MASTERCLASS
7 Map out markings
I mixed Magenta and Gold Ochre to start mapping out each petal and sepal. I painted this
mix over the acrylic basecoat, starting at the base of the petal and working toward the tip.
I also continued with the acrylic layering so that every petal and sepal were covered with
acrylic and also advanced enough with the gouache so markings could be applied.
I used the brush in an upright position to make good use of the tip to draw the fine lines and
held the brush flatter to make broader strokes for the pink tinges around the petal edges,
mixed with Gold Ochre and Magenta.
10 Modify petals, buds and stems
This stage allows me to use gouache to its full
potential as an opaque medium. While the
petals and sepals have been painted from light
to dark, the modified petals in the centre were
painted from dark to light. Applying a dark mix
gives a good base colour that will allow me to
paint lighter mixes on top. I applied a lighter mix
of Raw Sienna, Bengal Rose and a touch of
Permanent White to the lips in each flower and a
base coat of Linden Green and Naples Yellow to
the buds. The darker stem was dulled with Linden
Green, Winsor Blue and Perylene Maroon.8 Refine colours
While this is a botanical painting, not a true
botanical illustration, accuracy is still
important. I refined the markings and
colours, working across each flower to bring
them up to the same level. I continued with
mixes of Magenta and Gold Ochre but leant
towards a more Magenta bias for the veins.
The top flowers are showing the back
sepals which are slightly greener. I used a
mix of Linden Green with a touch of Winsor
Blue to start adjusting these areas.9 Flower centres
Fill in the modified petals – the centres of
the flowers – with acrylic. These are made up
of botanical features called the column, the
throat and the lip. Be extremely careful not
to paint any areas that may need to remain
green. I am also putting acrylic across the
stem and buds so that every area has a
covering of paint in some form.