Up For A Challenge

Red Jade Vine

KS00085

12 x 16 inches

watercolor on paper

Collection of Librada Dela Fuente

 

The name is actually a misnomer as the red jade vine is of a different species (Mucuna bennettii) from the jade vine (Strongylodon macrobotrys).  Beautiful and not so commonly found, both are sought after by garden enthusiasts.  These type of flowering vines are most often used to fill and decorate shaped frame structures for walkways.  They provide very good shade.

We have both the jade vine and the coral vine (another name for the red jade vine) now in our garden courtesy of Kakang Badeng (grandaunt) who is a collector.  It is from her garden that I get some of my more unusual flower references.

Painting this coral vine was quite a challenge.  It was several months in the planning.  First, because it is a seasonal bloomer.  When Kakang Badeng asked me if I could paint it from a picture she took, I said I will have to see the coral vine closer up and in the natural setting.  This is one of those blooms whose color cannot be captured by photographs well.  The red orange coloration is so bright that the camera perceives the individual blooms to be almost one solid color.  It becomes difficult to distinguish individual structure and detail.  The chandelier-like formation of the combined blooms also can be limiting in that you are more or less stuck in having to show it hanging down otherwise, it might not become recognizable.  I was able to take home a flower cutting the next time it bloomed.  Lola had one of her gardeners climb and get a sample so we can see it closer up.  At home, my sister had to hold the stem with a forceps because the stem has spicules.  Not a very nice feeling when you get the sharp, tiny spikes in your fingers.  I had to use masking tape to get mine out.   But see how bright the coloration is.  It is even more beautiful "live" because you see subtle differences within the orange color - hint of red, green, yellow and even violet.

As I was studying the coral vine and making notes, I realized it would be easier composition-wise if I placed it in its natural setting.  I can use the background to add more interest.  I mentioned to my lola that I need more information.  I will need to see how the flower is attached to the vine, how the leaves are oriented, etc. (more from curiosity and the need to see it - orient it logically in my brain than the actual need to paint details).  And that is how I found myself atop a tall aluminum ladder the next time me and my sister visited.  Be careful what you wish for, you just might get it.  :D   When we got there, this ladder was already in place complete with an assistant who would make sure it will not topple over.  As I was climbing the ladder with my knees shaking not just from the height but the feeling that the ladder might not take my weight, I looked down and saw Kakang Badeng.  She was so confident I could do it that it convinced even me.  So who says there is no thrill and adventure in painting.  This passes for the equivalent of bungee jumping when you get to my age.  :D

A BRIEF INTRODUCTION TO COMPOSITION, THE OLD SCHOOL WAY

How I planned the painting itself can be summarized by this simple illustration.

I placed the subject (large orange oval) off center, left and higher up.  The smaller orange ovals add interest but don't detract from the main subject.  The function of the satellite ovals is to add interest but at the same time it also acts as a pointer or reminder so that your attention is brought back to the more dominating large oval.  To make the background more dynamic, I angled it.  The green zone is for the vine branches and leaves.  Blue zone for the sky.  The large white area at the bottom which I will leave mostly blank will reinforce the illusion that the bloom is hanging.

WORKING WITH PHOTOS

Here is how it looked from the top of the ladder.  You have vines crisscrossing, some as thick as my wrist, others thin as a finger.  The greenhouse has a metal framework which the vine uses for support.  The leaves are mostly outside and on top of the greenhouse.  Sunlight pierces through gaps and you can see glimpses of sky in the spaces.  See how photographs are great tools for memory or recollection.  Now to paint as if you're doing it plein air, don't get too caught up in the photo but distill the essence or principle of the thing and use it to suggest realness.

I had fun when creating the background dropping in colors and creating ghost branches.  I had so much fun I forgot to photograph the process in between these two stages.  Sorry.  Sometimes you get too caught up with an idea, you forget about documenting.  But the idea is to leave spots of areas lighter in color among the branches.  Later, I would color these the same blue as the sky.  The branches were semi-detailed in some spots and vague in others.  Some areas, I covered with varying degrees of green.  I debated against painting realistic detailed leaves because it will compete with the blooms and also because I wanted the illusion that you're viewing this from a distance.  At that height and distance, either you would focus on the bloom or on the leaves and vines.  That is how the normal human vision works.  I want the viewer to think it was his idea to focus on the blooms so I left the detailing mostly on the flower itself.  Try it, see how even when you consciously try to walk your eyes around the painting, you would find your eyes straying towards the main flower.  Last, on the finished painting, you would notice that I signed my name very lightly with the same blue I used for the sky.  I wanted the signature to be as unobtrusive as possible.  I was thinking of not putting it in at all but because I will not be supervising the framing of this painting, I have a feeling that the framer might crop the large white area thinking to save space.  Putting it in this way, they would feel compelled to include the signature.  If this blank area was shortened, you will lose the feeling that the bloom is suspended high up.

So that is one way to do the old school way of composition.  These days, we do not really adhere to the "rules" but sometimes it is good to know the basics.

Thank you for dropping by.

Yellow Hibiscus

Yellow Hibiscus, At Twilight

19 x 19 inches
watercolor on paper
Feb 20, 2011

I already named this one Twilight Hibiscus but when I googled to see if grammatically, that is acceptable, not only did I find out that it is ok to use but that there are a lot of photos and art with the same name already.  So I rechristened this one Yellow Hibiscus, At Twilight.

Now why the fixation with the word twilight.  While I did read the vampire novel, I was influenced more by the time setting for this piece.  We have this not so usual yellow hibiscus in our garden.  We were told the mother plant probably came from Hawaii.  That would explain why it looks different from the local variety.  The blooms are bigger than normal and with more folding within each petal (reminds me of swag curtains).  The deep pockets or folding bring out the most unusual reflections.  Whenever I would pass by this plant in the mornings and in the afternoons, I would always stop to enjoy and marvel at how the sky and nearby objects get reflected on the bloom making its yellow colorful.  Trying to capture the moment on photo is almost impossible.  the brightness of the yellow dominates and the camera is unable to register the other colors even though they look so evident with the naked eye.  Then passing by one time, as the sun is setting, i realized that the other colors get more pronounced as the brightness of the yellow lessened with the approach of darkness.  When I saw a potential bloom one morning, I waited that afternoon for the right moment with my camera on a tripod.  I remember the incident clearly because the whole time I was afraid I would get dengue from all the mosquitoes biting.  And as the sun disappeared from the horizon, there, the perfect window of opportunity. And I was able to get some reference photos of this effect. The pictures were blurred but workable.  We usually get wind here in the afternoons and even with the tripod, if the subject is swaying in low light, it is almost impossible to get a clear shot.  But no matter, I got a good enough guide photo.  As for the detailing, I already had previous sketches and studies of this flower that I can use.  By the way, photos are very good at capturing the moment but they have limitations.  Without your own memory of what caught you about the scene, without a chance of actual observation of the subject, without mental notes on details and constructions, working from reference photos can even be harder than if you were to paint from real life.  Just that sometimes, when your subject has a short lifespan, as with most flowers, or at times when you cannot work on location or cannot take the subject home, a photo is a very useful tool for jogging the memory.  I would still recommend doing actual sketches from life.  Do studies of your intended subject.  It helps you see subjects in the round.  Drawing helps you see things with logic.  So and so has a bump here because the thing is connected to the... that kind of logic.  I would often dissect flowers to see how they are put together and find this exercise of drawing them from life very helpful.  You need not be that technical nor obsessive but sometimes it helps when you find yourself with a photographically accurate rendering that still looks flat or unreal.  The knowledge could help you fabricate details that can lead to better illusion of reality. Often, what you will manage to capture on film or file is so flattened together that some parts don't look natural anymore.  You will encounter objects here and there you can't logic the origin of.  Which is probably why it is better to work from reference photos you took yourself. Your memory can guide you and you can then weed away the unessential and add or augment what is absent but you think should be there.  There are times however that you may have to work from photos sent by others.  Most artist accept commission work and this is a great way to have supplemental income.  Anyway, another topic for another day.  How to use photo references.

I am happy to announce that this youngest child of mine is already sold.  She will not be lonely because she will be placed beside her sister, 2010 hibiscus (I still have yet to come up with a name for the quinacridone red/fuschia hibiscus).  Thank you very much Atty Gigi for giving them a good home.  First time also I worked following a theme.  Again another  potential topic.  How to do a series.  


That's it for now.  Thank you for looking.