Review-Hahnemühle Watercolour Postcards in Jubilee Tin


Recently Hahnemühle sent me an amazing number of fine art papers for reviews and giveaways.  

This is the third of eight giveaways planned. (now closed)  Today’s subject is their tin of Watercolour Postcards with the Jubilee lid. The giveaway is international.  Entry information is waaay down the page after the review.  Please consider visiting Hahnemühle’s Facebook page or website to learn more about their wonderful line of products.  


Specs


  • Paper: Akademie Watercolour Paper  
  • Natural White  
  • Rough texture
  • Archival 
  • Acid free
  • Age resistant
  • Unbleached


SizeA6/ 10,5 x 14,8 cm/ 6.5 x 4.5 x 1.1 in 
Weight: 230gsm/85 lb
No. of Cards: 30 postcards per tin
Address panel printed on the reverse
Rounded corners on both tin and postcards

Look & Feel

The Tin
Hahnemühle Watercolour Postcards come in a metal box with a reproduced painting on the lid.  While the postcards and the construction of the tin are always the same, 10 editions exist with different paintings. The tin I’m reviewing is the Jubilee Edition: Watercolour Postcard Box with Venice Motif.  The tin I’m giving away is the Limited Artist Edition.  The only difference between the two tins is the painting on the tin’s lid.

The jubilee tin is the 10th edition and the painting is by Alexa Dilla.  You can find out more about her painting in the Hahnemühle blog entry –Jubilee Edition: Watercolour Postcard Box with Venice Motif.

The tins are rectangular, with rounded corners.  The metal is light and at 6.5 x 4.5 x 1.1 inches, it is good for carry.  The top and bottom have some flex, while the sides are stiffer. It will be possible to dent the tins, but even though I tried, I couldn’t scratch off any of the painting.  I haven’t had mine long enough to give it much rough wear, but I think the painting will hold up well.


Here is a size comparison showing the postcard tin next to a YouTangle.Art tin and an Altoids tin. 

 
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The postcard tin is deeper than both.  Besides the 30 postcards, there is a Styrofoam insert so, if you remove that, you have a little room to carry a small watercolor brush or something similar.

If there are others like me out there (and I know there are!) who are likely to turn their tin into a watercolor palette once they’ve used the postcards, you can fit 26 full pans into one.  I don’t have enough half-pans to know for sure, but it will probably fit around 40 or so.


The Postcards

Like the tin, the postcards have rounded corners.  They are natural white, 4 x 6 inches, 85 lb paper.   The back side is divided into writing and address areas, with lines for the address.

 

The surface has a rough linen-like texture that shows up clearly in your paintings or drawings.  The texture will be pleasing to some, but others might find it difficult to work on.  I discovered that some of the tins have the texture running the length of the postcard, while others have it running the width.  The tin I’m using has texture running the width. I’m not sure what the giveaway tin has, since I haven’t opened it.  I haven’t noticed much difference in how the paint handles, but others may disagree.


I’ve used colored pencil, Fude-style brush pen, technical drawing pen, fineliner marker pens, and watercolor on mine.  The rough surface gives a broken line effect, but will fill in.  It creates an interesting blended effect when you layer your colors.  The roughness means that small details may be lost.

Performance

I didn’t test these cards in my usual manner.  Every week day, I do a simple drawing or painting of an animal with a fact or two about it, to put in my husband’s lunch bag (yes.  He’s a child at heart, and I love him for it!). I was getting behind, both with these and with my reviews, so I decided I’d use his dailies for review purposes.

The texture of these postcards is more like a series of closely placed speed-bumps than the sharp, toothy surface that many watercolor papers have.  I wanted to test a fiber-tipped pen, but decided to start with the largest, most sturdy type I know of.  So, for my first effort, I used a Sharpie pen to draw my subject.  I could see no damage to pen or paper.  It isn’t the paper I would choose as first choice for pen drawing.  You feel the rough surface as you are drawing, bump, bump bumpity-bump.  I like the effect if gives, but probably many wouldn’t.

I used colored pencils to color in the drawing.  The broken line effect occurs with pencil as it did with pen, and had the side effect of wearing the colored pencil down.  I could have continued to fill in color and make it all darker, but ran out of time.  Still, I like the result.


For my second effort, I decided to use a Fude-style pen. The flexible plastic nib on this kind of pen won’t fray as easily as the nylon-fiber tips, but can be bent or torn.  I used it on the postcard with no sign of damage to pen or paper.  (I forgot to erase the pencil lines before scanning, but as you can see a 2B pencil lead works fine on the paper.)



Afterward, I added watercolor.  The paper curled when first wet.  I just carefully curled it in the opposite direction.  It stayed flat enough for painting after that.  Watercolor moves well on these cards.  The paint reactivates easily, which means glazing over dry paint may result in lifting color rather than adding more color.  This has pros and cons – you can more easily remove a mistake or add muted highlights, but you might accidentally remove something you want to keep or get a blend of colors rather than a gentle change of tint.  But the best results will come from quick single layers of color.


I decided to take a chance with a smaller more delicate fiber-type pen, so I used fineliner marker pens with a small tip.  I used a very light touch, allowing the broken line effect to give me a range of light values.  I added several layers of color, using a visual blending effect and was very pleased with the result.  I had no sign of damage to either the pens or paper.  I do suspect this paper would shorten the life of a fiber-tipped pen, so I’d use them sparingly or use pens cheap enough to be replaced more often.


For the last example, I decided to try a fully worked out painting, lifting color for effect.  I did have a little problem building up values but it was doable.  I was quite happy with my finished painting.  Doing this kind of painting on these postcards would be for someone who wanted a challenge or was familiar with this kind of surface.  If you’ve ever painted on Yupo, it is similar.  Yupo is far worse, though.

 
 
Overall
Hahnemühle Watercolor Postcards come in a metal tin.  There are 10 versions of this tin, with a different painting for each edition.  The tin has rounded corners and has room to add drawing or painting materials and to be used for many different storage purposes once you’ve finished with your postcards.  
 
The postcards also have rounded corners and have lines printed on one side for writing. The surface texture is a linen-like rough. Some cards have the texture running the length and some the width of the card.  Pen, Pencil, Colored Pencil and Watercolor all work well on the cards.  I didn’t try acrylic paint, but I don’t see why it wouldn’t work as well.  
 
The rough texture gives your work an interesting textured effect.  Some people will love working on these cards, and some won’t.  I wouldn’t use fiber-tipped pens unless I didn’t mind shortening their usuable life (though I do love the effect I get with them).
 
Other Reviews
 

GIVEAWAY INFORMATION  

Who Can Enter? This giveaway is international. closed

What Is the Prize?  One winner will receive a tin of 
Hahnemühle Watercolour Postcards with a Limited Edition lid cover (pictured below). 


 



How to Enter? Cut and paste these words: ‘I want to win 
a tin of Hahnemühle Postcards‘ into the subject line of an email, and send it to me at LifeImitatesDoodles [at] Gmail [dot] com. (replace the words enclosed in [ ] with an @ and a . and make sure there are no spaces).

When does the giveaway start and end? The giveaway starts on Sunday 10/22/17 at 05:00 AM PDT and ends Sunday 10/29/17 at 11:59 PDT.  I’ll notify the winners on 10/30/17, by responding to the email sent as an entry.

Who is Giving Away the Prizes? Hahnemühle sent me this Limited Edition tin of Watercolor Postcard for the purposes of a giveaway.  All thanks go to Hahnemühle for their generosity. 

 

Disclaimer:  I earned a Hahnemühle Watercolor block at Doodlewash using DO points.  The rest of the items,including this Limited Edition Watercolor tin, were graciously offered by Hahnemühle when I mentioned holding a giveaway for the block.  

You can find Hahnemuhle products at the following stores.  Not all products can be found at all stores, and some carry the line, but may not have them listed.

DAVINCI ARTIST SUPPLY
STORE 20
132 WEST 21ST STREET
NEW YORK, NY 10011
212-871-0220

WET PAINT INC
1684 GRAND AVENUE
ST. PAUL, MN 55105
651-698-6431

Hyatt’s Graphic Supply
910 Main St.
Buffalo, NY 14022
800-234-9288

Rochester Art Supply Inc.
150 W. Main St.
Rochester, NY 14614
585-546-6509

Blicks

Cheap Joe’s (online only)

FLAX ART & DESIGN  –
3600 S EL CAMINO REAL
SAN MATEO, CA 94403
650-350-1990

About Hahnemühle 
Hahnemühle is the oldest German papermaker, manufacturing papers for traditional and digital artists as well as industrial papers. Their distinguishing feature is the ability to combine tradition with modern technologies.  They developed the first acid free and archivable machine made paper and the first Fine Art Inkjet papers.

They have produced their paper at the same place for more than 430 years. 

Papers characterized by the Hahnemühle ‘Rooster’ are produced with focus on quality instead of quantity. 


You can read more about Hahnemühle’s history here.


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Links to Tangles, Tutorials and Giveaways are posted every Monday, Wednesday and Saturday.
Fun & Easy Landscapes step-outs, step-wiselys or step-by-steps are posted every Friday.

For a full list and links to Fun & Easy Landscape Step-outs, Step-by-steps, Step-wiselys and guide rules go here.

Want to share your Fun & Landscapes or find prompts and challenges? Join the Fun & Easy Landscape Facebook Group here!

Melon-Striped Fun & Easy Step-out


After I did a watercolor, I was asked to create a step-out showing how I did the striped trees in the painting.  After some thinking, I realized a step-out wasn’t enough.  This is because the striping is really a technique more than a specific striped object.

If you do intend to color, you can draw the stripe outlines in black, or you can use the color you intend to use for filling in.  You’ll get a different effect with each of the two methods.

Want to share your Fun & Landscapes or find prompts and challenges? Join the Fun & Easy Landscape Facebook Group here! 

Shapely People Fun & Easy Tutorial


A lot of people are intimidated at the thought of drawing people (including me).

But in my Fun & Easy world, there is nothing that can’t be drawn by using the basic shapes – circles, squares, triangles, and their geometrical variations.  And remember, stick people are for real in fun & easy landscapes!

You know the steps already – the head, the chest, the waist, the arms, the legs, the hands and feet (maybe).  Are people still familiar with the spiritual – Dem Dry Bones?  I had that song going through my head when I was working on this.

I’ve come up with step-outs for drawing a few funky people.  I’m using the triangle for the most part, but you should try squares and circles too. You can tell the possibilities are endless!

Want to share your Fun & Landscapes or find prompts and challenges? Join the Fun & Easy Landscape Facebook Group here!

Desert Rain Frog Fun & Easy Step-out


To join my Facebook group, ‘Life Imitates Doodles Fun & Easy Landscapes’ go here.

I came across a .gif photo of a desert rain frog.  After I stopped laughing and marveling at the fantastic creatures that inhabit this earth, I knew I had to come up with a step-out.

Go ahead.  Pretend he’s some kind of alien creature instead.  I’m sure the frog won’t mind.

Landscapes or find prompts and challenges? Join the Fun & Easy Landscape Facebook Group here!

Touching VS Overlapping Lines Fun & Easy Tutorial


Some news about Fantasy Landscapes:
I’m working on setting up a Facebook Group where I can post challenges and people can share their fantasy landscapes.  Only I’m going to call the group ‘Life Imitates Doodles’ Fun & Easy Landscapes’.  I chose Fun & Easy after doing some research to see how often ‘Fantasy Landscapes’ is used, and what it is used for.  It’s crazy of me, but I’m going to change Fantasy Landscape to Fun & Easy Landscapes going forward.

Have you ever drawn something, and looked at it, thinking “Something’s wrong with this, but I don’t know what?” Duh.  Who hasn’t?

Well, today I’m going to discuss a problem that might be the problem. And the problem is not the problem. The problem is your drawing of the problem (sorry, I couldn’t resist misquoting from ‘Pirates of the Caribbean’).

When you are drawing, you are a magician who transforms a series of lines into something that resembles real life.  As with all magic there are tricks to help fool the viewer. One of tricks is to make sure objects overlap instead of just touching each other.

Look over these examples, and then I’ll try explain what’s going on.

Forgive me – this write-up gets a little talky, but I think it’s important.

Normally, I don’t use the words good and bad to describe a mistake.  Most mistakes aren’t – you just think they are.  But in this case, we’re dealing with the way the brain interprets what it sees.

The brain looks at drawn lines and tries to find something familiar from real life.  It does the same with clouds and stains on the wall and cracks in the sidewalk.  So the trick is to draw lines that help the brain find the familiar instead of confusing it. You don’t give the brain a choice.

When two objects overlap it gives the brain familiar information – the object in front is closer and the one behind is farther away. That is how your brain will interpret it.

When the two objects only touch each other the information could be interpreted two ways. That means the brain has to make a choice.

Look at the drawing above and:

  • Find the bunny touching the top of the bush.  Is he behind the bush or sitting on the bush?
  • Find the bunny touching the bottom of the bush.  Is she in front of it or carrying it on her back?
  • Find the bush that is touching the bottom of the road.  Is it in front of the road or pushing against the road?

The brain tends to be lazy. If a choice occurs with a major focal point or there are too many choices like that, the brain will just reject the drawing as impossible.

There are exceptions.  Rows, mainly.  If you have a hedge row, or a line of people holding hands, they can touch without overlapping and the brain will be perfectly happy.  Because row objects touch in real life.  Patterns can also touch.  If you are drawing a Zentangle-Inspired artwork touching might be preferred to overlapping.

Abstract art or Escher-like art with its playful interpretations of perspective, often mess with real-life perspectives. Such things might confuse at first, but soom the brain knows that it won’t find direct comparisons to real life.

So what if bunnies in your fun & easy world DO carry bushes on their back? I’d add straps or something to help the brain understand.  But most of the time, you should keep things simple, and remember the magic trick.  Make sure objects overlap instead of just touching.

Don’t stress about this.  If it happens, it happens, and it will.  But next time you look at a drawing and think “What’s wrong here?”,  I suggest looking for touches where you should have overlap.

Alphabet Textures Fun & Easy Step-wisely


When you think of alphabetical characters, you probably think of writing or calligraphy, but the letters of the alphabet are simply line marks that we’ve assigned special meaning to.

If you ignore the meaning, and make a letter of the alphabet the motif – a string of the same letter clumped together – why then it becomes a pattern, and patterns make excellent texture!

Such patterns tend to draw the eye, as well, because we pay attention to words, and our brain will look for some meaning.  It figures out the trick soon enough – but what a way add some subtle interest to your drawing.

Shaping Your Landscape Step-by-Step


Today’s step-by-step focuses on using basic shapes to create your fantasy landscape.  Instead of comparing two different examples, I’m sharing an example all the way from my first steps of creation to the finished piece in color.

SUPPLIES
Paper: This was drawn in my emnotes notebook.  The paper is similar to printer paper.
Ink Pens: Tombow Fudenosuke hard tip, Graphic Micron and Pigma Micron sizes .03 and .05
Color Marker Pens: Tombow Dual Brush Pens.  These pens have a brush nib end and a pen nib end. They are water-soluble and can be wet to use like watercolor.  For this drawing, I only used the brush nib and did NOT add water.

  • Colors used: Pale Yellow, Chrome Orange, Orange, Sand, Glacier Blue, Periwinkle, Orchid, Deep Magenta, Dark Plum, Dark Olive

Fun & Easy Landscape Step-outs used: Peacock 3 Plant, Scribble 3 Plant, Flipple 3 Plant, Fat Bird Two, Papa Bear, Bell 3 Plant

Step 1: Work out the composition, values and shapes

Scan 00-Mock up original for tracing

I’m not good at just visualizing what I want to draw and then drawing it.  So I start by just messing around with a vague idea in mind, not worrying about any rules or techniques.  Usually after 10-15 minutes of drawing, I have a pretty good idea of what I want. Then:

  • Using a pencil, I experimented until I had my shapes, values and a composition that works for this step-by-step.
  • I used the Fudenosuke hard tip to draw the shapes, the Pigma Microns to draw the details and the Graphic Micron to fill in the large dark areas.
  • This first drawing wasn’t quite right for what I wanted.  But it told me this:
    • The focal point of the drawing should be the space between the bear and the bird
      • because they have faces and are of the most interest.
    • The peacock plant was too dark and didn’t lead the eye anywhere.
    • The texture and detail was far too complex for the Fantasy Landscape series.
    • I came up with a texture on the cliffs that is new to me – I like it.
    • This drawing was good enough to tell me what I needed to do for this step-by-step.  Time to move on to step two.
Step Two: Trace and scan the drawing
Using my initial drawing, I traced each object on the page, a section at a time, scanning before I moved on.  Time consuming!  I traced the sections in the order that I originally drew them so they would overlap properly.
Scan 01-Pencil in Cliffs

First I penciled in the cliffs, so I’d know where to place everything else.

Scan 02-Draw Flipple Plant
Then I drew the Flipple plant.  It loans itself to curving and I curved it to point toward the area between the bear and the bird.  I knew where that was because I had penciled in the cliffs.
Scan 03
After adding some general detail in the form of poodle plants, I inked in the first cliff.  Notice the overhanging grass and how the complexity in the cliff detail is greater on the inside edge.  I did this as a subtle way to move the eye toward the middle cliff.
I’m playing fast and loose with my lighting and shading in this piece.  I’m worrying more about how the values move the eye than whether they are in the correct place for realism.
Scan 04
I drew the peacock plant first.  In my original drawing I drew it too large so that it ended up going off the page and so that the left edge is almost exactly in line with the flipple plant.  These are both errors in terms of composition.  I meant to change it as I did my tracings and I forgot.  Rather than start over, I decided to keep it so you can see how this leads the eye off the page.  The fix would be to make the plant smaller so it clears the edge on the right and falls a bit below the flipple plant on the left.  The path for the eye was meant to be that you’d follow the flipple, fall down to the corner of the peacock where the points would push you up to the bird.
Scan 05
Now I added the bird, which is one of the items with the most interest in this drawing. I also added some filler detail in the form of more poodle plants.  If you wanted to keep your drawing really simple because that is your taste or you intended to add tangle patterns, the poodle plants are the kind of detail you would leave out.
Scan 06
I inked in the cliff, repeating the overhanging grass and complexity of cliff detail pointing to the third cliff.
Scan 07
Now I added the bear, the most important object in terms of interest.
Scan 08
I wanted lots of contrast around the bear and to push the viewer’s eye back toward the bear, so I added a greater amount of detail and texture with lower interest value.  The plants could either be poodle plants or scribble plants.  I already know that I will scribble in texture with color so I’m calling them scribble plants.
Scan 09
The wide open space in the upper right seemed to draw the eye off the page, so I decided to add bell plants flowing down toward the bird and framing the bear.
Scan 10
I finished the line drawing by inking in the third cliff.  Each cliff is its own section and each has similarities-the overhanging grass, the poodle/scribble plants and the cliff details.  But each section also has a unique focal point.  The plants on the lower and middle cliff lead the eye toward the next cliff, while the plants on the top are more of a block, sort of bouncing you back toward the bear.

When you look at the drawing at this stage, it probably seems flat and a bit crowded.  Even though I’ve created some flow and framing to lead the eye around the drawing, there is so much going on and so few value changes that the drawing is confusing.

I’m making a point of this, because I think it is another reason that people are unhappy with their work.  This can be rephrased to say, “How can I tell when my work is finished?”  That isn’t always easy to tell, but if you don’t have a contrast in values it probably isn’t finished yet.
Now is the time to start thinking about where to place your light/dark values.
Guide rule: Don’t judge your work too early, especially if you haven’t added contrasting values yet.
Scan 11
Step 3: Color the Drawing
Color opens up a whole new world of opportunity, but there are so many variables that it gets confusing really fast.  So before we continue, let’s talk about some properties of color.

I’m going to focus on a color’s:

  • Value  – how light or dark is it.
  • Transparency or opacity – how much will show through the color.  Will it cover up the lines you’ve drawn? If you layer it over another color, how much will the color change?
Some information you should know about a color’s transparency or opacity:
  • Not all similar colors are the same.  One red might be extremely transparent and another completely opaque.  Navy Blue is much darker than sky blue.  It may or may not be more opaque.
  • A color can become more opaque/darker the more heavily you apply it.  A yellow might become brighter, but not darker or more opaque, but a blue will probably do both and so it goes with all colors.
  • Usually the darker the color the more opaque, but not always.
  • The paper you are using can make a difference.
  • The medium (pen, pencil, acrylic, watercolor, etc) can make a difference, as can the brand of the medium.
  • In essence, there are more variables than I could cover in a book.  Becoming aware of transparency and opacity is your best tool.
  • Transparent colors are usually more expensive.  If you buy those cheap Sharpies you’ll get dark, opaque colors.
  • A medium that goes on light at first makes it easier to control transparency and value.  In terrms of controlling transparency, colored pencils are usually the best buy if price is a concern.
Color Glossary:
  • Color Family: The group of shades and tints within a pigment’s color.  Pale yellow and dark yellow both belong to the yellow family,  Sky blue and royal blue to the blue family, olive green and yellow-green to the green family, etc.
  • Opacity: The degree to which a color is opaque, hiding what is beneath it.   An opaque color hides drawn lines.  If you layer it over another color, a completely opaque color will not change.  A less opaque color may change but only slightly and may not reflect the color underneath.  For instance, layering a very dark purple over yellow may simply turn the mix darker. There is a wide range in the degree of opacity among colors, color families and brands. Transparency.is the opposite of opacity.
  • Shade: This term may refer to the color of a pigment – yellow, red, blue, etc.  or it can be used to refer to a  color mixed with black to darken it and dull it.
  • Tint: A color lightened by adding white.  Pink is a tint of red.
  • Tone: A color mixed with gray to darken and dull it.
  • Transparency: The degree to which a color is transparent, see-through.  No coloring medium – pens, paints, etc. is completely transparent but some colors are more clear than others.  A transparent color allows drawn lines to be seen easily.  If you layer it over another color, both colors change but the color underneath will affect the change more than it would with an opaque color.  There is a wide range in the degree of transparency among colors, color families and brands. Opacity is the opposite of transparency.
  • Value: Value is a term in art that refers to a scale of light to dark.  You should have at least three values – light, medium and dark, but will probably have more.  High contrast between light and dark adds more interest and can create a focal point in your drawing.
For a full list of terms I use often, check out the Fantasy Landscapes glossary here.
If the colors you use are not as transparent or opaque as you like, it could be another reason for unhappiness with your work.  But before you rush out to buy something else, try to decide what you are looking for.  Do you need something that allows your drawn lines to show through and that changes a lot when you mix the colors?  Or are you looking for dark colors that only change slightly when mixed but cover an area boldly and give a stark contrast to lighter colors?

When you see art that you like, consider asking the artist what medium and brand they are using (probably not an artist who is trying to sell their work professionally though), so you know something specific to look for.

Let’s keep things simple.  I’m using Tombow Dual Brush pens which are more transparent than many brands of marker/pens.  I’m going to rate the degree of transparency and value for each color I use on a scale of three – Transparency, Semi-Opaque, Opaque for transparency and Light, MidTone, Dark for value.  My ratings will only apply to the color and brand of pen I’m using. This is very rough, because the actual degrees are endless, but it will get you into the ballpark.

Color Transparency/Opacity Light/Dark
Glacier Blue Transparent Light
Pale Yellow Transparent Light
Orchid Transparent Light
Sand Transparent Light
Chrome Orange Transparent MidTone
Orange Transparent MidTone
Periwinkle Transparent MidTone
Dark Olive Semi-Opaque MidTone
Deep Magenta Semi-Opaque Dark
Dark Plum Opaque Dark
Okay, back to the step-by-step.Because it is far easier to go darker than to go lighter, I start with the lightest and most transparent color in my set of Tombow Dual Brush pens – Pale Yellow.

Even though my color is light, I use a scribbling motion and let some white show through.  I intend to layer another color and this scribbling will add some texture and variation of color.
Scan 12
I colored the sky with Glacier Blue (Rating: Transparent Light), again using a scribbling motion. After coloring all of the sky, I went back over the areas around the bell vines, the bear, the bird and the peacock plant to up the value/contrast.
Then I added blue to the yellow in the grass (but not the flipple or bell plants), leaving some of the yellow showing.  Blue and yellow mixed make green.  The grass is darker in real life, because that is one problem with transparent colors.  Light reflects through them, and scanners often pick up more of the color beneath than the color on top.
Since I felt that the peacock plant was too dark in my original drawing, I decided to let the sky show through, so I colored the inside part of the pattern.
Scan 13
There are certain color combinations that POP! These are called complimentary colors.  Roughly, they are yellow/purple, orange/blue and red/green.  As I discussed earlier, not all colors in a family are the same – some yellows are more green than red, etc. and that has an effect, as do value and transparency.  After testing the colors of dual brush pens I have I chose Periwinkle and Orange as a combination, and Pale Yellow and Dark Magenta.I started applying the Orange.  I also add Chrome orange to the top patterns of the peacock plant.

Scan 14
Then I added Periwinkle.  Yes!  My bear is a bluebear!  Bluebear meets the Bluebird, lol.  I applied more of the Chrome Orange to plant behind the bear to help with framing him.  This is the only orange I use in the drawing because isolated colors draw the eye.  As it turns out, it wasn’t enough but I’ll discuss that later.

Scan 15
I wanted to keep the colors of the filler detail light and not as likely to draw the eye.  The Orchid was a good choice because it was a nice contrast to the yellow, but similar in transparency and value so it doesn’t pop as much as the magenta will.I wanted the cliffs to be background so I chose a nearly neutral color with overtones of violet, Sand.  I applied it using the side of brush nib in long strokes to imply the texture of a cliffside.

Scan 16
When I added the Deep Magenta, I immediately realized I had made a mistake in my values.  From my tests, I thought the Orange/Periwinkle would pop as much or more as the Pale Yellow/Deep Magenta.  But the dark intensity of the magenta took over.  It would have helped if I had more orange next to the periwinkle.  As it is, the first thing your eye is drawn to is the flipple plant.I considered redoing the drawing, but decided that this is actually the kind of thing I want to show you.  Even if you’ve tested your colors there are enough variables that you can be surprised.  This is the kind of thing you want to look for when you are unhappy with a drawing.

I don’t think this ruins the drawing and most people wouldn’t have noticed if I hadn’t pointed it out.  But it means I didn’t quite succeed in what I was trying to do.

Next I used Dark Olive in the bushes behind the bear and along the cliff.  I used the same color in both places, but notice the difference in color.  I did scribble when coloring the bushes, allowing yellow to show through, but the Dark Olive is semi-opaque, so the color underneath has more affect.To finish off, I used Dark Plum over the Dark Olive to get my darkest values, and notice how it turned almost black and doesn’t really look green at all.  That’s opacity versus transparency.

Scan 17
There you have it.  I don’t plan to go through the coloring phase very often.  It’s too big of a subject.  Perhaps when I’ve exhausted the possibilities of drawing Fun & Easy landscapes, I’ll spend more time on how to color them!