The session will be here on Monday 28th September at 6PM UK time (1PM Eastern, 10AM Pacific).
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Topic: A full flower still life (with vase!)
So far, we’ve covered simplifying form, drawing out, light and shadows in values only, and dipped our toes into colour – especially chroma.
In this final painting session, we’ll be painting a more complete flower still life with three flowers, a vase and fallen petals.
Of course, given the time constraints, we’ll be aiming to get to just passed the block in stage in the session itself. But given a strong start, you should be able to take it to completion.
We may go over the usual two hours duration a little!
I’ll be working 10 x 8 inches on an ampersand panel, and applying a couch. It would be a good idea to have the subject drawn out ready.
Prepare your painting surface as follows:
Cover your painting surface with a thin layer of linseed oil, or a mix of oil and solvent. You can use just gamsol if you like, but it will start to “set up” (dry) much more quickly. Roughly work in a middle neutral value, then wipe most of the oil and paint off. You’ll be left with a thin layer of oil and a light, slightly tinted surface.
Grid out the painting surface and then do a straight line block in of the flowers. You’ll be ready to go 🙂
As well as brushes (a selection of synthetic flats will be best) a palette knife and rags/kitchen roll for wiping out, have the following tube paints ready on your palette if you can:
- Titanium white
- An Arylide yellow – Michel Harding bright yellow lake (PY3) is perfect, hansa yellow (PY74) is also good
- Yellow ochre
- Permanent orange or cadmium orange
- Michael Harding green gold or similar
- A quinacridone blue-red, Michael Harding quinacridone rose is perfect. You won’t need very much of this, there’s only one small area of the painting where it will be useful
- Transparent red oxide (or similar)
- Raw umber
- Ivory black
- A phthalo green – Winsor and Newton winsor green yellow shade is perfect, but any phthalo green will do
Also, have your value scale mixed and on your palette too. You probably wont be using it much so won’t need a large quantity, but as before, we will be using it to relate the values of the colours we’ll be mixing back to the value scale.
This is a very harmonious subject and I think quite a poetic one. All of the colours are fairly close in terms of hue for this one, the challenge will be showing the small, subtle differences between them – and of course, getting the chroma right!
The roses are a Lichfied Angel (on the right) and the other two are a variety called Champagne Moment.