Doing a rose watercolor involves many steps. Most of the time I can describe my steps simply as washes-on-top-of, washes-on-top-of, washes and so forth. I tend to pile up layers and layers of wash until I like what I see.
I began with this yellow rose layout in a sketch. I put a real light wash in the body of the flower bloom first. Being carefully light with the paint I add the long stem and it’s leaves, along with the little bud peeking out on the left side. I am encouraged.
Lately, I have noticed that I have a habit of painting backgrounds with tons of detail going to the very edge of the paper. To change things up, I will work on getting a dramatic background without walking in those footsteps this time. The biggest realization I have is that this is not going to be good without some serious background to help it pop out. The challenge will be to make an appropriate background that pops but doesn’t take over the main image.
A light yellow rose watercolor can very easily fade into a white background and become a ghost. The background is my beginning to remedying that. With violet wash as a background I add a mixture of Crimson with it on wet areas to the edges of my main character. A good change, don’t you think?
Dropping vermillion or cadmium reds into these areas give a little more zing as it bleeds into the background violet and crimson.
Examining the watercolor rose procedure pictures I’ve taken makes another step that I take real apparent. The picture that I took of the blossom is the reference for the rose watercolor.
Never hesitate to get your old fashioned gear out. Improve by using “photography technique” along with that “real camera” (not a smart phone). Nothing, takes the place of good reference material. If you are trying to improve and learn about where the light hits and shadows extends to, use a well lit photograph. There are millions of amateur photographers out there flooding FaceBook and the image banks with junk, but very few “real skilled photographers” capturing memorable shots with enlightened essence anymore.
At this point we are looking at the dry version of this watercolor painting. Take note of the differences between the last two images and you will see a noticeable amount of fading occurs as the paints dry. While looking at a wet painting, there are many times that I am tempted to dab a bit of the pigment out of it because it seems so very bright when wet. If I can resist that urge, I am usually a lot happier with the result because the paints do fade so very much by the time they are dry.