Cuprinol 5122247 Garden Shades Exterior Woodcare, Sweet Pea, 1L

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Apply in dry conditions, above 5 degrees Celsius and when bad weather is not forecast, minimum of 2 coats required. The final colour will vary depending on the surface and number of coats. If adhesion is inadequate on previous coatings, lightly sand before application. Make sure wood has been pre treated with appropriate wood preserver to prevent wood and decay. Mix up an ever paler and wetter tint of pink. Apply this wash across almost the entire flower (including the parts which got the first layer of colour). Leave the palest areas as white paper, right next to the stem of the flower. Once your botanical illustration has dried, work into the inner petals a bit more. Add some detail, and balance the different parts of the flower by adding pinks to this central zone. Now do the same for the veins in the central winged area of the flower too. The colour mix here is the same as before, but with some purple added.

Before leaving London, Durrant had become increasingly dissatisfied with the direction her work was taking; she had produced no large scale paintings for some time and her output was mostly confined to small drawings. In retrospect, she sees the Canadian trip (which she has compared in its liberating effect on her subsequent work to her first visit to the United States in 1972) as a major turning point, and has attributed the bolder and more confident looking paintings she started on her return to the general sense of exhilaration and optimism the trip had given her. Apply this to the outer edges of the flower, and the darker zone at the centre of the flower. Be sure to follow the lines of growth with your paint brush, and don’t be heavy handed. You can always make watercolour darker, but you can’t lighten it! I use Winsor & Newton watercolours, and work quite dry. This mix is Opera rose with a touch of Cobalt blue. I always use a Winsor & Newton series 7 paintbrush, normally a number 1.Doctor Martins PH Hydrous inks come in a lovely array of jewel-like colours, and I often add a tiny drop of these vivid hues to my watercolour washes. In this case it’s the turn of Quinacridone Magenta. Step 6: Add darks and shadows

If you put cut plants into a closed plastic bag in the fridge, with a paper towel wet with water, it really extends their lives and keeps them fresh for illustrating. Plants, paper and pencil ready, and most important of all, the cup of tea. Good to go. Getting ready to paint I also wanted to look at one of the pink sweetpeas, but decided this would be a study of the venation within the petals; a line drawing in watercolour, if you will. This helps if asked to draw a sweet pea again; once the purple ones are complete, some of the detail will be swallowed up in the dark colours. Getting going on the colour: Painting the stem Mixing up the wash to go on the sweet pea. This is a similar mix to before, but with much more water and no brown. Lit: Judy Marle, ‘Jennifer Durrant, Recent Paintings’, Arnolfini Review, March–April 1979, p.2; Alister Warman, catalogue introduction for 13 Britische Künstler, eine Ausstellung über Malerei, Neue Galerie-Sammlung Ludwig, Aachen, December 1981–February 1982, and tour [p.10] I’m currently working on a series of sketchbook style illustrations of common cultivated garden plants (like the sweet pea); there’s a possibility these will illustrate a book on foraging in the garden in the next year or so.In relation to ‘Other Cloud’, she has no special recollection of having seen anything resembling the drop or ‘tear’ shapes, and the central blue form relates to a formal problem she had tried to resolve in earlier works, the setting of a circular shape into a rectangular format. As with all her titles, this one hints at a mood in the work rather than defining the painting's sources. She told the compiler that ‘Other Cloud’ suggested the names of Native Americans but could equally well relate to the cloud formations she remembers having seen from the aeroplane on her way to Canada. She had also been reminded of Georgia O'Keefe's paintings of sky and clouds seen from aeroplanes, (the ‘Sky Above Clouds’ series 1962–5).

Exh: Jennifer Durrant, Recent Paintings, Arnolfini Gallery, Bristol, March–April 1979 (no catalogue, listed on duplicated sheet); Hayward Annual 1979, Hayward Gallery, July–August 1979 (9, repr.) This is my trusty paintbox (what a mess) with me mixing up some purple to go into the green on the stem. I favour Winsor & Newton paints, and much prefer using Winsor & Newton series 7 brushes to any other sort. Stir thoroughly before pouring contents into a Cuprinol sprayer. Overspraying surrounding areas can be minimized by avoiding spraying in windy conditions and by using cardboard or plastic as a shield. Any overspray should be cleaned up immediately (whilst still wet) with water and household detergent. Mix a darker pink for the central petals. I used purple lake, Alizarin crimson and opera rose; but be informed by the colour of your own specimen. I add another wash of pink to the centre of the flower. You’re trying to keep the lights and darks in tact, but also want to unite the different areas of the flower. It’s something of a balancing act.

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I used Opera pink and a touch of the purple used for the flower veins. Go slowly and make sure you don’t take everything too dark too swiftly. The sweet pea flower has 5 sepals and 5 petals, and their leaves are hairless. Each leaflet consists of two pairs of leaves and a terminal tendril which helps the plant to cling as it climbs upwards. Sweet peas have winged stems and the leaves carry distinct veins.