7. Refine specimen boundaries.
8. Photograph drawing.
9. Photograph specimen layout. (if delicate greens seem to move about.)
The boundaries and main veining are in place and the drawing is scanned. Scratch step 9 as I've moved the specimens about and some leaves are curling.
Next up is to trace this drawing and transfer to watercolor paper. Once the tracing is complete, tonal values can be added to the drawing.
I received a bouquet of flowers from my coworkers during my retirement sendoff. I kept the roses as they dried out so nicely. I never realized how great they would continue to smell! The early morning sun (which I hardly ever see these days!) sidelights them so perfectly so this evening I tried to mimic that light with my trusty cardboard light box. More work is needed here, and perhaps new roses as well, but I am inspired to paint dried roses in egg tempera. I thought I'd put this medium on hold until I wrapped up the botanical class but the attraction is too strong. I even ordered up a few new dry pigments today. So although this rose might not be the model, certainly not this photograph, I can always take some time to explore color studies.
By the way, this photograph was "stacked". Four separate shots focused at various focal planes were then assembled as layers in Photoshop and merged. I probably could have, and should have, worked with more layers--I'm a little rusty with this technique.
And just a bit of news here... My friend Bob, a professional portrait photographer, had me to his studio this afternoon to help me select a frame for my crabapple painting. The frames (I ordered a second in case I decide to copy the painting) will be in Tuesday so we'll soon get a good look at that final package. Well, almost final, as I want to rework that painting with a bit more depth. I remember Koo saying that when you think you're done, you can always glaze in more layers and add richness.