^-1 ¿eautifclly illustrated gaUer^f °f lOS? ¿yc*^ ^
'he essentials, which will give you •PedfiC ^ ^^ y°" ^ choose numerous kinds of C»*** ^ & ^
rea W of ,he fairy world—fror° ^ ile/Pers—there are also seven eocV»*ttfi Pr°;ects that you can recreate.
'p gan"byjames Brownc
Directory of Fairies
Fairies prefer the quiet of the wood or meadow to the bustle of the city. All natural things are in their care, from the tiniest flower to the fiercest forest animal.
Dawn Fairy * James Browne (Wow)
The twisted, gnarled figure.' that form the tre« trunli» were initially drawn in ink, tut the artift cho»e hrown rathertK an hMt to give a softer line, which would merge m'ith the subsequent »ashes. I he fairy and the rest of the image »*ere then sketched in pencil before being gradually built up in a series of watercolor »-ashes. The opalescent slrin tones, the Stardust, and some of the foreground flowers were painted la*t in a semi-opaque »ash of white and yellow ocher gouache.
Rose Fairy * Myrha Pirrrrr (left) th*
artift u#ed her youn£ daughter, Eleanor Rose, as a model for this charming image. It was drawn with ery sharp watercolor pencil», with the colors built up gradually from light to dark. An eraser was used to blend the colors, as »ell as to lift out »mall areas such a* the smaller leaf veins, before adding white on top to create highlights. For additional definition, the wing and the edge* of the ro*e petals were delineated with black ink.
Rain Fairy * Maria J. William (right)
Paying attention to tiny detail* lilrr these raindrops on the flower allows you to create an authentic small-scale fairy world. The artist has cleverly suggested a head on thcUUy placing two drops for Uc intricate veins running through the petals, delicate wings, and textured hair were drawn over layer of pale watercolor mashes with colo red pencil.
Mom Fairy Queen * Stephanie Pin-Mun Law (ahove)
Tkc artist wanted to give an organic feel to the painting, and has exploited curving and curling shapes in the central moth motif, which forms a subtle background to the fairy queen. Throughout the painting, she has used delicate, transparent washes, which allow much of the white paper to show through. This can be seen clearly in the sky area, where a shimmering cloud effect has been created by gently dabbing a paper towel into a wet wash of cobalt blue.
PaSSI FLORA * Linda RaVHNSCROFT (above)
A fast-grom-ing passionflower in tk* artist* garden Inm g ht to minJ the story oi Jack and the BciniUlIt and other such fairy tales, and the lowly plant, with its huge white flowers and twining stems, also provided the perfect setting for the deva, or flower fairy. l"he painting has a distinct Art Nouveau flavor, and the composition is finely balanced, with the fairy and the three flowers forming a cross shape, and the upper tendrils on the right balanced by the butterfly on the left. The image wa* drawn in waterproof *epia ink with the background painted wet into wet and the fairy and plant details built up in wet-on-dry layer*.
Siting Fairy * Wenciie SkjOndal
(below) This coy, scantily clad fairy, treated naturalistically except for the long, pointed ears, sits on a leaf in a meadow full of flowers, gazing wi*tfully at the observer. To emphasize the spring lilcv M and the delicacy and fragility of the pale figure, the tones haw been kept very light and the colors are muted and retrained, consisting of soft browns, yellows, and greens. A careful preliminary drawing mas made in pencil, and the painting was built up in layvrs, with loose, met mashes.
The Dew Fairy * James Browne (Wow)
rWroj* haw always Lwn oMocutcJ witli fairies—they arc UlWfJ to feed on them, or m<ear them on Amr gowns in place ei JAimond*, and here a tiny, graceful fairy pours dew from a leaf. IV use of light tones and a limited color scheme of fvrJi green- and yellows inspires a feeling of innocence as well m mggesting springtime and the brightness of early morning. TW sparkling dewdrops were carefully shaded and highlighted to give them a three-dimensional appearance, and a little sepia air line has been added in places to provide touches of ¿r&nition in the foliage and the facial features.
Fairies Dance in Water * Ann Mari Sjogren
(above) Five vivacious fairies dance in their watery element, their movements whipping up diaphanous wisps of frothy, sparkling waves. The waves are described by vigorous brushwork, and the whole painting has been kept light and loose, giving the impression that the fairies are floating and ¡nfubftantial as well as being vibrant and animated.
In the Rose Garden * Wexciie SkjOndal (lcit)
The models for these two little fairies were young friends of the artist and were sketched from life, as were the roses, which the artist discovered in a public garden. The sprites, sheltered by the lush, heavy blossoms, gaze out at the viewer and seem to lure us into their magical world. The whole of the picture was drawn in great detail, and the paint was used wet on dry, with the white of the paper reserved or only lightly covered for the paler areas.
Amour * James Browne
(right) Th is sentimental fairy, who literally wears hearts on her sleeve, was originally created for a greeting card. We might imagine that her young face is flushed with the dawning of first love, but has she just received the huge bunch of pint roses or is she about to give it to the object of her adoration? The muted background was achieved by painting m«et into wet with washes of brown, pink, and green, and although the treatment of the fairy is more detailed, the artist has worked lightly to retain the delicate airiness of the wings, head, and arm.
Fox Spirits * Stephanie Pui-Mvn Lav (left)
A dynamic MUt of upward movement ha* been created by the elongated vertical format and tbe «pirating composition. Tbe leaping foxes and flowing curved lines all lead tbe eye up to tbe topmost figure, wbo bolds an intriguing fox mask. Tbe textured background was produced by laying a series of very ligbt but deliberately uneven washes, lifting out small areas, and outlining these paler spots in darker paint. All the lighter areas were achieved by retaining the white paper—no white paint was used.
Briar Rose * Kim Turner (above)
The fairy Briar Rose gazes steadily out of this painting. Like all good "portraits/ this painting gives a sense of engagement and a feeling that we know the person portrayed. Although the overall effect is soft and pretty, we can see that Briar Rose is a strong and determined character. I he painting was built up using a series of overlaid m-et-on-dry washes, with highlights reserved as white paper, and details added with watercolor pencils.
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