Acrylic Roses PR101 Video 65 3 Stages of the Rose

Hi everyone, welcome back into the classroom out here in Pennsylvania. We're going to continue some of our rose studies. We're looking over at the course syllabus. We're on video 65, Painting the Three Stages of the Roses. Now this is something that really helped me with my compositional skills. So we will talk about it during compositional work as well, which is this yellow, black and white, and the yellow oxide, black and white. You can use anything that you want. I'm just going to set up three roses and show you basically the petaling process of the three roses here, which we'll get into. So let's put a little color. Now see we've got this kind of yellow background. I want to do the pink kind of roses and stuff that Rodote did with Rosa Centifolia. I've painted that rose several times. So I want to maybe a neutral type of gray to help neutral out some of my background here. So I like the blue and burnt sienna as a neutral kind of a gray. It's a pretty color and keep it a little bit more burnt sienna here slightly to the warm side and lighten it up. I like it. I like to always start right around a value 7. I'll add some water to it. So my normal palette that I have out here, Hansa Yellow, Darulite Yellow, Yellow Oxide, Burnt Sienna, Naphthol Red Light, Pine Green, Phthalo Blue, Red Violet, Cornacridone Violet and White. I'm going to be filming several of the small painting lessons today. So I'm just going to use this palette all day practice. Okay, so let's put some of the yellow. See that's a pretty color. Break some of the yellow. So if I leave, if I decide to leave some of this yellow, which I will, into the board, then I would want to maybe incorporate that into my flowers somewhere. So that has to be part of my thought process. So let's take a nice pinky color. I'll take some of my cool and my warm and add some of my background a little bit of that to it. And so we're taking a Cornacridone, Naphthol Red Light and some white. And let's just kind of set up like a Redote Rose here. And I'm just going to block it in first here with my three quarter inch here. And then maybe set that Juvenile Rose right up here. So it'll be about half the size. We could put a couple of buds down here. You can put a bud up over here. Sometimes I like to maybe come down here, maybe a couple buds. So this will be a little different down here. Okay, and I'll blur that into the background here just a bit. I like the blurred edges of the rose, the softer edges of the rose here. And that's pretty good for my three quarters. I'll give it a quick rinse, set it back down there. I love to paint with my 10. Of course, we've got the new brush coming, the half inch, and I haven't shown that to you. I filmed a couple things with it and in testing it out and everything. Set the gaze of your rose. Imagine where that center is going to be here. And let's just do some small movements here that will, you know, this is the implied petals of movement to the inside. So if I use small little touches and sometimes just pick up a little bit and just add little touches like this, you can make some of that movement of a tea rose. And we're going to paint tea roses, but without painting very specific petals. And that works really well. Let's toss some of that right down here to the shadow side of the road. So we're going to paint basically a pretty rose here. So we'll have the shadow, maybe a bit of that bowl coming up through here. Let's deepen that. Let's get some nice contrast into some of this as well. Get some of that nice red into there. That's really kind of pretty. And get this, let's get a little bit more of that red right up into this one too. So your brush, your calligraphy, you know, we've talked about this before. Sometimes I'll set that, just that side by taking off like that. And that's what I call, see, so your, your look right here, see, it looks like a petal and that's what I call the implied petals. And where you don't have, you know, the exact petaling, you know, so, and I do that a lot. The bud, the bud, or excuse me, the juvenile here, when a rose is younger, it gets more oval shape. So instead of doing round, we go more oval. Of course, the bud is definitely oval. And we'll put some dark into this here. And we don't want, when, if I'm painting a large composition, I usually set my queen and I don't put the other colors in the composition quite as dark. I'm going to put a little more dark into that, right into that center. And you know, how much dark you put, that's up to you. That's, that is basically your, you know, your signature as the artist. So let's go right in here. Let's just drop a little bit here for the buds. And the buds will do very casual. And you can see it. They're more of an oval, completely an oval shape. I like that. Sometimes I'll do this and do those implied petals right onto them like that. Just lift off and just make that nice implied petal. And see, that's picking up. I wiped all the way through to that yellow there. So it picked up a little bit of that soft yellow. And I like that. All right, let's come back up over here. Let's get some white. Well, first, let's add that. Let's add, before we do that, always think of your background and stuff. So here's our yellows. Let's take some of our nice light yellow here, warm yellow. And let's add a bit of that in, especially into this big queen rose here, the front of the bowl of this rose. Now, so I'll pull down towards the bowl just lightly here. And I don't think I'm really going to do anything right there. I might put another petal, idea of a petal, right in there. Now, the big thing is, see, you've got to be pulling your petals down. And, you know, we're lots of different ways to petal the roses here. You know, like we've talked about, tons of different ways. I'm going to do the, you know, reach out like a rodote. See, like he'd fall his petals way down. And he put a lot of movement and stuff. Of course, that's a tea rose, but, and it has a lot more than what the ones I'm painting right here. But, you know, you fall, you can fall them down. You can, I kind of like them to, I don't like the rose petals myself on mine to fall down quite so much. I like them to, to, you know, have a little bit of stiffness or life to them. I feel like they're dying when they're falling down quite a bit. Let's just push a little bit of that in and out like that. See, I won't, I won't make it absolutely perfect. I'll leave some of those little extra colors and stuff coming through. And you get that by not, not mixing too much with your brush. Don't mix too much with your brush. More and not as many petals. And this one has more. So now we've got a, we've got a lot of petal interest there. So we better petal this one up a little bit more. So let's drop down, strike on a little more light. I like it's going into that yellow area there. So I'll pick up a little yellow in my brush and hit the yellow. So that's one way to really, you know, we've talked about that and other things. Get that queen out there. Let's take a bit of yellow right on the edge of that one. Get that queen out there. Get those other colors in there too. She'll, she'll carry more colors than some of the other roses. So here I've struck that one in. That looks pretty nice. Let's lift off a bit of that shadow back and forth in there just a bit. And I pushed that too much and I lost some of that. So I'll just go strike it again. Sometimes you just like, uh, why did I do that? You know, so you just go strike it again. We'll bring it back into line. That looks okay. And maybe a bit more light right up here at the top, right up here. There we go. You know, the, the movement kind of dictate the rose. I start to look at the rose and you know, I'll hit it with the movement of my brush. And if I think that, Hey, yeah, that looks kind of like petals. I don't need to do anything anymore there. I don't, you know, I I'll stop. Let's just put a few little light marks back in there. Like tips of light little pedals can have a few more little pedals going on there. That's kind of pretty, maybe a little more movement of some light color into that center. Sometimes I'll push the light and then I'll push a dark in there like that. And then my final dark, you can come back and just draw around a bit and get some of that nice movement of that. This gives you more movement, more things going on. I'll leave it more simplistic there. Now the buds get even simpler yet. So we're going to do basically hardly anything to these buds. Now, a lot of times in the buds is a little darker at the top lighter at the bottom, but I, I like to give like the oval shape of a pedal and you know, just get out of the bud. This there's not really too much to it. Sometimes you can fold the pedal over. Sometimes I'm like, if I have two buds here, the same, I don't want to paint them exactly the same here. So I want a little bit of difference. So I might take one and they're right next to each other here. I might take one here and just open the pedal up a bit open. Like it's so it's starting to look like this one, then it goes here, see, and all different kinds of ways. Let's get, you can do more advanced leaves or simplistic leaves. And you see in Rodote, he does a lot of different shapes and stuff like that with his leaves. And I'm going to add a little bit more green here and let's just pull out like this and do that nice elongated oval. Sometimes I'll leave that, you know, a little bit of background showing through like a stem or something. You can go more two-tone leaves that he does. You can give the veining heavy like he does. I don't really like to do a lot of the veining because I think that it detracts from the rose. It makes the leaf just as important as the rose. And yes, that is, that is okay because you're painting a botanical. But if I'm painting something and the rose is the queen and the rose is, you know, controls the composition, I like to make sure it stays that row, you know, the viewer's eye stays on that rose. That's what I like. And so we'll push that off. Here, my light yellow, just a bit because I see it showing up through there. So we'll just revisit that just a touch here. A few areas of that pulls through. You could add some of that into your leaves, little touches and stuff. You could use that to, you know, basis of little vein lines too, you know, through some of your, your leaves, just all kinds of fun things. But the big thing about a botanical setup, and you've seen me paint like this quite a bit really, is that you're peddling. So the most petals, then the next, and then the, then the least petals over here on the blossoms, you know, the least petals. And, you know, you could put some of the greenery here, you know, up over the, the edge of the blossom here as well. Give her a little more power there. The queen over her court, a little bit more power here like that. There we go. And makes a nice, a nice rounding rose. You could paint your roses though more like botanicals of redote like this. But to me, I love this shape of a rose a little bit more than that shape of a rose, but that's all up to you. Okay. So the three roses that you have, they're great, you know, and the reason why I added a video like this into the classroom was, you know, for years I would paint one type of rose, a decorative painter, paint one rose, and then repeat that rose throughout everything. And, you know, and that was so wrong. Now I broke that by studying redote and realize, okay, there's three sizes of roses. I mean, how many times for those of you that are decorative painters, you know, have you, you know, looked at paintings and there's the same size of rose everywhere. You know, that's not the way nature is. That isn't the way redote and then, you know, catalog it also. And so you would, you would paint those, those stages of the roses. All plants have that. They have, you know, when they're flowering, they're not, they don't all go big roses. They have different stages. And as artists, we can make more beautiful compositions by incorporating that. All right. Okay. We'll see on the next one. We got three stages and we'll move into advanced lessons, multi-petals within the rose. Okay. All right. See you guys on the next lesson.