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 Quarto is the authority on a wide range of topics.
Quarto educates, entertains and enriches the lives of our readers—
enthusiasts and lovers of hands-on living.
[Link]

© 2015 Quarto Publishing Group USA Inc.

Published by Walter Foster Publishing, a division of Quarto Publishing Group USA Inc.
All rights reserved. Walter Foster is a registered trademark.

Artwork on front cover (center) and pages 60 and 62–83 © 2015 James Sulkowski. Artwork on front
cover (top right) and pages 16 and 18–39 © 2015 Judy Leila Schafers. Artwork on pages 40–59 © 2012
Marcia Baldwin. Artwork on front cover (bottom right) and pages 3, 6, and 116–135 © 2015 David Lloyd
Glover. Artwork on back cover and pages 4, 84–114, and 136–139 © 2015 Varvara Harmon. Artwork and
photographs on pages 12–13 © 2012 Vanessa Rothe. Artwork on pages 14–15 © 2014 Elizabeth T. Gilbert.
4

Authors: Marcia Baldwin, David Lloyd Glover, Varvara Harmon, Judy Leila Schafers,
and James Sulkowski
Page Layout: Britta Bonette

This book has been produced to aid the aspiring artist. Reproduction of work for study or finished art is
permissible. Any art produced or photomechanically reproduced from this publication for commercial
purposes is forbidden without written consent from the publisher, Walter Foster Publishing.

Digital edition: 978-1-62788-925-4

Softcover edition: 978-1-63322-013-3

6 Orchard Road, Suite 100

Lake Forest, CA 92630
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Visit our blogs @[Link]

Printed in China
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 C hapter 2

Flower Portraits
with Judy Leila Schafers and Marcia Baldwin

Just as a portrait of a person must capture the personality of the sitter,

a successful flower portrait must convey the unique characteristics
and natural beauty of the subject. Colors should be true and textures
accurate to the point that viewers can feel the flower simply by looking
at it. The step-by-step lessons in this chapter show how to create
dynamic flower paintings that achieve these important traits. They’ll also
inspire you to use your freshly honed skills to paint additional flower
portraits with your own special touch.

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 Tiger Lily with Judy Leila Schafers

My attraction to the tiger lily is its vibrant color

and simple yet dynamic design. There is ample
opportunity here to practice working with reds
and yellows in combination with dioxazine
purple to re-create the subject’s vibrancy without
inadvertently muddying the colors.

Color Palette
azo yellow • cadmium red medium • dioxazine purple
Indian yellow • lemon yellow
phthalo blue (red and green shade) • titanium white
Medium: acrylic polymer, glazing medium

Step 1 To make the painting more interesting and highlight the flower itself, I use a square canvas, which I prepare with
two coats of acrylic polymer medium. Once dry, I loosely paint the whole canvas with a mixture of glazing medium and
azo yellow. This will help bring out the yellow in the image and give an overall feeling of warmth to the final painting. The
coating doesn’t need to be uniform, but it must dry thoroughly before continuing. Next I use a watercolor pencil to mark the
center of the canvas, as well as my cropped reference photo. Now my focal point won’t end up in the center of the canvas.

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 Step 2 Using various mixtures of dioxazine purple,
phthalo blue green shade, cadmium red medium,
titanium white, azo yellow, and glaze, I block in the
background with a ¾-inch angle brush, being careful
to preserve the flower. Random, quick strokes produce
the illusion of texture—some of which will show
through in the final painting—and creates interest
without fussy detail. When this coat is dry, I add a few
more layers of these mixtures, focusing on where the
background should appear darkest. The more layers
I add, the less streaky the painting appears. Limiting
the number of layers on areas I find the texture most
interesting will preserve some of it.

Artist’s Tip
Always being aware of the directional
markings of each petal helps add form
and lifelike dimension to the flower.

Step 3 To suggest foliage in the lower left corner, I

use a soft, worn ½-inch angle brush that is useful for
creating blurred edges. I use mixtures of phthalo blue
green shade, phthalo blue red shade, azo or lemon
yellow, glaze, and a touch of cadmium red to paint the
leaf shapes. For the darker greens, I add dioxazine
purple to the mixture, and for the brighter greens,
more lemon yellow; white create the highlights. I
continue adding layer upon layer using a small amount
of paint and working between mixtures until I capture
the effect in the photo.

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 Step 4 I remove most of the watercolor pencil marks with a damp towel so
they don’t interfere when applying color to the edges of the petals. Next I
paint a glaze of white onto the brightest parts of the petals. Mistakes in the
original drawing are corrected using two to three layers of titanium white,
straight from the tube. Once dry, I layer a coat of azo yellow over the white
corrections to match the original petal shapes. Then I use Indian yellow to
define the shadows in the petals.

Step 5 Continuing with the

petals, I use a mixture of glaze,
cadmium red, dioxazine purple,
and Indian yellow to deepen the
darker shadows within the larger
shadow shapes. When the paint
dries completely, I add a layer of
permanent rose mixed with glaze
over the petal, except for the
lightest sections. To these sections,
I add a thin glaze of lemon yellow. I
apply multiple layers of the yellow,
red, and purple glaze mixture on the
deeper orange petals using small
amounts of paint until I achieve the
desired depth of color.

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 Step 6 Now I add a glaze mixture of purple, a touch of white, and permanent rose to the deep shadows of the flower. After it dries,
I paint a few thin strokes of dark green (a mixture of phthalo blue green shade, dioxazine purple, azo yellow, glaze, and a touch of
white) on the orange petals. These strokes can only be seen close-up, but subtly unite the flower with the background. In the lighter,
more yellow shadow areas, I use a mixture of glaze, white, dioxazine purple, azo or lemon yellow, and a touch of permanent rose.

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 Step 7 In this step, I add
freckles to the petals using
a small size 0 liner brush
and the shadow mixture
of cadmium red, dioxazine
purple, and Indian yellow.
I also focus on developing
the thin parts of each petal
where they join to the stem.
Next I use the liner brush to
paint the stamens and pistil,
building up layers until I’m
satisfied with their color and
form. Notice how the stamens
and pistil cast an interesting
shadow onto the bottom two
petals. Finally, I add tiny dots
of green and dark purple to
the pistil and anthers to give
the flower more dimension
and help it harmonize with
the background.

Step 8 Returning to the lower

left corner of the canvas, I
block in the stem and spear-
shaped leaves with my dark
green mixture, making sure
the edges are sharply defined
so they stand out from the
background foliage. Then I add
layers of lighter green mixes
and streaks of bluish gray
to create highlights within
the shadows. For the sunlit
leaves and stem areas, I layer
on a mixture of white, lemon
yellow, and a touch of phthalo
blue red shade.

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 Step 9 I decide that adding another leaf to the background on the right side of the flower will help balance the composition. I tear a leaf-like shape from a
piece of painter’s tape and move it around to find the best location. Using the leftover foliage colors, I paint in the extra leaf, making sure to keep the edges soft
so it doesn’t draw too much attention. Next I glaze on patches of strategically placed cadmium red, as well as the purple and white glaze mixture. This further
harmonizes the flower with the background while creating balance and breaking up larger areas of dark color. Now the painting feels complete!

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 Pansy with Judy Leila Schafers

Because so much of the pansy’s charm is due to

its distinctive face-like markings, I opted for a Color Palette
square format that would both draw attention to azo yellow • dioxazine purple • hansa yellow
the main flower and make the composition more lemon yellow • phthalo blue (red and green shade)
quinacridone magenta • quinacridone violet
striking. Although it requires a bit of effort, you’ll
titanium white
find that taking the time to play with the layers of
petals and colors until you’re completely satisfied Medium: acrylic polymer, glazing medium

is worth your while.

Step 1 I prepare the canvas with two coats of acrylic

polymer medium and allow them to dry. Then I loosely
paint the whole canvas with a mixture of glazing
medium, dioxazine purple, phthalo blue (red and green
shade), a bit of hansa yellow, and a touch of titanium
white. Don’t worry about the color or applying the
coating uniformly. But do let the canvas dry thoroughly
before continuing. After it has dried, I use a yellow
watercolor pencil to draw the main parts of the image.
With a midsize brush, I also loosely paint thin leaf
shapes and shadows onto the background.

Step 2 Next I block in the farthest back petals of the

pansy with a thin coating of titanium white, correcting
its shape where I see fit. This process makes the colors
added later appear more brilliant. I use a thicker coating
of white under sections with the brightest colors. While
that dries, I continue working on the leaves in the
background. I cover the farthest back petal with a coat
of quinacridone magenta and let it dry. On the next
petal, I apply a few coats of titanium white, making it
thicker where the light is brighter. When the first petal is
thoroughly dry, I add a layer of dioxazine purple mixed
with glazing medium and a touch of white to the outer
fringe using a soft brush and light pressure.

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 Step 3 Still using a soft brush and light pressure, I add a layer of quinacridone violet mixed with a some white and glazing medium to the
outer fringe of the second petal. Then I paint the yellow portion with azo yellow and the shadow sections with azo yellow and dioxazine
purple. I return to the first petal and add a layer of quinacridone violet mixed with white and glazing medium. Moving to the second petal, I
apply a layer of dioxazine purple mixed with a touch of white and glazing medium over the violet fringe. When it’s dry, I add another coat of
quinacridone violet, working back and forth between these colors until I reach the desired effect. Finally, I add quinacridone magenta to the
shadow parts of the fringe and add another layer of yellow to complete the petal.

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 Step 4 I approach each petal in the same way I
approached the first three, working back and forth
between each color layer until the desired effect
is achieved. The area should appear less streaky
with each layer. Be careful not to add too much
paint, which will result in the area becoming
too dark.

Step 5 Corrections can be made at any time by

applying a layer of white and then reworking the
area. (Warning: An excess of paint may create
unwanted ridges.) I adjust the bottom petal’s
shape after realizing it should be much larger.
Then I complete the rest of the flower in the same
way, taking note of shadows, highlights, and
subtle color nuances. I apply paint most heavily
in the center of the flower. The brightest whites
include a tiny bit of lemon yellow.

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 Step 6 Here I return to the background, keeping the direction of the light source in mind as I refine shapes, shadows, and highlights. I coat the seedpod with
several layers of a mixture of lemon yellow, phthalo blue green shade, white and dioxazine purple, and glazing medium. I also include some suggestions of the
blue lobelia in various locations to add color variety and interest to the background. Then I paint in a few areas of these simple flower shapes using phthalo blue
red shade, dioxazine purple, quinacridone violet, and a bit of lemon yellow, using more white and violet on the highlight side. Finally, I darken some areas of the
background to create depth. After a few tweaks, the painting is complete!

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 Harebells with Judy Leila Schafers

The flowing shapes and calming color of these delicate

flowers appealed to my painter’s eye. However, the play
of light, as well as the withered flower near the end of the
stem, presented some interesting color and compositional
challenges. To capture their true beauty, we’ll begin with
a rectangular canvas that suits how harebells grow and
allows room for an appropriate background without too
much empty space.

Color Palette
azo yellow • cadmium red • dioxazine purple
Indian yellow • lemon yellow • permanent rose
phthalo blue (red and green shade)
quinacridone magenta • titanium white
Medium: acrylic polymer, glazing medium

Step 1 I sand my 12" x 16" canvas and cover it with two layers of acrylic polymer medium . Then I loosely cover it with a
mixture of glaze, dioxazine purple, white, phthalo blue green shade, and a touch of azo yellow. After it is completely dry, I
use a light yellow watercolor pencil to draw the stem of flowers. I then consider the position of each bell and make changes
to improve the composition. For now, I omit the blurry flower that appears above and left of the bottom flower in the photo.

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 Artist’s Tip
Using watercolor pencils
allows you to map out
your paintings and easily
make corrections as you
go along.

Step 2 Using a ¾-inch angle brush, I loosely block in the background with a dark mixture of glaze, dioxazine purple,
phthalo blue green shade, azo yellow, and a touch of white and cadmium red. (Adding white to the mix creates a sense
of depth when the more saturated colors are painted into the foreground.) For the brighter, midtone green foliage
shapes, I use a mixture of phthalo blue green shade, azo yellow, glaze, a bit of dioxazine purple, and a touch of white.
For the light greens I add lemon yellow, a touch of permanent rose, and more white to the midtone green mixture. I
purposely mix plenty of these colors to use later in the painting. Leaving a few areas with the original purple showing
through will help tie all the elements together in the final painting.

Step 3 When the background is

completely dry, I use a dampened cloth
to remove most of the watercolor pencil
markings. This prevents the watercolor
pigment from mixing with the flower
colors. Next I use titanium white to
loosely paint the brightest highlights on
the top three flowers and the bud. I then
paint in a layer of quinacridone magenta,
white, and glaze mixture on the pinkish
parts of each flower. Finally, I apply the
main colors on the small leaf just above
the bottom flower.

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 Step 4 Now I create mixtures for the predominant colors on the flowers using phthalo blue red shade, phthalo blue green shade, dioxazine purple, white, a
touch of quinacridone violet, and a bit of glaze. For the lighter parts of the flowers, I add more white, and for the deeper shadows, more phthalo blue green
shade and dioxazine purple. Moving to the two bells at bottom left, I glaze on a thin layer of midtone purple over the whole flower, leaving the white highlights
uncovered. Once dry, I add the shadow color in the appropriate areas. Then I adjust the mixtures as necessary by adding more blue, white, or purple. Using the
photo as a guide, I decipher the subtle differences in color and value within each flower and add these paint mixes to the other bells.

Artist’s Tip
To minimize the formation of streaks, use a small amount
of paint and light pressure on a very soft brush.

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 Step 5 To achieve depth of color on the flowers, I apply a thin glaze of dioxazine purple made with glaze and a touch of white, leaving
the brightest highlights uncovered. Over the sunlit portions, I apply a pale glaze of white and a bit of lemon yellow and quinacridone
magenta, using the photo as a guide for refinements. Plain white often results in a graying effect that would make these sunlit sections
appear cool and distant. Some areas require more coats of glaze.

Step 6 I refer to my photo as I paint the highlights

and shadows in the bud. I add a touch of green on
the underside and some lighter purple-blue mix
on the side facing left. After I render the withered
flower shape with the midtone purple mix, I apply
layers of dioxazine purple to deepen the color.
Where I imagine the sun would illuminate its
form, I add patches of white and layer on glazes of
dioxazine purple with magenta and a bit of white.
The bottom flower is too dark, so I lighten it with
thin glazes of midtone purple mixed with a little
more white.

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 Step 7 Here I use a liner brush to block in
the calyxes (green caps on the flower tops)
with a midtone green made of phthalo blue
green shade, azo yellow, dioxazine purple,
glaze, and a touch of white. To better suit
the size of its calyx, I enlarge the withered
flower and refine the highlights and
shadows. Adding detail with Indian yellow
and the purple-blue mixture completes it.
I continue working on the calyxes, paying
attention to their variation of colors and
patterns. Then I paint the top half of the
main stem to accurately represent the light
source and variation of color along the
length of the stem.

Step 8 There is too much space between the bottom flower and the one on the left, so I block in the blurry flower that faces away from the viewer in the photo
with a darker version of the midtone purple mixture. Once dry, the color on the new addition is too saturated and dark, making it appear to be in front of the
other flowers. To correct this, I add layers of the lighter purple mixture and keep the edges soft and blurred. It still draws too much attention, so I glaze on a thin
layer of midtone green to optically push it toward the background. I also change the bottom flower’s angle to improve the rhythm in the composition.

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 Step 7 I finish darkening the deepest shadows with red deep and phthalo violet. When I’m are satisfied with the painting, I sign and date the piece.

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 Orchid with Marcia Baldwin

My daughter, Sherry Fain, took this beautiful

photograph in England. It is a classic orchid
composition, but I look several liberties with color for
my painting. I envisioned a close-up composition on
a square canvas; then I drew several sketches before
settling on one that I liked. I added more blues, reds,
and oranges than are reflected in the photo, which
contributed to a more abstract finished painting.

Color Palette
Oil Colors: BMJ[BSJO
DSJNTPO
t
CVSOU
VNCFS
t
DBENJVN

CBSJVN
PSBOHF
t
MFNPO
ZFMMPX
t
NBOHBOFTF
CMVF
IVF
QIUIBMP
SPTF
SFE
t
QIUIBMP
WJPMFU
t
TBQ
HSFFO

UJUBOJVN
XIJUF
t
VMUSBNBSJOF
CMVF
Oil Pastels: cerulean blue, pink, violet
Medium: one part liquin + one part turpentine

Step 1 I place one dab of each of the following on my palette: ultramarine blue, manganese blue, sap green, and lemon yellow. Next I add a bit of my medium
mixture to each paint dab. Using broad brushstrokes, I block in a rough outline of the orchid, applying each of the colors, working from darkest to lightest. When
finished, I use a clean brush to apply the clear medium to the remaining areas of the canvas.

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 Step 2 Using the sketch as a
guide, I lay in the outline of the
composition using oil pastels.
(Another method is to use the tip
of a round brush dipped in paint.) I
use cerulean blue for the petals and
pink (violet or phthalo violet would
also work) to position the center of
the flower. My lines are loose and
continuous.

Step 3 Using a clean, dry, 1-inch

flat brush, I lightly blend the entire
canvas, including the outlines. I
wipe my brush with a cotton rag
periodically to ensure that it stays
clean and dry.

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 Step 4 Now I begin to layer in the cooler hues. I add the medium mixture Step 5 I load a ½-inch flat brush with titanium white mixed with a touch of
to each of the following colors: manganese blue hue, ultramarine blue, and ultramarine blue. Then I begin laying in the base petal color, paying attention
phthalo violet. Working from dark to light, I apply each of the colors to the to the crisp edges of the blossom. I softly blend this color into the shadowed
shadowed areas. areas I laid down in step 4.

Step 6 I add a mixture of violet and ultramarine

blue to emphasize the outermost edges of the
petals. Then, working from dark to light, add
sap green and burnt umber to the background
to give depth to the painting. I spend some time
experimenting with these areas, playing with
different brushes and varied brushstrokes.

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 Step 7 To create the focal point—the heart of the orchid—I lay down alizarin crimson, cadmium barium orange, and phthalo violet. I keep my brushstrokes
simple, blending some together with a clean, soft brush. I finish by adding the details, such as the spots on the center petals, and sharpen or blend any other
areas as needed. I sign my name and enjoy my new painting.

Detail
I used a dabbing motion to apply the colors to the center,
which also added depth and texture.

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 Sunflower with Marcia Baldwin

The sunflower is a large blossom with bright yellow petals

that appear to be translucent when the sun shines through
them. The seeds in the center offer lots of texture; they
range in color from rich ebony to sunny orange to white,
making this flower a delightful subject to paint.

Color Palette
Oil Colors: CVSOU
TJFOOB
t
CVSOU
VNCFS
DBENJVN
CBSJVN
PSBOHF
t
EFFQ
ZFMMPX
t
MFNPO
ZFMMPX

MJNF
HSFFO
t
QIUIBMP
CMVF
t
TBQ
HSFFO
t
UJUBOJVN
XIJUF
This photo hails from the Annual Sunflower Trails, a yearly event
WJPMFU
t
ZFMMPX
PDISF that is held near my home each July, wherein farmers cultivate
sunflowers on their land along a 10-mile stretch of road in
Medium: one part liquin + one part turpentine Gillam, Louisiana. The result is a breathtaking display of
stunning sunflowers that inspires locals and tourists alike.

Step 1 Starting with the center of the sunflower, I apply cadmium orange Step 2 Next, I load a ¼-inch brush with sap green and outline the leaves and
combined with my medium mixture using swift, bold brushstrokes. Next I foliage around the blossom. Using the same brush, I use deep yellow to paint
apply deep yellow mixed with medium. Then I loosely brush on sap green to the petal outlines, followed by burnt sienna to delineate the center.
indicate the stem and foliage. Finally, I use a clean, dry brush to lightly blend
strokes together. This will be the underpainting.

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 Step 3 With ½-inch flat brush with a crisp edge,
I begin filling in the center with burnt umber. I use
short, multidirectional strokes to create clean edges
between the petals. As I move toward the center of
the blossom, I allow a bit of the orange underpainting
to peek through. Continuing this I begin dabbing in
burnt sienna, cadmium barium orange, and yellow
ochre to give the seeds depth and texture.

Step 4 Using a variety of brush

sizes, I continue to apply heavy
dabs of burnt sienna around the
perimeters of the sunflower center,
remembering to leave a bit of the
orange underpainting showing
through. Then I load a smaller brush
with deep yellow and cadmium
barium orange, and dab color
around the protruding seeds and
surrounding petals.

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 Step 5 I begin defining the green petals and leaves by layering in sap green, phthalo blue, lime green, and burnt umber—always working dark
to light. I work wet-into-wet until I’m happy with the color; then I add highlights with a clean brush dipped in titanium white.

Artist’s Tip
When a highlight appears too bright or out of place, use a
soft, one-inch sable or synthetic flat brush to softly blend
the white into the adjacent hues.

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 Step 6 I begin adding highlights and lighter tones to further define the petals, leaves, and foliage. I begin adding lemon yellow, followed by strokes of titanium
white, for the petals in the foreground. Then I lightly blend all remaining colors on the petals. I add strokes of violet, phthalo blue, and lime green to the green
foliage to create added depth, and use the sharp edge of the flat brush to define the edges of the petals and leaves. Finally, I apply violet, burnt umber, phthalo
blue, and crimson to fill in the dark background. A clean, dry brush helps soften the contrast between the petals and background.

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 C H A P T E R 3

Floral Still Lifes

with James Sulkowski and Varvara Harmon

Daisies, roses, a single magnolia blossom. Because we’re so familiar with

their simplistic beauty, these flowers may at first seem an unchallenging
subject to paint. But when altered even by the subtlest hints of light and
shadow, these everyday arrangements take on an entirely new form.
Although capturing the flowers’ essence remains key, the lessons that follow
urge you to produce more than just a copy of the still lifes featured. Be
inspired by their lost and found edges. See new shapes as the light shifts.
And play with warm and cool tones until you achieve visual harmony.

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 Peonies with James Sulkowski

As you approach this painting of delicate peonies

in a porcelain vase, consider this important axiom: Color Palette
warm light, cool halftone, warm shadow. There is titanium white
t cadmium lemon yellow
t cadmium
a perfect balance of warms and cools in nature. yellow light
t cadmium orange
t yellow ochre
t cadmium
red light
t cadmium red medium
t alizarin crimson
This is best observed when painting under natural
cobalt blue
t ultramarine blue
t phthalo blue
t raw umber
lighting conditions; it isn’t as apparent when using ivory black
t phthalo green
artificial light. Optional Colors: CVSOU
TJFOOB
t
NBHFOUB
Medium: one part linseed oil + one part damar varnish
+ one part English distilled turpentine

Step 1 I begin by setting up my floral still life in a box to control the light on my subject. The lightest peonies (white)
are placed to the right of the composition with the light source coming from the left. The pink and red peonies are
arranged in a progression, away from the white peonies. Notice how the pink and red peonies recede in color and move
into the shadow.

Step 2 Next I tone a 16" x 20" canvas with thinned cadmium red medium.
Then I sketch my subject in soft vine charcoal, noting the rhythms of my
composition.

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 Artist’s Tip
As I sketch the peonies, I keep in mind that they are
spherical. This is extremely important. We must always
reduce an object to its simplest shape, whether a sphere,
egg, cylinder, or cube.

Step 3 Using a #2 white bristle brush, I “fix” my charcoal drawing

by going over it with raw umber thinned with my oil medium. Then
I brush off the charcoal with a 1-inch soft bristle brush. Next I paint
the background with a mixture of burnt sienna and phthalo green. A
2-inch brush is ideal for painting backgrounds.

Step 4 I block in my local colors

with flat middle values. For my white
peony, I mix ivory, black, and white
to make gray. For the pink peonies,
I use a mixture of alizarin crimson
and gray. And for the red peonies,
I use cadmium red medium. I also
add magenta to the alizarin crimson
in the foreground flower. The vase is
simply gray and the table is blocked
in with yellow ochre.

Step 5 In this step, I begin to add darker values (the shadows on the flowers), keeping in mind the shapes I am
painting and the texture of the petals. I use a darker-value gray for the white peony. For the pink peony, I use a darker
pink made with alizarin crimson and a darker gray. The dark red is a mixture of alizarin crimson and cadmium red
medium. Notice how the form of the objects is starting to develop.

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 Step 6 Next I build the light in the painting, beginning with my lightest Step 7 To further develop and sharpen my forms, I intensify some darks in
light, the white peony on the right of the bouquet in the composition. I use a the shadow areas. Then I develop the leaves, defining them with a #6 sable
#6 sable brush loaded with titanium white and a tiny bit of cadmium lemon brush. I also develop the form of the vase.
yellow to “draw” each petal as it relates to the larger spherical form. Moving
away from the white flower, I treat the pinks and reds in the same way. I use
pure cadmium red light for the lights on the red peonies. By the end of this
step, I have created three values or planes per object: light, middle, and dark.

Step 8 I add more leaves to

emphasize the movement and
rhythm of the floral composition.

Artist’s Tip
A simple mixture for the
green leaves is lemon
yellow, ivory black, and
ultramarine blue. For a
lighter green, add more
yellow and white.

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 Step 9 At this stage, whatever I do, I do for the “sake of the painting.” First, I decide to add fallen petals to the table. Then I darken the table on the left with a
mixture of yellow ochre and raw umber to increase my light effect, or focus of the painting. I continue refining the flower petals with a #2 sable brush. I also add
gray halftones on the table to create an atmospheric transition from the warm light into the warm shadow. Finally, I add a pure white highlight on the porcelain vase.

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 Roses with James Sulkowski

Painting an exquisite bouquet of roses in a vase

requires an understanding of shape, lost and Color Palette
found edges, and how to choose the best light titanium white
t cadmium lemon yellow
t cadmium
effect for your subject. Don’t simply copy what yellow light
t cadmium orange
t yellow ochre
t cadmium
red light
t cadmium red medium
t alizarin crimson
you see; use it as inspiration. Study the movement
cobalt blue
t ultramarine blue
t phthalo blue
t raw umber
of light and how edges disappear and reappear. ivory black
t phthalo green
The goal of this project is to create a feeling of Optional colors
CVSOU
TJFOOB
t
NBHFOUB
space and atmosphere. Medium: one part linseed oil + one part damar varnish
+ one part English distilled turpentine

Step 1 I place my arrangement of white roses on a table in front of a black background, with
the light source coming from the left. Then I tone my 16" x 20" canvas with cadmium red
medium. (I either use watercolor or thin my color with turpentine.) My aim is to leave a pinkish
stain on the canvas that will make the finished painting more vibrant.

Step 2 Next I sketch with soft vine charcoal because it can

be brushed off, whereas pencil and hard charcoal cannot.
To avoid starting my painting too close to the edge of the
canvas, I draw a light horizontal line about two inches from
the bottom and begin my composition above the line. For
the vase, I draw a vertical line in the middle and develop the
shape symmetrically on each side.

Artist’s Tip
I check the proportion of
my vase with calipers to
make sure the distance is
the same on each side of
my centerline.

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 Artist’s Tip
Think of a painting beginning out of focus. As it
develops, it should become sharper and more detailed.

Step 3 I “fix” my drawing by applying raw umber thinned with oil

medium using a #2 bristle brush. Then I brush off the charcoal with a
large, soft 1-inch brush. Next I paint my background with a mixture of ivory
black and cadmium red medium.

Step 4 Now I use a flat color mixture of gray (ivory black and white) and
a touch of lemon yellow to block in the roses. I like to block in all areas of
the painting with their local color as a flat middle tone and then build my
lights and darks later.

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 Step 5 Next I mass in the flat local colors of the
leaves, vase, and table—all in their middle tones. The
leaves are a mixture of gray and lemon yellow. (Ivory
black and lemon yellow also make a nice green for
leaves.) The table is yellow ochre in the light and raw
umber in the dark, and the vase has a middle tone
mixture of gray and yellow ochre.

Step 6 To give the flowers shape I begin adding shadows,

or darks, to each rose using a mixture of gray and a tiny bit
of lemon yellow. Always pay close attention to the direction
of your light source when developing form.

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 Step 7 Now I build my lightest light or what I call
“the light effect”—the primary interest in the painting.
Using a #2 bristle brush loaded with titanium white, I
develop the most illuminated roses on the right side
of the composition. Notice how the egg-shaped roses
merge into each other, creating lost and found edges.

Step 8 To refine the character of the roses I draw petals around the egg-shaped forms with a #6 round sable brush. I
envision the rose petals unfolding in a spiral as I follow the flower’s form.

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 Artist’s Tip
Painting silver
convincingly is all
about getting the darks
dark enough and the
highlights light enough.

Step 9 I mass in the dark of the

silver vase with a mixture of alizarin
crimson and ultramarine blue. When
painting silver or other metallic
objects, it’s important to note how
the edges of such masses are crisp
and sharp. Next I develop the light
on the leaves with gray highlights.

Step 10 Now I finish the vase by observing and painting the lights with
lighter gray mixtures of ivory black and white, and then adding pure white
highlights. My #6 sable round brush is loaded with paint at this stage. The
brushwork should be fresh and clean, not overworked.

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 Step 11 After completing the table I make note of my lost and found edges, especially where the vase appears and disappears into the background. The roses
on the left of the canvas are cooler and darker as they recede into the shadows.

Artist’s Tip
Remember that values and colors are cooler and darker
as we move away from the light and warmer and brighter
as we move toward the light.

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 Daisies with James Sulkowski

Of all the floral still lifes, daisies are some of the

easiest to analyze and paint. I like to reduce the Color Palette
form to a cup shape, which becomes especially titanium white
t cadmium lemon yellow
t cadmium
pronounced with a single light source coming yellow light
t cadmium orange
t yellow ochre
t cadmium
red light
t cadmium red medium
t alizarin crimson
from the left. In this project, you’ll learn more cobalt blue
t ultramarine blue
t phthalo blue
t raw umber
about light, as well as design, color, and values. ivory black
t phthalo green
Optional colors:
CVSOU
TJFOOB
t
NBHFOUB
Medium: one part linseed oil + one part damar varnish
+ one part English distilled turpentine

Step 1 I begin by arranging my

subject on a table with a black
trifold background draped with a
soft, cool green material to make
the background recede. My light
source comes from the left, or
north. Painting by cool, natural
light reveals the true colors of
the subject.

Artist’s Tip
A light source coming from the left will illuminate the
right side of the subject, creating the light effect,
or focus, of the painting.

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 Step 2 I tone my canvas with cadmium red
medium or terra rosa mixed with turpentine
to eliminate the bright white. This also helps
me better recognize value and color. Then I
sketch my composition, standing about four
to five feet away.

Step 3 Using soft vine charcoal,

I keep my drawing very loose as I
decide on the placement of objects.

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 Step 4 Before painting, I study how the
progression of light in the background moves
from dark to light, left to right. There is also
a vertical progression of light on the right
side that moves from light to dark. Both are
determined by the light source coming from
the left. Next I mix phthalo green and ivory
black for the darks. For the light I mix phthalo
green with a touch of cadmium lemon yellow
and titanium white. The shadows on the
table are a warm mixture of raw umber and
cadmium red light.

Step 5 Here I block in the entire painting with each object’s middle tone. Think in terms of large masses or shapes. For the white daisies I
use a light gray mixture of ivory black and titanium white. Next I use cadmium yellow light and gray for the yellow daisies. And for the violet
daisies I mix ultramarine blue with alizarin crimson and white. The basket and straw hat are yellow ochre; the table is English red.

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 Step 6 Now that everything on the canvas is covered, I build my light effect. The light effect isn’t merely a “bright spot” in the painting; it is the relationship of
light to the concepts of space and atmosphere, lost and found edges, and progressions of values. I load my brush with pure titanium white to begin building the
light on the white daisies that are in the brightest light. Then I use titanium white mixed with cadmium lemon yellow to build the light on the yellow daisies. All
other values in the painting will relate to these brightest lights.

Artist’s Tip
Starting with the background when painting a floral or
still life sets the stage for the rest of the painting in the
sense that all the other values and colors will relate to it.

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 Step 7 I increase the character and
forms of the flowers by adding darks.
(Our three values are middle, lights, and
darks.) Next I refine the textures of the
basket and straw hat with lights and
darks, imagining that I’m weaving with
each brushstroke. I use yellow ochre
mixed with white for the lights and raw
umber mixed with cadmium red light for
the rich, warm darks in the shadows.
Middle tones are a combination of yellow
ochre and a middle-value gray. Lastly, I
intensify the light on the leaves with a
mixture of cadmium lemon yellow, cobalt
blue, and white.

Step 8 Notice how the centers of the flowers show direction. The reflected light in the flowers (made from a mixture of yellow ochre and
gray) further strengthens the shape and form. Keep in mind the five planes of light: light, halftone, shadow, reflected light, and highlight.

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 Step 9 Before finalizing the painting I decide to add more light to the upper right background. I also increase my darks on the table with English red and raw
umber, and then put a few petals on the table to add interest to the overall painting. Notice that the white petals are in the lightest light just off center of the
table plane. I use cooler, darker colors (yellows and violets) for the petals farther away from the light. After a final review, this still life is complete.

Artist’s Tip
Remember that the form of a daisy can
be thought of as a cup. It’s important
to simplify the concept to understand
the essence of the form.

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 Hydrangeas with James Sulkowski

These hydrangeas, with their soft, pompom

appearance and layered petals, provide the Color Palette
perfect opportunity to work on defining large titanium white
t cadmium lemon yellow
t cadmium
forms, adding texture, and playing with light. yellow light
t cadmium orange
t yellow ochre
t cadmium
To accurately capture the beauty of the single red light
t cadmium red medium
t alizarin crimson
cobalt blue
t ultramarine blue
t phthalo blue
t raw umber
white hydrangea surrounded by a cluster of blue ivory black
t phthalo green
hydrangeas, you must consider how the two colors
Optional colors
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work together to create visual harmony.
Medium: one part linseed oil + one part damar varnish
+ one part English distilled turpentine

Artist’s Tip
I always tone my canvas with cadmium
red medium or terra rosa thinned with
turpentine. The delicate pink color
will come through, adding depth and
luminosity to the finished painting.
You can also use watercolor
to tone a canvas.

Step 1 Working on a toned 16" x 20" canvas, I begin drawing with a #2 white bristle filbert brush
loaded with ultramarine blue. (Note that I’ve thinned this blue with my painting medium.) Think in
terms of the largest forms at this initial stage, keeping in mind that hydrangeas are spherical.

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 Step 2 Next I block in my
background with a 2-inch white
bristle flat brush. I use phthalo
green and ivory black for the darker
areas, and phthalo green and gray
(made with ivory black and white)
for the lighter areas.

Artist’s Tip
I’ve arranged my subject
so that the brightest
light is striking the
lightest flower, which
is white. Always place
your lightest objects in
the brightest light and
develop your light effect
around this focal point.

Step 3 Now I block in the middle

values. I use a mixture of cerulean
blue, ultramarine blue, and gray
for the blue hydrangeas. Then I
use gray for the vase and yellow
ochre for the table. To create a
convincing shadow I mix raw umber
with cadmium red light. I block in
the white hydrangea with light gray
mixed with a touch of cadmium
yellow light. The slightly darker
value on the flower (the shadow) is
gray and yellow ochre.

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 Artist’s Tip
When building your lights, load the brush
with a lot of paint. Keep the middle tones
and darks thinner. This technique will add
richness to the final painting.

Step 4 When everything is blocked in, I begin working on

the light effect. I started with a mass, or large shape, for the
flower; now I must define the petals. I load a #6 sable brush
with a mixture of titanium white and a touch of cadmium
yellow light. Then I paint each petal individually to suggest the
character of the hydrangea.

Step 5 Here I begin building the

lights on the blue hydrangeas as
they relate to the white one, which is
the focal point of the painting.
I use my #6 sable brush to pull
out the petals from the mass of each
flower. The lights are achieved with a
mixture of cerulean blue, ultramarine
blue, and titanium white.

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 Step 6 I add the darker values to
the blue hydrangeas with a mixture
of ultramarine blue and gray,
continuing to build the spherical
shapes of each flower. Next I use a
darker gray for the shadow on the
vase, and then add some leaves
that contribute to the rhythm of the
composition.

Detail
This close-up shows the modeling of the flowers.
Think of them as out of focus when you begin,
and sharper, with more detail, as you develop
them. Remember to start in the middle and build
your lights and darks.

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 Step 7 To create more dimension, I add some reflected lights on the flowers. Then I use ultramarine blue to paint the design on the vase. For the table, I use my
grays to add more half tones that create a transition between my warm light and my warm shadow. For added interest, I paint a few loose petals that have fallen
on the table. Note that the white petals are in the brightest light.

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 Step 8 For the final touch on the vase, I glaze a thin shadow with Payne’s gray and add the white highlights. This completes the porcelain texture.

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 Tulips with Varvara Harmon

Some subjects are so complex, they beg for a simplistic backdrop. Others
require a textured or colorful background to bring the painting to life. In
every case, the background is as much a part of the composition as the main
subject. You can use it to contrast a subject, complement it, or even unify it,
as I’ll demonstrate here.

Color Palette
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Step 1 I make a quick sketch with pine gray paint on a 14" x 18" canvas. I approach my underpainting in parts, beginning with the
darkest. With a ¼-inch flat brush, I paint the leaves using sap green. In the lighter areas, I add a little cadmium yellow medium to the
green; in the more shaded portions, I mix in ultramarine blue instead.

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 Step 2 Next I start at the top of the
canvas to paint the first layer of the
background. I begin with a warmer
tone, mixing yellow ochre and burnt
sienna, but as I move closer to the
table, I eliminate the yellow ochre
and gradually add ultramarine blue
to the mix.

Step 3 The first layer of tulip color also varies according to shadow and highlight. For the lighter areas, I apply alizarin crimson mixed with cadmium red
medium. As I move toward the shadowed areas, I add ultramarine blue for the darker tones.

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 Step 4 I paint the table with
a coat of yellow ochre and
burnt sienna, with ultramarine
blue mixed in for the shadow.
The vase is mostly white, but I
mix cadmium yellow medium
with titanium white for the
light side and alizarin crimson
and ultramarine blue for the
shadowed side.

Visual Blending
For the impressionistic background, I don’t mix my paints on the palette. Instead, I apply separate, short strokes of color on the canvas, allowing the
eye to visually blend the colors.

Step 1 Starting in the top left corner, I apply quick, short strokes Step 3 To help smooth the visual transition that needs to occur from
of yellow ochre and titanium white, varying both the direction of the the light colors at the top of the wall to the darker colors at the bottom,
strokes and the balance of the two colors. Don’t worry about covering I also layer in strokes of light purple. For these, I apply a combination of
every bit of space; the underpainting will show through any gaps. alizarin crimson, ultramarine blue, and titanium white.

Step 2 I continue with this method and these colors all across the top Step 4 For the cooler, darker portions of the wall, I use pine gray,
of the background, using the lighter underpainting as my map. Then, to ultramarine blue, and titanium white, again varying the color portions,
create a reddish-brown appearance, I mix in burnt sienna brushstrokes, angle, and size with each stroke. Where the light-to-dark transition
layering them right over the earlier strokes. occurs, I touch a few darker strokes in with the lighter colors.

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 Step 5 When you’ve
completed your background,
step back to take a look.
Close up, the individual
strokes are very apparent.
But as you step back, the eye
begins to blend the colors
together. The farther back
you go, the greater the effect.
At this stage in the painting
process, you can modify the
overall color by adding more
strokes of any color or colors
that you think might benefit
the overall painting.

Step 6 After stepping back to observe my work, I decide the transition from light to dark is a bit sharp. To make the visual
shift more natural, I stroke in more of the warm colors along the entire bottom of the wall. I also add more dark color into the
transition zone.

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 Detail
I’m still tinkering with the background wall at
this stage. This time, I decide that adding a few
strokes of sap green will better reflect
the tulips and unify the painting.

Step 7 I paint the tabletop with the same cool colors from the wall: alizarin crimson, ultramarine blue, and titanium white. I use the darker, cooler colors as well,
but I apply the pine gray, ultramarine blue, and white only in the shadows cast by the tulip and vase.

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 Step 8 While the sap green is still fresh on my brush, I take the opportunity to redefine the edges of the leaves. I inadvertently painted over parts of the leaves
when I was quickly stroking in my background. Next I shift focus to develop the vase (see detail).

Detail
I paint the grooves of the vase using cadmium yellow medium
mixed with titanium white on the light side of each groove and
alizarin crimson, ultramarine blue, and burnt sienna on the
shadowed side. The lighter parts also reflect a little blue
from a secondary light source.

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 Step 9 With the edges redefined, I
can paint in the shaded portions of
the tulip leaves and stems. I mix sap
green and ultramarine blue and fill
them in with the ¼-inch flat brush.

Step 10 Now I bring out more detail in the stems and leaves by adding lighter portions with a mix of cadmium yellow
medium, titanium white, and sap green.

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 Step 11 Everything is complete now except for the flowers. I cover the underpainting with a dark layer of alizarin crimson mixed with ultramarine blue to
establish the shadows. Then I apply cadmium red medium on the petals to create a transparent effect. I finish with the highlights, using a mixture of cadmium
yellow medium and titanium white.

Detail
The tulips are the focal point of this painting, so attention to
detail is important. Be especially mindful of the direction of the
light source when applying the highlights.

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 Lavender with Varvara Harmon

Painting this charming basket of lavender will help

hone your ability to create texture and dimension
Color Palette
in a convincing way, while testing your mastery of
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the interplay between light and shadow. QJOF
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Step 1 I begin painting the lighter

portion of the background at the top
of the canvas using a warm mixture of
yellow ochre, burnt sienna, and titanium
white. (Note: For this step, do not mix
water into your paint; it should be
relatively dry.) Working toward the middle
of the canvas and then to the bottom,
I eliminate yellow ochre and add pine
gray and ultramarine blue to gradually
darken these areas. Next I create the
shadows of the basket and flowers at the
bottom of the canvas by putting down
darker and cooler colors. To create the
thread in the fabric, I use the same color
combinations, but with slightly darker or
lighter colors. Then I brush the lines in a
crisscross pattern.

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 Step 2 If you don’t feel comfortable painting the basket right away, pencil in Step 3 Using burnt umber and ultramarine blue, I add darker areas between
a drawing first. I painted this basket shape using a ½-inch flat brush loaded the weaves of the basket to show the weaving direction and patterns. Notice
with burnt sienna. The back of the basket is left unpainted because it will be how at this point, the basket has more shape but still appears flat.
completely covered with flowers.

Step 4 The center portion of the basket (closest to the viewer) has more light
on it, so I use a mixture of yellow ochre and white. Working from the center
outward, I gradually reduce the amount of white in the mixture and add more
burnt sienna. Then I use a similar method and pattern to paint the handle,
being mindful that the top of the handle is the lightest area.

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 Step 5 With a ½-inch brush, I paint the first layer of flowers using bold Step 6 Next I bring out the detail of the lavender by adding titanium white to
strokes of alizarin crimson and ultramarine blue. I concentrate on the shape the alizarin crimson and ultramarine blue combination from the previous step
of the bouquet as a whole and forego details for now. with a small round brush. Note that the tops of the flowers are the lightest.

Step 7 Using sap green, ultramarine blue, pine gray, and white, I begin painting
the stems of a lavender bouquet.

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 Step 8 Repeat step 5 to paint the first layer of
lavender flowers.

Step 9 Here I repeat the method used in step 6 to finish the flowers in the bouquet. I also create a shadow for the bouquet by
applying a wash of ultramarine blue and pine gray on the fabric below the flowers. Finally, I add a few fallen petals on the fabric. The
painting is now complete!

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 Magnolia with Varvara Harmon

When painting floral still lifes, it’s common to work

from the background toward the focal point in the
foreground. But in this lesson, I demonstrate how the
order can be reversed. You can start with the focal
point (in this case, a magnolia flower in a vase), and
complete your artwork by painting the background.

Color Palette
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Composition In the reference photo, the mortar seams in

the brick wall and wood railing have a very large angle. I feel
it’s distracting to the eye, so I change it to a flat surface.

Step 1 Using a 1-inch-wide flat brush, I paint the background by placing a

very thin layer of burnt sienna mixed with ultramarine blue. Then I draw the
magnolia and vase with a white pencil. White shows the lines more clearly,
but any color appropriate for the painting will work.

Artist’s Tip
These underpaintings help establish the most important
elements of the artwork: composition, value, and color
theme. Make sure the first two steps are painted with a
very thin layer of paint.

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 Step 2 I continue the underpainting by filling in my drawing of the magnolia flower
with titanium white and adding a bit of ultramarine blue for the shaded area of the
petals. For the leaves, I use sap green and add cadmium yellow to paint the lighter
areas. The vase color is a mixture of titanium white, ultramarine blue, and a touch of
burnt sienna.

Step 3 Next I focus on the details of the magnolia flower using primarily
titanium white with the addition of a little Winsor lemon in the lighter areas.
To suggest the shaded area of the petals, I add ultramarine blue mixed with a
hint of alizarin crimson. There is a slight reflection of yellow-green on the side
of some petals facing the leaves. I re-create these reflections by adding a very
small amount of sap green and cadmium yellow to titanium white.

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 Step 4 I paint the shaded areas of the leaves with a mixture of sap
green, ultramarine blue, and a small amount of burnt sienna. As I
work toward the lighter area, I add more cadmium yellow. For the
lightest areas of the leaves, I add Winsor lemon mixed with titanium
white. I’ll apply my final touches after I finish the background wall.

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 Step 5 Here I paint the stamen, or
center part of the flower, in three
short steps.

Step 5a First I paint the base shape of the stamen with a mixture of burnt
sienna, sap green, and cadmium yellow.

Step 5b Then I use Winsor lemon to paint the carpals on the center of Step 5c As a finishing touch, I add darker strokes along the outline of the
the stamen. stamen using sap green and burnt sienna.

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 Step 6 Moving to the background, I paint the entire brick wall
using ultramarine blue, burnt sienna, and alizarin crimson,
along with a tiny bit of titanium white. I purposely do not mix
these paints evenly in order to produce the interesting “patchy”
effect on the wall. Next I add some detail to the bricks, including
the mortar lines along the tops and sides, by mixing more white
into the blend. I also paint a darker line along the bottom of the
bricks to make them appear three-dimensional.

Step 7 I mix ultramarine blue, titanium white, and some burnt sienna to paint
the weathered surface of the wood railing. To create the textured part of the wood,
including the knots and cracks, I use less white paint in my mixture and apply it
with the side edge of a flat brush. I also place some additional touches on the
leaves to show more reflections.

Artist’s Tip
If you begin your painting by working on the subject in the
foreground, you need to be very careful when painting the
background to avoid covering up areas
you’ve already finished.

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 C h a p t e r 1

Chapter 2
StillPainting
Lifes
with Linda Yurgensen

Animals in
Oil
with Lorraine Gray & Jason Morgan

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