I knew I wanted the blue on the one flower to be very light. I obviously over did it, though, because when I put that first layer on, I could hardly see any color at all. It needs to be darker than this, I thought. I couldn’t fix it right away, though, because that first layer had to dry. My other flower is somewhere between pink and purple. My plan was to mix red into the blue that was already on my palette. I knew the cadmium red medium I’d been using wouldn’t work. I needed a bluer red, so I chose carmine, from the Amsterdam line. The color I came up with didn’t exactly match the reference photo, but that didn’t matter to me.
Getting back to that blue flower, it took two more layers, both times adding more ultramarine blue into my mixture, before the I started to be satisfied with the color that I was seeing. Maybe this is a lesson that even if I think something should be extremely light, it might be better to go a little darker than what I think something should be.
I mixed purple with my yellow for the shadows on the flower in the top left-hand corner.I needed to be careful when painting the pink on the rose, so as not to cover up all of the yellow. I needed some of it untouched and I’m always nervous when doing stuff like this. I look back at my reference photo every time I finish painting one patch to see where my next one should go. I used a couple different shades of pink, as you can probably see.
I painted shadows on the blue flower by mixing blue with orange. What stood out to me when looking at the yellow flower was the white highlight on it.
A few years ago, I showed you how I made a painting with a dark and spooky mood. I decided then that one of these days I would do a something about creating a calm and happy mood in a painting and now I’m finally doing it. I chose this particular photo because of the woman’s serene expression. I’ll be using mostly warm tones, yellows and oranges.
The concept of using warm colors starts with background, for which I used yellow mixed with a bit of burnt umber.
I’m using a sepia toned underpainting instead of my usual gray one for this piece. This will not inferior with the warmth of the colors I’ll be putting on top. I know this from this experiment.
I part two of this post, I'll be discussing the surface colors.
Painter of portraits and wildlife