From the Artist: If this painting looks familiar, it is. I did what the bee see's for the Unexpected Angles Project, on 12x18" canvas paper. Being pressed for time I decided to redo it for this project using a 16x20" canvas, and observing the palette restrictions. I created a grid to transfer it from a photo I took and cropped to the canvas. This painting I did using glazing just about in its entirety; I enjoy glazing and like the effect.
From the Painting Guide: There's a lot to be gained by doing another version of a painting, as the second (or third or fourth) version benefits from what you learned doing the first (consciously or sub-consciously). Having the added challenge of working with a restricted palette also means you can't just copy the first, you have to do a new version. This painting definitely surpasses the previous two in the series: it's color is more refined and saturated, the composition is stronger, and the result is a fine painting.
Things to Consider When Looking at This Painting:
Colors: Building colors up by glazing, layer by thin layer, gives much richer colors than using one layer of mixed color. It also makes it easy to get soft transitions from one area of color to another where you blend the edge of a glaze.
The lemon yellow and burnt sienna make a lovely saturated color in the petals, and the stamens, while the green in the heart of the flower feels very natural and 'right' because it contains the same yellow that's in the petals.
If you did another one in the series, I'd use it to focus on the subtle shifts in tone you get where petals overlap, the slivers of shadow cast and the slightly darker tones as the petals curve.
Composition: Notice how the composition applies the Rule of Thirds with the placement of the heart of the flower on one of composition focus points. How the curved lines of the stamens and petals lead your eye out from here into the rest of the space. The subject of this painting may be relatively simple, but that's only the starting point in making it the painting it is.
From the Painting Guide: There's a lot to be gained by doing another version of a painting, as the second (or third or fourth) version benefits from what you learned doing the first (consciously or sub-consciously). Having the added challenge of working with a restricted palette also means you can't just copy the first, you have to do a new version. This painting definitely surpasses the previous two in the series: it's color is more refined and saturated, the composition is stronger, and the result is a fine painting.
Things to Consider When Looking at This Painting:
Colors: Building colors up by glazing, layer by thin layer, gives much richer colors than using one layer of mixed color. It also makes it easy to get soft transitions from one area of color to another where you blend the edge of a glaze.
The lemon yellow and burnt sienna make a lovely saturated color in the petals, and the stamens, while the green in the heart of the flower feels very natural and 'right' because it contains the same yellow that's in the petals.
If you did another one in the series, I'd use it to focus on the subtle shifts in tone you get where petals overlap, the slivers of shadow cast and the slightly darker tones as the petals curve.
Composition: Notice how the composition applies the Rule of Thirds with the placement of the heart of the flower on one of composition focus points. How the curved lines of the stamens and petals lead your eye out from here into the rest of the space. The subject of this painting may be relatively simple, but that's only the starting point in making it the painting it is.