First of all you will need to create a simple line drawing of the conker. This should be clean and have no jagged or sketchy edges.

As it is usually the case with watercolour to work from light to dark, I always begin my paintings by seeking out the highlight and disappearing edge.

There are three highlights on the fruit of the conker and the strong disappearing edge on the bottom.

You will need a very weak mix of Payne’s grey and cobalt violet for this and you can apply it over the entire fruit as you will be adding a darker colour on the top.

Look at the conker carefully to see if you can work out the underlying colour.

I used a weak wash of Naples yellow over the entire shell section.

When this wash is dry, mix a weak wash of burnt sienna over the fruit where you have applied the Payne’s grey and cobalt violet wash, working around the highlights and blending the inside of them into the paper to give a soft edge.

Then work around the disappearing edge at the bottom.

Continue with the template on the other areas before you begin creating darker colours and tones.

For this you will need to make a slightly thicker mix of raw umber and burnt sienna for the inner shell and stalk.

You will need two separate puddles and to pay close attention to the switches in colour as you work through it.

Remember to blend the paint into the paper as you work, paying particular attention when you blend these mixes into the disappearing edge at the bottom of the fruit.

Allow yourself plenty of room to keep this area clear of the brown tones.

I felt at this point that the yellow needed enhancing. I applied a weak mix of aureolin yellow over the yellow tone and also a light raw umber on the brown tones.

1. At this point you will need to observe the regular switches of both colour and tone closely. You can now use the template that you have in place, to guide you as you work through, knowing that you can safely add more of that colour in that area.

2. Mix burnt umber and burnt sienna to a thickish consistency and add this to the fruit, noting how the paint naturally fades into the highlights. Add a little water here to keep it looking organic

For the darker tones, add lamp black to the existing two colours with a little transparent orange to the more orange areas.

Apply again over the existing template.

Apply this mix to areas of the stalk to create a wood-like effect and to some of the darker areas of the spikes and around the dark area on the outside edge of the fruit, the bottom area of the shell and around some of the spikes also.

I felt it looked a little disjointed when this was dry, so I glazed over the entire conker with water, to bring it together. This is a very good way of merging colours.

1. With a thickish mix of burnt umber, burnt sienna and lamp black, take a closer look at the very dark tones and apply this mix where you feel it needs to show a bit more depth.

2. I added it to some of the spikes, around the woody area where the shell meets the fruit and on the stalk area. I also added a little sap green wash to the stalk at this point to add to the realism.

3. When dry, glaze over the entire shell with a fairly weak mix of quinacridone gold and another wash of aureolin to the cooler yellow tones.

Continue with the process, paying careful attention to the different colour and tonal switches.

Finish the spikes and the woody section on the opposite side.

Sit back and enjoy your work!

The finished study

Conker, watercolour, (15.5x15.5cm)

FOLLOW HELEN TO PAINT A BLUEBELL

Helen is a botanical artist and illustrator, who also teaches. Find out more by visiting www.helencampbellart.co.uk

This demonstration is taken from the January 2020 issue of Leisure Painter. Enjoy endless inspiration with access to past and present issues of both Leisure Painter and The Artist magazines, plus exclusive video demos, tutorials and more, with our Studio Membership! Discover how you can join today. 

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