From the Artist: The challenge of using only three colors and the white of the paper was in one sense easy because I am use to working with a limited palette. However, I don't know that I would have ever thought of using burnt sienna for a red. Learning to work affectively with the high strainer phthalo blue, with the earthy burnt sienna was the challenge.
This piece is the fourth attempt to work out the nuances of the three colors. In this picture, I went with pouring the background. I found that when I attempted brush mixing it was okay, but lacked the brilliance I was looking for and expected from phthalo blue. Next, I tried applying the phthalo blue first then lemon yellow, and burnt sienna, again I was not satisfied. With pouring the paint, the interaction of the pigments gave the clear, lively colors with the depth I wanted.
I chose this arum lily because it looked like a pitcher getting ready to pour out liquid light. With a special thank you to Marion for the use of her photo.
From the Painting Guide: Glad one of the Flower Reference Photos was of use. I think you've created a lovely background to offset the stark white of the arum lily flower and, wow, just look at those really deep, dark tones.
Things to Consider When Looking at This Painting:
Working Wet-on-Wet: The blending of one color into another and soft edges created by working wet-on-wet, especially when pouring on paint and not brushing it on, produces results you simply can't get working on dry paint. Look also at how the the color between the flower and the stem is also worked wet-on-wet, but controlled within the edge of the flower. The organic feel it has suits the subject well.
Negative Shapes: Look at the negative-space shapes in the various colors in the background, how these make it visually interesting without detracting from the main focus of the painting, the flower head.
This piece is the fourth attempt to work out the nuances of the three colors. In this picture, I went with pouring the background. I found that when I attempted brush mixing it was okay, but lacked the brilliance I was looking for and expected from phthalo blue. Next, I tried applying the phthalo blue first then lemon yellow, and burnt sienna, again I was not satisfied. With pouring the paint, the interaction of the pigments gave the clear, lively colors with the depth I wanted.
I chose this arum lily because it looked like a pitcher getting ready to pour out liquid light. With a special thank you to Marion for the use of her photo.
From the Painting Guide: Glad one of the Flower Reference Photos was of use. I think you've created a lovely background to offset the stark white of the arum lily flower and, wow, just look at those really deep, dark tones.
Things to Consider When Looking at This Painting:
Working Wet-on-Wet: The blending of one color into another and soft edges created by working wet-on-wet, especially when pouring on paint and not brushing it on, produces results you simply can't get working on dry paint. Look also at how the the color between the flower and the stem is also worked wet-on-wet, but controlled within the edge of the flower. The organic feel it has suits the subject well.
Negative Shapes: Look at the negative-space shapes in the various colors in the background, how these make it visually interesting without detracting from the main focus of the painting, the flower head.