Painting flowers: for the realization of a vase of flowers in a microscopic support, regardless of the difficulty, the usual laws of color, space and plasticity must be respected, just as they are respected for the realization of a painting of normal size.
What matters is the color balance, especially with regard to the chiaroscuro play. A constant in painting flowers is to leave, as regards the area of flowers, very dark and diversified colors, overlapping later the flowers, leaves and their stems.
In painting flowers, as in any other painting realization, importance must also be given to the balancing of the masses. Suppose we start from the background. First we decide the direction of the light, then we light up our flower vase from the left to the right.
We begin to paint the background with a Prussian Blue mixed with a good dose of white and corrected with a pinch of cobalt blue and carmine of garanza. Since the light comes from the left, we make the left side lighter than the right.
We create the window light effect, ie we imagine the background as a wall of the room, where the lower part is much more illuminated than the upper part. To do this we add to the Prussian blue still carminio di garanza and a pinch of cadmium yellow and degrade to darken upwards.
Since the background will have to be reworked with other drafts to define the shade, we can also indulge ourselves with a rich diversification, provided that the play of light dark is respected.
We can also use black to our liking. We make the vase directly with a color (for example a yellow ocher, or any other color), respecting undoubtedly the light dark, that is half in light and half in shadow, (this must be, for now, very dark and diversified) .
We calculate the space of the flowers and instead of painting them directly, we fill it with a dark color and a lot (I say a lot) diversified. We make the table (for example, a yellow ocher mixed with a red and white pin), taking into account that the left side is more illuminated, and we diversify it with many gradations of that tendency. We paint the shadow on the table with dark and very diversified colors and … .. we finish the preliminary pictorial session.
Let’s dry the picture. When this is completely dry we can work on it again. Analyzing the work we have done, we note that no color belongs to the general context that we have to paint, but that has a perfect balance of masses and lights and shadows.