Realistic representation of pink peonies in mixed technique (watercolor and color pencils)

Summer is in full swing, more and more flowers are blossoming around, some come to replace others. Last time we drew butterflies of a peacock's eye on flowers of a buckwheat >>  Today in the same technique we will create an image of one of the most widespread and, at the same time, the most beautiful flowers - peonies. Variants of shape and coloring are quite diverse. We will draw pink. By the way, if you decide to put it in your house or give someone peonies, keep in mind that the red peonies are a symbol of passionate love, while the lighter ones (including the pink ones) carry a more relaxed energy, promise interesting encounters and acquaintances.

peony

So, we need:

- a sheet of watercolor paper format A4 (preferably with an invoice surface);

- watercolor paints artistic ("Neva"), a jar of water, a rag;

- Round squirrel brush No. 6-8 (medium so that it is convenient to fill large spots and draw details with a tip);

- colored pencils (any, but the softer, the better);

- a simple pencil TM or T;

- Prototypes of our flowers - photos of their own production, or found on the Internet.

flowers

picture

Let's get to work. We outline the outline of the buds with a simple pencil.

realistic image

We supplement the foliage.

realism

We begin work in color - from the middle of the main bud. We will act as follows: each petal is represented separately, creating clear outlines, and inside the petal soft transitions from one shade to another. Choose the largest and most important petal and moisten its surface with water using a brush.

graphic arts

Fill it with color (I use ultramarine and cadmium red).

painting

We do the same operations on neighboring petals.

watercolor

Fill the middle of the bud with colored hues. Here one can generalize a little, not drawing out every little petal.

pencil

We will pass along the adjacent petals, leading the work from light to dark.

pencil

The petals on the right are more permeated with sunlight, they are brighter, juicy. We take for work voiced krplak.

The petals on the left are shaded, muffled. Let's pass in this place generalizing frosting of a cold shade. This will unite the group of petals and take them to the distant future.

The lower group of petals is lighter - closer to us, but it also needs to be generalized, muffled, separated visually from the main petals. Fill with a lilac color.

When both our color-filled groups of petals dry out - we work through them, like the previous petals. Pre-pouring gives us a generalizing tone, and all subsequent color strokes are layered on it (thanks to the transparent properties of watercolor). Shiny shades are obtained within the limits of the given lightness.

Let's walk through the rest of the flower. Light can be left unpainted, easily touch the shadows.

We proceed to the second flower. It is important for us to separate it, so that both flowers do not merge into one spot, take it a little to the distant plan, make it also pretty elaborate, but so that it does not argue with the first flower. The near part of the flower, bordering the main pion, is filled with water with a brush.

We put in a light noble pink color and fill it.

We study the details. We use ultramarine, cadmium red, kraplakom and even here and there - yellow.

The border with the main flower is shaded with deeper tones.

In the same spirit, we work on the rest of the buds, making them less detailed and lighter. That's what we get.

 

We proceed to the greenery. We moisten with water and fill it with color, choosing shades. If the pieces are small - you can immediately color without wetting with water. Paints: herb greens + heat-buffy. (In general, according to the laws of color science, since we have buds of a bright, cold red color, we select greenery for them warmly muffled-green).

We work from light to dark. We plan the veins of the leaves. Fill with shades of green. We will not wet with water. Just "pour" one shade into the other, making soft transitions. To green and ohristymi paints add at khimizovanii cold green and blue.

A little muffled veins, so as not to contrast strongly. To do this, on the dry surface of the leaf, let's go through the heat-green glaze.

We are working on a long-range plan. We create a light-air perspective: the furthest plan is pale and cold.

Finalize the remaining bouquet. That's what we got.

We start working with colored pencils. They will help make our work more clear, contrast, while maintaining the general state of lightness and tenderness, will give the petals more expressiveness.

Here and there we emphasize the outline and deepen the tone. We use pink, burgundy, purple colors.

In any case, we do not circle everything entirely, otherwise our flowers will lose their liveliness and freshness, become rude. The line should be "alive": somewhere the pressure is stronger and the line is brighter and greasy, somewhere the line is weakened and completely disappears.

Lines are translated into the tone by the side surface of the pencil. Here's how here, for example.

In light areas we use light shades: pink and blue.

We deepen the tone of the petals. Textured paper allows to obtain a soft velvety surface of color. We add additional streaks and details here and there.

At once we will touch the greens. Let's emphasize the outline in black pencil.

Contour-border of the bud with greenery is emphasized by burgundy. This will create the necessary color contrast. We are working on the second flower.

We shade the green foliage with pencils. We use black, dark green, emerald, blue and even orange.

The outline of the distant plan is light-blue. Shade blue and pink.

Well, the rest of the bouquet.

Here such beauty at us has turned out! The bouquet is good on the scan. But on live paper in direct perception it is even more alive and beautiful!