Diptych
*Winsor & Newton Transparent yellow,
*Winsor & Newton Indian Yellow,
*Winsor & Newton Bright Red,
*Holbein Alizarin Crimson,
*Winsor & Newton French Ultramarine,
*Winsor & Newton Blue Green Shade,
*Windsor & Newton Titanium White.
I have developed a good habit of mixing paint samples first to explore the possibilities of the correct color combinations and values needed for the selected painting I am about to create. With every oil painting, I intentionally choose different palette combinations so I can grow in my experience with mixing paint.
Shopping at a clearance center, I found a box of thick printing paper with one shiny side and the other matte called Tango Advantage (C1S Cover 8pt-112lb. 24 weight). It turns out that I can oil paint directly onto the paper and use it for my sample oil palettes. Even with the added Liquin medium mixed into the paint for a more straightforward application, it does not soak through to the other side. I can let the sample palette dry, then later I will hole-punch it and put it into my palette collection binder, which I can easily reference in the future. Maybe one day I will have THE PERFECT MINAZ palette, or maybe not, but this sample mixing gives me time to warm up to the painting process before jumping right into it.
The paint palette I am using for the Sunflower Diptych consists mainly of Winsor & Newton brand paints, with one exception from Holbein. The mixing medium I use is the Original Liquin by Winsor & Newton.
Watch the video below about the various media of Winsor & Newton.
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Sunflower Diptych TOP drawing for 12" x 12" canvas |
With my big sketch pad in hand, I took my time to carefully draw out the sunflowers to fit onto the 12" x 12" canvas, using geometry as design guidelines and drawing in the values/shade areas.
Drawing gives me time to sneak up on my subject. I like to research the topic I am painting, so it's not just a pretty picture at the end of it. I get to use math, study some history, mix paint, and gain skills in problem-solving. All intentions and actions contribute to creating every painting.
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Studio PREVIEW of SUNFLOWER Diptych 4th glaze. |
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Sunflower Diptych BOTTOM drawing for 12" x 12" canvas |
The BOTTOM of the diptych Sunflower also shows a bud about to fully open into a sunflower. I also wanted to include my favorite Ladybug. When I photographed the sunflowers, this red beetle was chilling out on one of the petals, so they too love the sunflower!
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Preparing the canvas surface with 2 stages of color mixing. |
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The left canvas is the BOTTOM canvas, and the right canvas is the TOP canvas. The same colors were used, but in opposite sequences, for different end results. |
I could have painted both canvases the same, but didn't want that, so I used the same colors but in different sequences, saying they are in the same family and go together.
The bottom canvas was covered in a Magenta Permanent oil coat, first mixed with original linseed oil, which nicely stains into the fresh gesso-surfaced canvas. Dried it thoroughly, and for the last coat of oil paint, I used French Ultramarine blue, fanned in opposite directions to the Magenta, creating a woven pattern that enhances the cotton canvas surface.
The TOP canvas was covered with a French Ultramarine blue oil coat, first mixed with Original Liquin, then dried, and finally, the Magenta oil was brushed over the top for the last layer. Using a fan brush after each application of paint blended the surface while creating a woven texture.
After the oil paint was completely dry, which takes a few days, I took the original sketchbook drawing. I traced it onto clear tracing paper, as this helps keep the integrity of the original drawing, and it is way easier to use clear tracing paper to line up the proper placement of the drawing.
Next, I used white graphite transfer paper to trace only the flower. Later, when drawing out the other parts of the flower, I found that none of my grey or black transfer paper seemed to transfer onto the shiny surface of the canvas.
SO WHAT TO DO? I took some vine charcoal and rubbed it all over the back of my tracing paper, taping it onto the canvas so it wouldn't move. Then, I took a pencil and traced out the lines. Lifting the drawing carefully, I had some guidelines in place, but still had to hand-draw over areas that didn't fit. The Liquin had created a hard surface that makes it difficult for the transfers to work well, so I will need to explore better transfer techniques.
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Underpaint with titanium white for the sunflower petals ONLY. |
The following stages involve the glazing method, which uses Original Liquin mixed with dabs of translucent oil paint. It gives the paint a shine and showcases layers of glazing colors, while also drying the paint faster.
Following is a step-by-step glazing technique.
FIRST Glazed layer for TOP & Bottom
of Sunflower Diptych
of Sunflower Diptych
The first glazed layer enables me to cover up the stark white underpainting and introduce some shadows by toning the yellow value with a mix of purple, which reduces the saturation of the yellow mix. I added the green leaves and stems, along with a blend of yellow and blue.
The glaze is applied with Liquin Original, which gives the paint a translucent quality, allowing the white underpainting to reflect through the petals.
I start glazing the bottom diptych in the same way as the top sunflower, using the same mixes.
The center of this flower is suggested and will not reach the center or leaves for a few more stages, as I want to set up my flower petals right before taking on the other parts of the flower.
SECOND Glazed Layer for TOP and Bottom
of Sunflower Diptych
I mix Transparent Yellow and Indian Yellow with Liquin Original medium to create a brilliant gold layer glaze, which I brush over the top of the last layer to start a glowing surface. I add some red mixed into the central mix to set up the center of the sunflower. I have not yet developed the leaves or stems.
I start to develop more defined shadows and edges by adding some purple to the Yellow Gold mix and only painting the flower petals for now.
Third Glazed layer for TOP & Bottom
of Sunflower Diptych
of Sunflower Diptych
On the third glaze layer, I reintroduce some lighter highlights by mixing titanium white into my gold-yellow mix, as this will contrast with the darker shadows already created.
The flower petals are starting to take on a bit of glow, and the white underpainting is still visible but will disappear with later glazing.
Still adjusting my shadows and highlights, and adding more transparent yellow to the glaze to bring out the sunlight-touched petals.
Fourth Glazed layer for TOP & Bottom
of Sunflower Diptych
of Sunflower Diptych
This layer adds a variety of light gold highlights and also darker shades into the shadows for a glow.
Adjusting the shadows with the highlights lets each glaze dry before the next layer. It's a slow process, but I like this method of painting.
FIFTH Glazed layer for TOP & Bottom
of Sunflower Diptych
of Sunflower Diptych
I adjusted some more with the yellow petals and am now adding a bit of Brilliant red to the gold mix. I also decided it's time to develop the center of the flower, building up texture.
Adding brilliant red to the golden yellow mix is giving my flower petals a pop, and I'm pleased with it so far.
SIXTH Glazed layer for TOP & Bottom
of Sunflower Diptych
I layer over some of the very light yellow golds with a fresh mix of Transparent yellow and Indian Yellow to bring back the golden glow. I also mix a darker mix, adding Brilliant Red and a touch of Alizarin Crimson. I mix dark black with reds and greens for the center flower, and develop more details.
I decided it was time to work on the leaves and stems. I mix my variety of greens with Ultramarine blue and the Blue-Green shade, along with the two yellows, to create a range of cool and warm greens. I also make some pinky reds for the stems.
The leaves came together very nicely and added subtle shifts of gold to the edges as they turned to fall decay.
FINISHED!
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Sunflower Diptych with Pine Frame |
When I photographed the sunflowers in my garden, they were covered in busy bugs doing their thing, and it would be fitting to include them in the composition of the diptych to honor their presence. They may be small, but without them, the great swaying sunflowers in my garden would likely not exist.
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Sunflower Diptych; TOP The Bee Oil on 12" x 12" |
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Sunflower Diptych; Bottom The Lady Bug & Monarch Caterpillar by Minaz Jantz Oil on 12" x 12" canvas  Lucky Lady Bug Shoes (Oil) |
Read more here about the monarch butterfly and what you can do to help.
My all-time favorite bug is loaded with childhood memories of lying on the sand while thousands of ladybugs walked all over me, busy with their own activities.
The Ladybug is also my lucky bug, and I even had a pair of runners that have long since gone to shoe heaven. I painted them in a still life, too, and my sister, Lori, also shares my passion for Ladybugs and owns this painting as well.
My all-time favorite bug is loaded with childhood memories of lying on the sand while thousands of ladybugs walked all over me, busy with their own activities.
The Ladybug is also my lucky bug, and I even had a pair of runners that have long since gone to shoe heaven. I painted them in a still life, too, and my sister, Lori, also shares my passion for Ladybugs and owns this painting as well.
May life BUG you with all good intentions!
Minaz Jantz
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