3 Pin down the image
I used Sap Green and a 1” square-edged
brush to map out the strong lines of the plant
stems and start to get a sense of the
composition. It was like a complicated jigsaw,
continually drawing and adjusting the lines.
I found myself working very energetically at
this stage, really keen to get the colours
down while the ground was still wet. Standing
to paint with a big brush, I was continually
moving back and forth from the canvas to
check the composition from a distance.
6 Expand the tonal range
I now needed to add the darkest tones of the
painting: the deep greens of the foliage.
Using Prussian Green, Indigo, and Alizarin
Crimson, I mapped in the strong shapes of
the shadows. I refined the drawing of the
flowers and added a little Turquoise and
Violet-Grey to the background.
Working directly from the computer screen,
I was able to zoom into the photo and study
the complex structures, shapes and colours
of the leaves. At this stage the painting was
still very energetic; I was keen to keep a
steady momentum and maintain a rhythm
in the brushwork.
4 Develop the backdrop
I started to add the background grey fairly
thinly with the 1” brush, aiming to make it a
fraction warmer than it was in the original
photo. I mixed new colours frequently, using
various combinations of Raw Umber, Davy’s
Gray and all my yellows. I found the very
neutral quality of Naples Yellow Light
particularly useful.
Working into the wet base, these colours
blended with the Burnt Sienna and Cadmium
Yellow of the ground. I used Naples Yellow
Light to add the patches of sunlight, although
I felt I was getting a sense of these simply by
leaving the ground showing through.5 Establish highlights
As the whole painting was a study in various
shades of white and grey, it was important to
get the very brightest whites down in order to
judge the other tones and colours against
them. I used Titanium White with a little
Lemon Yellow Hue.
I then mixed softer greys for the flowers in
shade, using Raw Umber, Naples Yellow and
Titanium White. I gradually reduced the size
of my brush to 3/8”, as well as swapping my
newer, sharp-edged brushes for older
out-of-shape ones to soften the edges.7 Harmonise colours
Having mapped out the entire composition, I began to carefully mix and add slightly thicker
paint, trying to establish a balance of colour and marks all over the canvas.
I focused on the background, re-mixing greys, and introducing a little Payne’s Gray and
Violet-Grey to cool down the colour. This was tricky as I had made a conscious decision to
make the background a bit lighter than it was in reality. I wanted to make the tones a little
closer, and for the painting to be really harmonious and soft to look at.