This painting begins with a stroll through our garden after rain. The rose’s petals, with water drops, were irresistible. I took photographs to capture this brief moment of awe
I decided to paint three roses as individual paintings to be viewed together as a triptych. Although this painting tutorial focuses on the White Rose, the thinking and process are the same for the others.
STEP 1: Primary Idea: Light and Raindrops
Beauty fills my heart with joy when I see the wet petals’ rich colors and raindrops sparkling on the deep green leaves. So the primary idea was to celebrate the form, subtle color, and textures of this gorgeous white rose. Every decision made as I paint is meant to express the awe that I feel as clearly as possible.
STEP 2: Drawing Freehand
Freehand Drawing
Freehand drawing, rather than tracing a photograph, is super important to my process. Tracing makes it too easy to draw lines and shapes without understanding what they are and how those elements interact to create a composition. Shadows and object edges are easily confused.
I draw directly on a gessoed panel with a 3B pencil, exploring the composition to become better acquainted with all the elements in the painting and their relationship to each other. Close attention is paid to the placement of the rose blossom and the angles and sweep of the leaves.
Workable Spray Fixative is applied to hold the drawing in place.
STEP 3: Block-In
Focus on the large dark shapes
Blocking-In is the time to create a solid structure of form, shape, value, and color. I start by establishing the darkest values first. Working from the background to the foreground, I use a mixture of alizarin crimson and ultramarine blue. Their transparency creates a cool, lush, dark color that sets the stage for richer, saturated colors that come later.
I make the green for the leaves with a mixture of ivory black and Indian yellow, and modulate the temperature and value of that mix using titanium white and cadmium yellow deep.
The blossom shape is left untouched until I am satisfied with the dark background. There needs to be enough contrast in the dark areas to separate the leaves from the dark background while allowing the natural-looking edges used to help anchor the leaves to the rest of the scene.
STEP 4: Block-In continued
The blossom takes shape
I paint the rose petal’s cool shadows and warm yellow undertone with thin layers of color. The pearly gray colors of cast shadows are created with titanium white, a touch of ivory black, Indian yellow, and a trace of alizarin crimson. The blossom’s base color is a stain made from Indian yellow, and transparent red iron oxide scrubbed on the panel with a bristle brush. Transparent layers keep colors saturated and purer than opaque colors do. I take advantage of those colors in the final stage of painting when I let them shine through subsequent layers of paint.
STEP 5: Refining
With the main shapes, colors, and values in place, I refine them by blending middle tones, deepening the shadows, adding details, and laying in highlights. The blossoms are built with off-white, nearly ivory-toned, colors, careful to keep them just dark enough to allow contrast with the pure white that will be adding in the final stage.
Time for the raindrops.
STEP 6: Finishing Details
The painting is nearly done. But to bring it to life, raindrops are added to give it sparks of light.
Water drops are fascinating light-blending objects. Although perfectly clear, they bend the light in a way that causes them to cast shadows, magnify the objects they sit on, and broadcast intense concentrations of light beams into their own shadow. Add a spot of highlight to their surface, and the dance of light is complete. Mixing the greens and whites for the leaf raindrop effect is challenging. It is also very satisfying when I get it right.
MATERIALS
I use these materials every day I'm in my studio. Investing in professional-quality oil paints and tools is always worth every penny for their consistancy, lasting quality and durability. M. Graham is my favorite brand of oil paints and medium. I explain why in my post, "Why I Love m Graham Oil Paints".
Paints (M Graham)
In the order arranged on my palette left to right
Alizarin Crimson
Cadmium Red
Cadmium Yellow Light
Cadmium Yellow Medium
Cadmium Yellow Deep
Cadmium Orange
Titanium White (Rapid Dry)
Indian Yellow
Viridian
Ultramarine Blue
Transperent Red Iron Oxide
Burnt Umber
Ivory Black
Medium
Walnut Alkyd Medium
Brushes & Palette Knife
Rosemary & Co Brushes
Palette Knife (I use only for mixing)
Brush Cleaner
Turpenoid Natural
Stainless Steel Paint Brush Washer
The Masters Brush Cleaner
Studio Lights
NEEWER 13" LED Video Light Panel
Other Useful Studio Materials
Nitrite Gloves
Paper Towels
Drawing Tools
HB Graphite Pencils
Kneaded Eraser
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FAVORITE BOOKS
Great instruction and wonderful inspiration for all level.
Alla Prima II Everything I Know about Painting by Richard Schmid
Richard Schmid, the legendary artist, offers the ultimate guide for both aspiring and experienced painters. Drawing on his classical training and years of painting and teaching, Schmid shares the techniques and insights that have established him as a master of alla prima. With warmth, clarity, and authority, he makes complex concepts easy to understand. His lessons provide valuable guidance for artists working in any style. I strongly encourage you to add this treasure to your collection.
Alla Prima II Companion: Richard Schmid's Materials, Tools and Techniques
Richard Schmid's Materials, Tools and Techniques - By Katie Swatland. The path to creating great works of art begins with knowing the capabilities of your materials and tools.Contained within the pages of this book are detailed descriptions of the processes that go into the creation of a painting.
Luminous: The Art of Michael Lynn Adams
Check Price on AmazonPainter Michael Lynn Adams explores how his childhood nurtured his artistic curiosity and shares methods for creating luminous works, illustrated with over 95 paintings and drawings.
Lessons in Classical Painting: Essential Techniques from Inside the Atelier by Juliette Aristides
Lessons in Classical Painting presents aspiring artists with the fundamental skills and tools needed to master painting in the atelier style. With more than 25 years of experience in ateliers and as an art instructor, Aristides pairs personal examples and insights with theory, assignments, and demonstrations for readers, discussions of technical issues, and inspirational quotes.
The Art of Still Life by Todd M. Casey
The Art of Still Life offers a comprehensive, contemporary approach to the subject that instructs artists on the foundation basics and advanced techniques they need for successful drawing and painting. In addition to Casey's stunning paintings, the work of over fifty past and present masters is included, so that the book is both a hardworking how-to manual and a visual treasure trove of some of the finest still life art throughout history and today.
The Art Spirit by Robert Henri
"Art when really understood is the province of every human being." So begins The Art Spirit, the collected words, teachings, and wisdom of innovative artist and beloved teacher Robert Henri. Henri, who painted in the Realist style and was a founding member of the Ashcan School, was known for his belief in interactive nature of creativity and inspiration, and the enduring power of art.
Your blog is full of fresh ideas! I’ve been hooked for nearly an hour. Thanks a lot!
I’m so glad you found fresh ideas in my blog. That makes me very happy. Thank you so much for letting me know.
Fabulous and generous tutorial. thank you! The drops are amazing. Seing exactly where is what..
I was curious about the fixative on the3B pencil. I didn’t know you can paint oil over it. ? That the paint will hold on that surface. And assumed that the graphite would fly all over with the spray.. gratefully, Isabelle
Thank you, Isabelle, for your nice comment. I have used spray fix for years to hold the graphite drawing in place, and had no trouble with it as far as painting over it is concerned. An alternative to spray fix is spray retouch varnish. I use Blairs brand. It is designed to allow for additional layers of paint over it. In either case, a very light spray is all that’s needed to hold soft graphite or charcoal drawing in place. Happy painting!
Thank you for the insight into your work. It is amazing, I love it. To know the colours that you use will help me immensely, So interesting to see how you build the painting.
I am very happy that you found this tutorial was helpful. Happy painting! ~ Michael
Looking at your work I realize you are a master. I really liked the tutorial and learned something about new about painting. Thank you, be well.
Wow. This is an absolutely delightful peek into your process. Stunning.
Thank you!