The South African Artist – July 2019

44

6 STEP 5:

At this stage, I added green which was a mixture of

hookers green and burnt sienna, darkened with a

touch of French ultramarine – this starts to give me

a sense of composition and colour balance and tonal

value location.

Next, I add some darker details like the inside of the

petal structure – all the time working wet in wet. If you

find the paper drying out too much you can selectively

use your water spray bottle on the dry areas and this

also helps contribute to the looseness of the overall

painting. Darken up the greens and watch the effect

of the wet in wet working in your favour.

STEP 6:

Add more pigment to the bright flowers using

cadmium red and yellow and the shadow areas of

green and purple grey can be strengthened a tad.

Start to indicate where the vase and table is and

create some reflections in the table top surface for

interest and to tie the flow of the painting in a vertical

sense.

STEP 7:

With a dark green which can be darkened with

indigo, and using a rigger brush, loosely swipe in the

background twigs and introduce a few markings of

the veins of the leaves.

Finally, using water and a clean dry wiped brush,

remove a few highlights off the petals to help create a

glow in the finished painting. As usual, my final bit of

advice: try not to overwork it!

5

7

in the paintbox

Cadmium Red

Cadmium Yellow

Hookers Green

Burnt Sienna

Indigo

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