From the Artist: I used only vermilion red and raw umber, mixing different reds. I had some difficulties making the lightest parts light enough, since white mixed with red gives pink.
From the Painting Guide: This is a painting that makes me question the definition of a still life merely by the type of element in it, or as "anything that does not move or is dead", which is how the Tate museum's glossary defines it. I wonder whether the definition also needs to include something about how the elements are presented, because to me this close-up of a rose is more of an abstraction than a still life. Or is wanting to see the overall object, and have it presented in a setting, too traditional an expectation of still life?
Things to Consider When Looking at This Painting:
Light and Dark Reds: I think you've got a lovely range of red tones in this painting, though I do find the area of dark tone right in the center a little distracting. I think I'd make parts of it a little lighter, or maybe soften part of the edge so it doesn't demand quite as much attention so immediately.
Getting a light red tone without having a pink can be tricky. Sometimes using it thinly over white will produce the desired result; sometimes using a little yellow will work (though this does move the red towards orange; and sometimes you need to swap to another red pigment altogether.
Getting a dark red is easier. Adding a little dark blue or black can produce a lovely dark red tone, as will glazing over with a dark blue.
From the Painting Guide: This is a painting that makes me question the definition of a still life merely by the type of element in it, or as "anything that does not move or is dead", which is how the Tate museum's glossary defines it. I wonder whether the definition also needs to include something about how the elements are presented, because to me this close-up of a rose is more of an abstraction than a still life. Or is wanting to see the overall object, and have it presented in a setting, too traditional an expectation of still life?
Things to Consider When Looking at This Painting:
Light and Dark Reds: I think you've got a lovely range of red tones in this painting, though I do find the area of dark tone right in the center a little distracting. I think I'd make parts of it a little lighter, or maybe soften part of the edge so it doesn't demand quite as much attention so immediately.
Getting a light red tone without having a pink can be tricky. Sometimes using it thinly over white will produce the desired result; sometimes using a little yellow will work (though this does move the red towards orange; and sometimes you need to swap to another red pigment altogether.
Getting a dark red is easier. Adding a little dark blue or black can produce a lovely dark red tone, as will glazing over with a dark blue.