Garden Journal Watercolor with Masking Fluid and Italic Calligraphy
Molly Hashimoto creates a Garden Journal using Watercolors with Masking Fluid and Italic Calligraphy
When I create studies in my journal of my favorite flowers and plants, I look to artists of the past for inspiration. In the West, the German Renaissance painter Albrecht Dürer was the first artist to turn his attention to nature with his studies of turf, a hare, and a stag beetle. He marked an important shift in Western art, when artists began to look at the world around them with the same type of scrutiny that early natural scientists were applying to their studies. This radical new approach to the natural world developed as unusual flora and fauna from the New World were imported. These amazing plants and animals did not fit into the old categories, and in some ways helped to propel the revolution in science.
In our modern gardens with the enormous variety of plants available to us, we can feel some of the same thrill that artists and scientists experienced as they saw remarkable plants for the first time. And that is the feeling that I try to bring to my journal entries-that I am seeing the studied plant for the first time and I am filled with wonder and excitement. Thus, I don't always do a very tight rendering. I like to have a sense of movement and grace in my painting, and I don't always add every detail. I'm trying to capture how the plant looks as my eye first roves over it, stopping here and there, but not yet focusing.
STEP 1 - Sketch
I use a 2H pencil for the initial sketch, which I often do outdoors, even in winter. Sometimes I cut the flower or foliage and bring it indoors to work with in my studio. My sketch remains only a contour drawing, without any indication of light and dark. If I'm going to be painting later, I make notes about the direction of light.
STEP 2 - Mask
Apply masking fluid to stems and flower shapes. Use the Incredible Nib for larger areas, and the mapping nib inserted into the Brause wooden pen holder for more intricate areas where a finer line is required.
STEP 3 - Wash
After wetting the entire page around the masked shapes, drop in a mixture of Cadmium Yellow Medium and Hooker's Green. You may choose to cool and neutralize this mixture with a little French Ultramarine Blue and Burnt Umber. Mix Hooker's Green, French Ultramarine Blue and Burnt Umber in a heavy saturation. While the lighter wash is still wet, drop in this more saturated mixture next to the flowers and stems.
If I use just the tip of the Maestro brush to pick up the more saturated mixture it's easier to avoid the backruns that can result from having a brush too heavily loaded.
STEP 4 - Remove Masking
After the wash has dried, remove masking fluid with Daniel Smith Rubber Cement Pick-Up.
STEP 5 - Stems and Leaves
Paint stems and leaves with a mixture of Cadmium Yellow Medium and Hooker's Green. While the wash is still wet, create shaded areas with the same mixture to which you've added French Ultramarine Blue and a little Burnt Umber. The saturation should be more intense for this mixture.
STEP 6 - Flowers
Model the forms of the flowers by painting a gray wash in shadowed areas. Use a mixture of French Ultramarine Blue and Burnt Umber.
STEP 7 - Details
Add the vein details on the leaves, using a small rigger brush, or your smallest round brush. The saturation should be more intense than the one used for the shaded areas in the leaves.
STEP 8 - Name
Naming the plant gives the journal entry the look of a botanical illustration. Use Sap Green FW Acrylic Ink and a Brause italic nib inserted into the wooden penholder to write the common name of the plant: Bleeding Heart. You can dilute the acrylic inks with distilled water to get a paler appearance which often looks better with watercolor (two parts ink to one part water is a good ratio). Use a Pigma Micron size 01 pen to write the Latin name and cultivar: Dicentra spectabilis 'Alba.'
About the Author
Molly Hashimoto has been sketching since childhood and painting watercolors for over twenty years. After receiving a B.A. from the University of Minnesota and pursuing graduate studies at the University of Chicago, she moved to Seattle, where she studied illustration at the School of Visual Concepts.
Molly's teaching is an important part of her growth as an artist. Her workshops through the King County Library System, quarterly classes at North Seattle Community College and workshops for Daniel Smith Artist Materials allow her to work with artists of all ages and levels of experience. She has written articles for Daniel Smith catalogs, demonstrating the use of watercolor and other media. A recent teaching highlight was her workshop for the North Cascades Institute at their new Education Center on Diablo Lake. She has also illustrated several children's books.
Molly lives--and paints, hikes, reads and gardens-- in Seattle with her husband David, their children Tom and Rose, and their dachshund, Winnie.