Having such organic shapes the clematis is the ideal subject matter for the floral artist who wishes to avoid a prescriptive approach to botanical art. This demonstration uses a method known as “painting from dark to light,” which means that the paint is applied onto a dark surface in ever lighter colours. This serves to bring out the tonal values of the clematis. To add texture, impasto medium has been used in this painting demonstration. 

How to Paint from Dark to Light in Oils

When producing floral artwork from dark to light, the following tips may help:

• • Begin with the muted or mid toned areas before moving onto the paler areas, such as the flower heads. The highlights should be applied lastly with neat paint.

  • Working dark to light often requires thick paint for vivid colours and highlights

  • Diluted colours can be used for more muted areas, where the dark colour may show through.

  • Using a variety of paint thicknesses over a dark surface will suggest form and texture to the floral painting.

  • Working dark to light is mostly about tones. It is often necessary to stand back from the painting to ensure the tones are balanced well.

  • If a neighbouring colour to the flower heads is dark, avoid using a thick mixture around these areas to stop the flower head getting contaminated.

  • Using separate brushes for dark and light dispenses with the need for repeated cleaning of the brush.

Art Materials Required

• 1. A still life setting of clematis Montana. A photograph will serve equally well

  2. Acrylic paint in burnt umber and ultramarine

  3. Oil paints in the colours: titanium, pthalo blue, ultramarine, cadmium red, permanent rose, cadmium yellow, lemon yellow, viridian, burnt sienna and burnt umber

  4. Medium grain stretched canvas sized 12” x 16” (30.5 x 40.5cm)

  5. Sizes 3 and size 6 round sable brushes

  6. A half inch bristle brush

  7. A palette consisting of a china plate or varnished wood

  8. Impasto medium

  9. Pot of artists’ white spirits

  10. A few rags

  11. Chalk pencil

The painting surface had been overlaid with a dark layer of acrylic paint, in this case, a mixture of burnt umber and ultramarine. Once this had dried, the composition was sketched out by using a chalk pencil. The background areas were blocked in first via a bristle brush by using a various mixture of cadmium red, burnt sienna, burnt umber and white for the mortar. 

Painting Leaves

The clematis foliage was painted in with a mixture of pthalo blue, viridian and lemon yellow. The dark beneath was allowed to show through in selected areas, contributing to the impression of form. The organic shapes contrast pleasingly with the regimental brickwork.

Using Impasto Medium