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5 Steps to Paint 

a Flower From a Live
Reference

Margarita Astasho
va
5 Steps to Paint a Flower 

From a Live Reference
Flowers, like any other objects, can be drawn in different ways: either by drawing
a sketch or a realistic image.

When drawing a sketch, we convey only the general impression of the object:
its shape and color, the most characteristic details.
A sketch is drawn faster than a realistic picture, but it
does not look that impressive.

The painting in the realistic style conveys

the smallest details of the object, all the nuances
of shades, light and shadow. Realistic botany is a kind
of meditation alone with the plant. The artist's task is
to analyze the bud and recreate it on paper
as accurately as possible.



But how do you do that? I'm going to talk about five
steps that will help you draw a flower «from life»
in a realistic manner.

Let's get acquainted!

My name is Margarita Astashova,
and I am an artist, fine art expert
and a teacher. I have been teaching
painting, anatomy and composition
in higher education institutions
since 2012.



I also teach drawing to children
and teenagers, so I am very good
at explaining difficult moments in
a simple and understandable way.



Botanical painting is my main
passion, and I want to share the joy
of painting flowers with you!
Why is it better to paint from a live flower than from
a photo?

There are several reasons for that.

The photo allows you to see the object from only one angle. And you can hold
a live flower in your hands, look at it from different angles, understand its
design and «feel» its volume. In addition, you can choose the position and tilt
of the flower for illustration

On a natural sample, you can see the subtlest shades, which the camera lens
is not always able to convey. Moreover, you can set up spectacular lighting
yourself, so that the convex volumes of the «satin» petals «sparkled» in the
light, expressive shadows appeared

When we move on to detailing, a live specimen is indispensable: it's the only

way to see even the smallest details - for example, with a magnifying glass.
In the photo, in most cases, there is no such detail: small elements of the
flower look blurry.

A natural specimen allows you

to better understand the space:
to figure out which elements
of the flower come to the fore
and which go secondary; how
the clare-obscure is distributed.
Of course, relying on a flat photo
makes it much harder to «dive»
into a space and understand
it comprehensively.

But the tactile sensations of the

flower are also important!
Wonderful scents, pollen, crunching
of elastic petals on the fingers, direct
contact with the live

masterpiece of nature... This always
creates a special atmosphere and
inspires :)
5 Steps to Paint a Flower From a Live Reference

Step 1. Constructing a shape with a pencil

At this stage, we outline the boundaries of the future image, and then build its
structure: from the total volume to small details

The auxiliary lines of the structural drawing include:

The center of petal growth.


This is the central point on the bottom of the flower bud, where the stem
is attached and from which the petals grow in different directions. In the photo,
this key point is marked in red

Its axis of rotation.


This is a slightly arched line that runs through the center of growth and is
the axis of rotation for both the bud and the stem. In the photo, it is shown
in deep blue

The oval of the bottom of the shape.


If we imagine a bud as a bowl, we can see an almost flat bottom at its base.
This oval formally separates the bottom of the bud from its lateral «walls».
All the surfaces of the petals above the oval level form the side walls of the
«bowl» of the flower.
 The axis of the petal.

This is a curved line that symmetrically divides the petal into left and right
halves. With the construction of such an axis, it is necessary to start working
on each petal in the illustration. After that, you can outline its outer
boundaries: first conditionally and in a general form, and then specify
the contours.


Once the design of the flower (in this case, the tulip) is built, we can specify
the details – convex folds and combs, various grooves.


The more precise and specific the pencil drawing is, the more details it takes into
account, the easier it will be to continue the work on the subsequent stages.

Step 2. Basic pouring with paint

At this stage, we paint all the fragments of the flower with large spots, without
taking into account the details.

I use a No. 5 synthetic brush with a sharp tip for this. The large «caliber» of the
tool allows you to paint quite quickly and stump sharp edges before the paint
dries.
And the thin tip of the brush makes it maneuverable: this is important
for processing the elements edges.

Here are the three main rules for the color pouring:
The pour should be applied with a semi-transparent layer, not too dark
shades should be chosen - because at the next stages we will apply
new layers of watercolor, and the image will become darker and more
contrasting
The outer boundaries of the flower elements should be clear and
sharp. The paint should not flow beyond the pencil lines.
This is important not only for the accuracy of the work, but also for
the accuracy of the illustration
Inside the elements, all transitions between spots of different shades
should be as soft as possible. We stump them delicately with a clean,
slightly dried brush while the paint on the paper remains damp.
At this stage, we form the main color scheme of the image, selecting shades
based on live visibility. In the case of this tulip, the following shades were used
in the color mixtures on the palette: lemon, yellow, pink, azure,

ultramarine, orange, May green, scarlet, grass green, alizarin crimson.

Step 3. Detailing
At this stage, we «put under a microscope» the small elements: folds and combs
on the surface of the petals, various grooves, miniature convex and concave
surfaces.
By this point, large masses have already been taken in color, and, starting from
them, you need to fill the image with elegant details. The closer attention we pay
to them, the more convincing the illustration will become.



At this stage, I use No. 1 and No. 2 synthetic brushes with sharp tips.

In the process, we delicately emphasize the shapes boundaries with thin lines,

darken the shadow areas, imitate plant fibers with hatches, taking into account
the direction of their growth.

A watercolor «hatch» is a translucent, thin and long brushstroke

(sometimes a line).

Each of them starts from the outer contour of the petal and shows the fiber
in the structure of its tissue. It is important to «lay» this hatching on the surface
of the object, taking into account its curves, convex and concave areas.
Due to the application of watercolors on top of the basic pour, the shades become
denser in tone, and the mixtures on the palettes should be made a little thicker.

Step 4. Shadow enhancement and stem refinement

At this stage, we selectively enhance the shadows so that well-lit surfaces and
shadows became more contrasting with each other. This allows you to enhance
the effect of the volume of the flower, separate the details from each other so that
visually they looked more defined in structure and did not merge into «sluggish»
stains.
In the picture with a tulip such elaboration was made on the bottom of the form
to create a clear composition: the outer petals are lighter (because they get more
light), and those that «sit» deeper, inside the bud are a little darker (because they
are «hidden» from the light by the outer petals).
Also at this stage, when the main part of the bud processing is already

finished, you can draw a secondary detail – the stem. While doing this, you should
emphasize the outer edges to make the shape of this element look more resilient
and rigid. It's also important to show shadows in grooves between the convex
ridges, to reveal a shadow on the lateral surface.

Step 5. Refinement of details and enhancement of contrasts

At the final stage, it is very important to compare the illustration with a live
sample and determine what points need to be corrected, what should
be emphasized or, on the contrary, «subdued».
For example, when working with the tulip, we had to refine the shadows to make
some areas a little darker and thereby increase the overall contrast of the image.
Contrast is one of the key conditions of expression.

Also, selectively, if necessary, you can emphasize individual areas of the contours
to make the plasticity of the shapes «sharper».
Washing with a clean, lightly dried brush those areas that appeared to be
overloaded in tone, texture, and amount of detail is of separate importance. Here
I used this technique to lighten the surfaces at the level of the base oval
(the bottom of the bud).

Washing is used not only to correct errors. It is very good for generalizing spots
and textures, as well as for highlighting individual «shiny» areas, especially
on petals with a «satin» surface.
Shall we paint this picture together?

I will explain and show all these steps and techniques in a free online marathon

of realistic watercolor botany!


In 5 days, we will draw not only this flower, but also 4 more watercolor

illustrations that are no less fascinating and believable:

What else awaits you at the marathon:

You'll learn how to select materials and references for your work

You'll relax and have a great time in the creative company of like-minded

people

You'll discover what botanical illustration classes can give you besides

gorgeous paintings

You'll listen to the expert's analysis of the marathon participants' works.

Great,
Great, I'm
I'm with
with you!
you!
You can definitely do it!

Even if you are a beginner and have never painted with watercolors before, you

will get cool paintings at the marathon. I'm sure of it because:

I know that painting is not magic, and from the experience of my students I see

that anyone can draw botany if they want to

I've already run a marathon of realistic watercolor botany!

Here's how it was last time:

Elvira Eugenia

Thank you for the wonderful, soul- Eugenia writes: I got so many pleasant

shattering marathon in the literal sense emotions from painting the work! I really

of the word. For me, it was like learning a melody like the design of the flower. And though I can't

without knowing the notes. And, strange as it may make it realistic in color, for now I am going to

seem, but something worked out)). The main admire fresh flowers and learn, learn, learn! Thank

thing, of course, is the process! Miraculously!!! you so much for the joy!

Olga Ekaterina

v finished it! Of course, the first

I' e Good afternoon! A huge THANK YOU

drawing was a bit hard. The pencil for the awesome lesson!! Despite all the

drawing alone took probably forty minutes. I drew difficulties as a beginner, drawing with you,
with watercolors only in my childhood, when I Margarita, is a pleasure.


finished drawing the

painted the coloring pages. I Thank you for the clear and detailed explanation

bud, and gave up on the stem. But I think a of all the details!! You are a heaven born teacher!

couple more drawings, and the time will be at

v x v
least hal ed. Margarita e plained e erything in an

accessible way. Great! I go to bed in high spirits.

Waiting for the next beauty. Many thanks!

And here are the masterpieces of the participants of the last

marathon:

I want to see your painting as soon as possible!

You can register for the free marathon by

clicking the button below.




Sign up while there are still places!

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I want
want to
to learn
learn drawing
drawing like
like this!
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