plate no. 5511

Daffodils in a White Vase

Charles Blackman, 1985

oilExpressionismflower paintingflowersdaffodilsvasestill lifetableroses

some experience helpful

Recreating this painting will help students develop skills in layering paint, simplifying complex shapes, and capturing the essence of a subject with expressive brushstrokes. It also provides practice in color mixing to achieve a range of warm and cool tones.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 8 hrs

approach — 8 steps

step 01
Sketch the basic shapes of the vase, flowers, and background, focusing on proportions and composition.
step 02
Apply a thin wash of burnt umber as a base layer for the background.
step 03
Block in the main colors of the background, table, and vase, using broad brushstrokes.
step 04
Start adding the yellow tones of the daffodils, paying attention to their unique shapes and angles.
step 05
Introduce the red tones of the roses, blending them slightly into the surrounding colors.
step 06
Add the green stems and leaves, varying the shades of green to create depth.
step 07
Refine the details of the vase, adding highlights and shadows to give it form.
step 08
Add final touches and highlights to the flowers and background, enhancing the overall vibrancy of the painting.

color palette

primary · yellow ochre · burnt umber · titanium white · ultramarine blue

secondary · cadmium red · sap green · raw sienna

Mix different shades of yellow by combining yellow ochre with titanium white and a touch of cadmium red. Achieve the background brown by mixing burnt umber with ultramarine blue and a touch of white. Create greens by mixing sap green with yellow ochre and ultramarine blue.

techniques

·dry brush texture
·scumbling
·alla prima
·color mixing
·layering

common pitfalls

→Overworking the details and losing the expressive quality of the brushstrokes.
→Using colors straight from the tube without mixing them to create subtle variations.
→Failing to establish a strong value structure, resulting in a flat and lifeless painting.
→Not paying attention to the negative space around the flowers and vase.