Here`s my palette: (in clockwise direction) new gamboge, new gamboge mixed with ruby red (gives an orange which is not too bright), ruby red, three varying mixes of ruby red mixed with pthalo blue and the last contains raw sienna. The other dish has the shadow mix (the blobs of yellow and orange are the remains from another painting) As I go along, I mix any of these colors to the shadow mix to get a wide range of shadow colors.
The smaller areas are mostly completed in one wash. The centre areas here tend towards orange whereas it was more towards green in the centre areas of the previous flower.
This flower is brighter and warmer than the first one, so the first washes are pure ruby red diluted with water.
Here I have filled out the smaller petals on the left:
Here I have done some fine tuning on the same petals. A pale glaze of yellow on some inner petals makes them spring upward, leaving the other yellow petals as there keeps them a layer behind the first ones. The violet ones form another layer behind these two and adding a glaze of the shadow mix to some keeps them at the farthest plane. So you get the spatial perspective and the petals don`t look as if they have been placed next to each other.
Strengthened the shadows on the lower sunlit petal:
I put up the ref here again so that it is easier to follow:
A base wash of new gamboge and a mixture of ruby red and phthalo blue:
The shadows are put in while the wash is still damp with a bit of Schminke raw sienna and the shadow mix (previous post) so that the edges stay soft. (same petal as in the above photo) The upper petal is done in one wash with a red violet mix and the shadow mix.
I snapped this while the wash is still damp, the stronger values were added as this was drying (the photo below this)
The lower wide sunlit petal here has a darker value in its right hand side since it has a darker valued petal beneath it. Veins and folds should be stroked in when the wash is just a bit damp so that they don`t spread about too much.
I strengthened the colors a bit and added the cast shadows on the same petal: There`s no need to keep the shadows too grey even if thats`s how they look in the photo, adding some colors to them make them appear luminous. I keep softening the edges of all the petals as I go along so that there are no hard edges.
I`m going to be painting from this almost as it is, nothing much to change, maybe add a bud or two; the composition looks fine as it is.
The colors that I have chosen for now are Schminke`s ruby red, DS new gamboge (because the yellow on the left flower is actually the tertiary color yellow orange and not a pure yellow) and MG phthalo blue. Here is the lower petal of the left most flower. I have already added the small shadows at the bottom of the petal in this first wet in wet wash.
Here I have added the cast shadow with a mix of the red and blue plus a little yellow to dull down the resulting violet.
The colors that I used are:
Schmincke sienna natur
Schmincke permanent karmin
Schmincke tief rot
Schmincke krapprot tief , a beautiful deep red
Schmincke translucent orange
Schmincke gold, a bit for the hummingbird
Daniel Smith sap green
Daniel Smith perylene green, lovely deep green for shadow foliage
Daniel Smith hansa yellow medium
Daniel Smith blue apatite genuine, lovely dull blue, hue perfect for highlight leaf areas but is sedimentary, too much texture for leaves
M Grahams phthalo blue
Maimeri blue burnt sienna and burnt umber
The colors have been dropped in after the leaves have been wet twice (priming, Susan Harrison). This allows the area to dry slowly so that usually the leaf can be completed in one wash. This one`s facing the light so its very light valued.
Follow this link to view the video; the first 3 mins where the base wash is applied have been deleted to fit in with the 10 mins utube requirement: Enjoy!