Try printing this page from your browser to use as a reference. Click on this image for a larger version - approx. 11" x 8"
NOTE: The large image size is 11 x 8 inches only when downloaded and printed via a graphics program i.e. paint, paintshop-pro, photoshop or similar.
Printing it via a browser will require a landscape format page-setting and also may produce a smaller image.

#1 - Alizarin Crimson
#2 - French Ultramarine
#3 - Winsor Blue
#4 - CeruleanBlue
#5 - Raw Sienna
#6 - Light Red
#7 - Burnt Umber
#8 - Naples Yellow
#9 - Winsor Yellow

[ML] - Mauve Lilac = #1+ #2 [*see note]

cw refers to the term "charge with" meaning to introduce a colour into a still wet colour.(Wet-in-wet)
sm refers to the term "smallest amount"

click for larger image


Application of washes.
This should be quick using as few strokes as possible to cover any area being worked on. A minimal amount of brush-strokes equals greater purity and translucency of colour. Too much dabbing and scrubbing when applying the colour kills its freshness.
Planning the painting: This is very important!
Mentally paint the picture before proceeding - analyse the source picture above - and please be aware of the colour mixes you are about to apply to each area, and the order in which they are applied, try visualising the result. Will the brush you are about to use carry enough colour - have you mixed enough colour - is the mix strong or weak? Try it out on your - trial pad!

The Outer Petals:
Mix a very pale wash of #2 [Crimson Alizarin] This colour is to be cw Lilac on the paper, wet-in-wet

.Mixing Lilac: *special note
First mix sufficient #2 and add very small amounts of #1 until Lilac is reached, it's better to be too blue than violet. Especially in this case where pale crimson is laid down first.

Mix a small quantity of medium strength #1 for the center of the flowers.

Mix a small quantity of medium strength #8 also for the center of the flowers.

The Outer Petal Application:
Study the large picture before proceeding UHR1200-stage-1
You will see how close to the edge of the petals the colour starts don't lose the white at the core of the flowers.
Turn the paper so that when painting the top of the picture its upside down and continue turning so that the other sides are nearest to you as you progress round the flowers always painting down towards yourself.
The pale #2 is applied working down towards you and then cw lilac which is allowed float on the pale crimson and settle, creating a very acceptable texture. Ignoring the pencil lines of the outer petals allow the colour to extend and brush off, if you try to contain the brush strokes within the pencil lines the colour will blob as you remove your brush from the paper.
The shape of the flowers will be determined when the dark background colour is applied.

The Inner Petals:
Again study the large picture before proceeding UHR1200-stage-1
You will see where and how the Naples Yellow is applied. The position is to help determine the edges of of some petals which are left white and also to indicate the root of other petals the darker strokes have been cw medium strength Crimson Alizarin #1.
Indicate the central shape using a brush loaded with the medium strength #1 - and then use a clean water brush to soften the top edge.


art class projects basic materials | art books ]
[ the drawing | painting stage-1 | painting stage-2 | painting stage-3 | painting stage-4 ]
[ painting-1-11x8 | painting-2-11x8 | painting-3-11x8 | painting-4-11x8 ]
  UHR1200-stage-1  |  UHR1500-stage-2  |  UHR1500-stage-3   UHR1500-stage-3a   UHR1500-stage-4  ]