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Author: carly_clements, Contributing Editor
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| Using the Odorless Turpenoid and a soft brush, I've softened and blended the scumbled deep thalo over the background. I don't want to liquefy the oil pastel with the turp. The soft blending will leave abstract shapes of color which I'll utilize in the leaf shapes in the background.
The close-up shows this 'light blending' stage which I'll use several times during the painting. |
 | Since this oleander is mostly white, I want to begin by creating interest at the focal point - the center of the larger flower. I'm also watching for design elements within the petals themselves which may need some changes during the painting process.
If you're not used to working on a dark value surface color, then it may be more difficult to adjust to the contrast of the colors at this first stage, but if you keep in mind that you're working from "light to dark" with your pigments, then you won't get mislead so easily. As I paint, I feel like I'm finding the light and pulling it out of the darker underpainting. Using a deep yellow, I've created abstract leaf shapes in the background. As you can see, I don't follow the reference but use it for an approximation of the shapes for the oleander plant. |
| My next step is to work on the larger petal shapes. Using white, a light blue and a light lavender, I block in the cool areas on the petals. The blue and lavender will appear very light against the red, but as the layers of oil pastel are added, they will become my shadow shapes.
For some warmth, I use a pale yellow in the areas where I want the light to reflect. You can also see how important the warmth of the underpainting becomes as I add so much cool color. Tiny glints of the red will continue to show thru the oil pastels and add lively color to the entire blossom. |  |
| Close-up to show the scumbling effect on the petals. |  |
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