In my weekly Flower Painting Class, we will be learning about painting roses, but we will also be learning about using rich, vibrant red!"Controlling" red is a necessity to create form and depth, keeping shadows dark, but not too dark and the lights believable and rich.
Notice the first rose (single blossom, above) has a translucency in the center petal that is closest to us, while the lower right petal seems more opaque. Paint qualities, especially the degree of transparency and intensity of color help with this illusion. Also, note the variety of exterior and interior edges that help create the illusion of depth.
Here are two other sample roses, one in profile and one almost straight on, with some overlap between them.
Notice how the light is caught on the rose in profile; the petals protruding toward us are lighter but not pink, just "hit by light" as are some of the edges of the petals.
Finding ways to make red lighter, without turning it pinkish, can be frustrating, but in the end, very rewarding! Likewise, finding a way to create rich, warm darks to allow brushstrokes of red to disappear and reemerge between petals is a challenge.
The key is slowing down, thinking through the options, and choosing wisely. Then, testing each color choice with only one stroke of paint, adjusting value/color/intensity as needed. It also involves choosing accurate angles and effective brushstrokes.
Here are some additional images that depict the steps taken to create these sample roses:
SINGLE ROSE
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| Start with a simple, basic sketch of overall form, keeping first strokes at same angles as actual petals. |
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| Begin adding shapes with accurate value and intensity of red. Keep overall shape more angular than curved. |
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| Apply wide, skinny, and irregularly shaped (but accurate) strokes of color to create form or mass - but avoid outlining shapes. |
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| Begin to add darks, with narrow shapes that can be "dragged" wider and longer, as needed. |
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| Step back and check overall impression. Does it look like a rose from a distance? Is the silhouette more angular (good) than curved (not so good) ? |
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| Begin dragging shadow color across petal as needed. Keep brush parallel with the canvas, not perpendicular. Pay close attention to keeping the depth of the rose. (Petals go back for that elusive third dimension.) |
PAIR OF ROSES
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| Begin with a rough sketch and petal strokes that "follow the form" of the rose. |
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| Proceed deliberately, taking time to think before placing each stroke. IMPORTANT: Be sure to wipe your brush right after EVERY stroke, or you'll pick up unexpected color and deposit it in your pools of paint or with the next stroke. |
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| Don't panic! Just keep progressing with the darks. Once the darks are established, the mid-tones and highlights will "pull the petals out." |
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| Before completing first rose, begin the rose beneath and behind it. Begin with the darks, and note the strokes follow the form of the actual rose. |
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| One way to proceed is to create the area outside the "bowl" and then fill in the deep, translucent shadow. |
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| After the bowl is full of rich shadow, interior petals can be added. |
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| After completing the rose on the lower right, petals protruding toward us were added to the first rose, so that they overlapped the second rose. A cool background of broken color was added to emphasize the warm red of the roses. See the final sample painting, below: |
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| Here is the final sample painting with background and shadows added. Hope these images and comments were helpful! |
