This blog is a followup from my last one where I presented the actual still life, the black and white or notan, value study and now discussing the painting in color. It is imperative to maintain the value structure in this painting because some of these colors are so difficult to get. Trying to obtain the right color mixtures and at the same time as the right value is almost impossible. The student (all of us) must keep the painting in the correct value or all is doomed. What is the shadow color on the main yellow flower to the right middle? Some green, some red, some raw sienna, little yellow, etc, I can't describe all the colors I used--at times I experiment over and over again. The other forms were easier. The background in cool greyed color so they don't compete with the subject matter. The detail in these roses were the most beautiful things I could imagine.
Other notes in still life: Have one flower be the star--if they are all detailed and pretty, you will lose punch. If everyone is screaming in the chorus, who will hear the soprano? Note the lower flower on the table cloth-I angled down so it becomes a lead in. It was straight across the table. Alway look for a way into the painting, and a way out, although keep it subordinate to the lead in. If possible, have two or three flowers touching or off the edge (not in this one) for interest and mystery. Lose edges where ever possible. Let your big masses communicate with each other and make sure there is harmony-especially a balance of warms and cool (there is in this one). More on that in another blog.
Mother nature amazes and humbles me constantly. I hope this helps your understanding of still lifes and take a workshop!! We review these principles and others on fridays.
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