Painting from a reference photo, as opposed to doing it from life, the colors the camera has captured are different from what the naked eye would see if those flowers were sitting in front of me with the same light spilling in through the window. So it is necessary to interpret, in a painterly fashion, how the subtle colors of the white daisies should be interpreted in paint. I’ve chosen to show the internal areas of the daisies that are most affected by the sunlight as a pale green, because the light is bouncing off the flower head, the green/yellow center, and tinting somewhat the petals splayed out around it. For the color of those flowers farther down in the bunch, and therefore less affected by the sunlight, I’ve gone with a lavender mix to help differentiate those levels of depth from the soft green of the flowers nearer the light. In this instance, different colors help to sell that illusion, since the value range is relatively narrow, at least in the shadowed areas.
Painting from a reference photo, as opposed to doing it from life, the colors the camera has captured are different from what the naked eye would see if those flowers were sitting in front of me with the same light spilling in through the window. So it is necessary to interpret, in a painterly fashion, how the subtle colors of the white daisies should be interpreted in paint. I’ve chosen to show the internal areas of the daisies that are most affected by the sunlight as a pale green, because the light is bouncing off the flower head, the green/yellow center, and tinting somewhat the petals splayed out around it. For the color of those flowers farther down in the bunch, and therefore less affected by the sunlight, I’ve gone with a lavender mix to help differentiate those levels of depth from the soft green of the flowers nearer the light. In this instance, different colors help to sell that illusion, since the value range is relatively narrow, at least in the shadowed areas.