With the back ground blocked in , and the underpainting of the magnolia blossom dry, I will start on developing the whites.
|Filling in the back petals and the first layer of gray|
White is the most reflective color and is never found in nature as pure white. It always, always, always reflects some of the colors surrounding it. These large blossoms are no exceptions. But for the first layer, a base of pure white Prisma Color is placed on the focus or most forward and prominent petals.
These petals in life are large, glossy and slightly a creamy yellow. But only slightly. The brilliance of the white flowers is what makes these trees so beautiful. That and the fact that these flowers are the size of dinner plates!
|Finding the flow of the drawing|
So a layer of white, even on the parts that will be shaded later gives a good base.
At this point, you might be tempted to rush things, use long strokes to cover as much area as you can. Fight this! Color pencil is not a fast medium. Yes it is try, but it takes time and skill to have it come out. Long linear strokes at this point will only cause trouble latter. They will create ridges you will have to fight to reduce and eliminate.
Use small circular or oval strokes to cover the area carefully. You want a smooth surface that will accept subsequent layers. Use light pressure. It is better to put two layers down instead of one thick layer that dents the surface and crushes the tooth of the support.
The back or in this painting, supporting petals will be covered in 10% cool gray, also by Prisma Color. With any white work, you really need a full range of grays, both warm and cool.
As the petals develop and open from the bud, the base is creamy yellow, even on the fully developed flowers. And as they age, and begin to fail, this yellow becomes more evident. I am using Cream, and French Gray, warm, 50%.
|Close up of the developing flower,|