Paint Along With Nancy Kominsky; 114; Shrub roses

Hello, I'm Nancy Kaminsky. Today we're going to paint yellow shrub roses. As a rule, I never give beginners the project of roses because usually when they paint the traditional rose, it ends up looking like brussel sprouts. They can't seem to get the closely packed petals. But these roses have very loose petals and single petals and I'm sure you can do it. Do the usual thing, stay in the canvas like this. This is something you should do in your sleep I think. I think I do like that. And we put the grids in quarters first like that.

I have to do all these rather boring things first but it helps you with the exciting things later on. That's that much ahead. Now in this painting, we do not have a vase or a bowl or anything. We just paint the flowers right from the bottom and on the stem. That's a little different and it's rather exciting that way. And we can concentrate on the flowers. Now as usual, when we draw flowers, we will not delineate each petal or the character of the flower that way. We're going to draw circles and then as we've done at other paintings, just draw a line

in front to tell us the front petals like this. Let's start from the center and we have one like this. And we have one here like that. Actually, I want to bring that one down. I like to bring that down a bit. I want to change my mind and not just have that privilege. Let's bring it down just a wee bit. There we are. Now we have another one here like this. We're seeing this in profile and we've been all through this. Now instead of doing it that way, as we did with the poppies or any of the other flowers, we're going to do it this way and say like that, like this. And this has one this way. It's a very, we're only seeing part of the front of that. This we're seeing practically halfway like that.

We have one over here like that and we do see again half of that underneath. The petals turn this way and when we paint them, you will see why. We have one right here like this. Actually, this rose is not this large but I want you to see the structure and the painting so we haven't quite large. Besides you can make them as large as you like. There again, we're seeing that in profile that way. This is full on. Don't forget your centers, always put your centers. Now when we do this, we will see part of the center. Once we will see all of the center like that, we're looking down into it. We will only see part of the center like this and also like that.

I'm going to draw the stems but actually we put them in the painting but I think it's important to draw them because you must know where they go and you will remember. We have two buds here which we're going to add later on but I want to add them so you'll have an idea of the composition. Now roses have a little, well actually it's a covering of the bud and when the rose blooms, this little tail, these little tails hang down like that. Now, obviously we do not see them on the rose that you're looking straight on because that's on the back of it so you don't see that. Please don't put any on that. Some of these are in profile, you will see the little tails like this which are the little leaves that cover the bud, that's a covering of the bud. Now watch, now I have a little problem here and I want you to see this because I think

this is important. What's happened here is that I had a stem going on a terrific angle and it shouldn't. Now when I make mistakes, I'm pleased because you will also and then in watching me correct my mistakes then you can see what can happen to you and by golly, it will always happen to you. It doesn't stop them at how experienced you are. You will always have little problems if you're not watching and paying attention. These are all leaves in here, don't fuss with it because we're going to paint them out anyway. Why don't we just leave that for the moment? Let's shade it. In this case the light is coming from the left so we're going to shade the flowers on the right. Now as these petals are turning down underneath, they are not getting the light. We want to shade those like this like this and here in this flower, the light is coming from the left so the highlight is here and we have a little shading here because there

again the petals are not flat, they're rather cupped and so part of that is the light is hitting on the opposite side. If you like to help yourself, you can do this and the rest you can just paint with a knife, don't fuss with it. Now let's leave that for the moment. We have another first with this painting. Here is the drawing and that's all we're going to do. In this painting we have a complete background of one color, purple, solid dark purple. This is a perfect background for these beautiful yellow flowers and a study of extreme and dramatic contrast. So we're going to paint the complete background in purple like this. Now as we paint, I would like you to just rather go in between the petals a little bit like

that. There are only three petals on each flower, actually there are six but three behind like that, behind the front petals. Oops, as you can know that the heat of the light melts my paint so I think we'll end up being a splash school of painting. There we are, it's nothing new. It's nothing new for me, that's all. Now I'm going to get this a little excitement because obviously in this background this is it. I mean there aren't any tones, we're going to add something else on in just a moment which is very exciting but for now I want this painted like this. It's a stroke that goes towards the center this way. I'm going over that petal, don't worry, as you should know by experience we never lost the painting yet.

Painters yes but not paintings. There we are, get rid of all those little things that we added which we're going to put on later. Now go into the petals because you will have a space if you don't. Of course you can't do it actors because this is not a mixed color, I mean as you have it mixed it specifically for this painting. Now go off the buds, whoops, and that's how the only hand painted slacks in the world I'll tell you. There we are, get between your flowers, it will look very strange but we know that that's only a temporary condition.

This is again another type of background, the solid background. As we work I would try to introduce little different things but not too much at first because you are learning and don't want to confuse you and upset you so that you stop painting the ideas that we want to keep you painting, whoops, that's not too bad, that was an accent I think it's lovely, a little blue in there, that's not bad idea, that's lovely. All we down to the bottom, fine, now that's it, we're going to add on top of that some beautiful vermilion as an accent color like this, be very careful, run your knife through

your paint and pick it up like this, not too thick and very lightly do this. This may give you qualms when you do it but when the hell pictures complete then you will see that it's very exciting and it means a lot to the painting because it has very little going for it in the background, except this, there we are, clean out the lumps of paint around your flowers because I want the yellow to be very pure and very clean. Keep your knife clean, clean it constantly and going from one color to another, clean your knife constantly to keep your tones pure and clean, it's very important in painting. We go to a lot of trouble to mix tonal values and then we're not careful when we paint and we have dirty paint and what's the use, there I'm scolding you, we see.

Alright, we start with the flowers now, that's all we do for the moment, let's go to the right hand flower, we start with the back petals first, remember you paint from the back to the front and so we had the light tones like this, now if we run into anything like that, there again the stroke tells us the petal formation, don't fuss with it, leave it fresh like that, in the front we will put yellow ochre which is the dark tone and I'm going to add a little orange on that for excitement, now talk try to refine it too much, be keeping it fresh is what retains the shape, as you fuss with it you lose the shape, let's add a wee bit of yellow on top of that, because there is a little light coming

from the left on that bottom part fine, let's go to the center, let's use the light tone on the right side, remember that the light is coming from the left and is hitting the opposite side of your flower, and it's not all one color, it's two shades of yellow, now on the left side is darker, we're going to take ochre and cadmium yellow medium like that, now if you use your knife lightly, you won't pick up any of the background color, there we are, now let's go to the one on the left, it's pretty much the same like this, if you should want to give this painting to your aunt Matilda and you'll find out she

has pink drapes, this flower does come in beautiful shades of pink and red, I've seen them and it's called shrub rows because it is used as a shrub, let's use on properties lots of them as a divider, it's not particularly exciting rows and you can't really pick it because it dies very quickly or falls, it has a more practical purpose rather than the traditional rows which of course is very beautiful, very decorative and which you're not up to painting right now, we'll wait till you've had a little more experience, let's put little orange on that like this, all right and let's go to the left, there again, the fun of this painting as opposed to the other, that we have a chance after being painting

things that we're rather confining and demanding, when you paint something like this to really let yourself go, the dark tone like this, like that, I want to put a little orange and I think a bit of dark red on that, that's another thing, we're going to add a million on the edges, these petals and that again is another first, let's go to the right, knowing that you're doing the same all over gives you a chance to really perfect your flowers, you'll find that when you do the first flower you just can't get with it, as you paint the flowers then you'll find yourself getting into it and always the last flowers are very beautiful, but don't go back and play with the first ones, leave it alone, all right

let's put our front petals on here like this, let's put little light tone like that, now actually what we can do, I'll let you, is do this on your petals to give it that feeling of movement and that they're not static, which of course they are not, they're very thin petals by the way and they wouldn't be stiff, fine, now we're going to put our centers, it has a beautiful pale green center like this, half one, because we're looking at this in profile so we only see half of that center, we're going to add to that a little bit of remillion and orange on the other side like that, and if you really want to, it's a

good idea, I think to paint in this case all the centers together, put the orange tone on the left, these are stamens by the way, and a little dibble dabbles on the right, this tone is they are catching the light on the left, but on the right it's darker, let's put a little purple in there also like that, and red centers that way, I would like to put just a wee bit of dark green here, because I think it's a little bit pale, they're fine, now we put in our stems, follow this too, very lightly like that, I think we have four

one, one no, I have a missing one, right, follow all your stems too, or someone will surely say by golly you have five flowers and four stems, it's always somebody that doesn't paint that will do that to you, alright, let's put the dark tails on one side and a few little light ones like that, like this, you see, and then the light ones on the right side where they're catching the light, that way don't fuss, like this, and this, oops, there I just did exactly what I told you not to do, it doesn't have any over there, forget it, over here like this, fine, now we also have buds, buds are wonderful, they cover

multitude of stems, fill up a lot of holes, and of course we should know what they look like in bud form, let's do them like this, dark on one side like that, we're going to put a little bit of yellow on that, and we have a one over here like this, and also on the buds we have a little pod like that, that is very important, these are little things that you must observe, and when you paint you will find yourself noticing things that you never noticed before, and that makes you, gives you authority as a painter, even if it's not that well done, it's authentic, we have two buds here like that, there again,

we're going to put a bit of yellow in those, so don't worry about it that way, got the tails in, let's put our tones of yellow, with a little lighter tone like that, and up there the same, and then put a bit of green around it like that, and in the center also like this, you see it growing before your eyes, and it's very loose, very impressionistic and that's the way it should be, and flowers should look like they're moving, it shouldn't be static, fine, now we're going to put in our leaves, there again, these leaves look

quite large, so we're going to have to draw them in a little bit like this, first with your knife, draw them in in the wet paint that way, and rose leaves are shaped rather almost like apple leaves and what have, we'd have little points, but they're not a leaf like a lily or a tulip, and as in other paintings we've gotten away with just an impression, I'm afraid you're going to have to face it and paint a leaf this time, but no problem, so I'll put too many of them in, now let's put the dark tone here, take your knife and do this, on one side, the flat of the knife, then take the light tone and do this, then

take your knife and outline the leaf, dark tone like that, and then the light tone like this, you see, using the knife to scratch out the little lines in the leaf which perished for bit, I don't want you to paint, just scratch them in, like that, we have a beautiful leaf here and it also catches the light here, and you notice that on the right side where the light is, the leaves are lighter, more lighter, or actually more light leaves on the left side than they're on the right side, they're dark on the right side, try to remember always that you're painting in tones, I'm going to add a little dark red around my

stamens, fine, I have one more thing to do, we must do it, I'm going to outline these flowers in vermilion, and this is a very exciting accent, this is a thing that we're trying again, and for these particular flowers it's a very interesting accent, and on some paintings where I have blue or aqua paintings, or actually all blue paintings, I use an aqua accent and it's quite beautiful, but this we're going to use vermilion, these are all related colors by the way, I don't have anybody to say what's that red doing there, you just simply tell them that's the way you see it, and that's an accent color, and you can tell everything I've told you if you remember it, let's put some on the buds, like that,

I would like to see one more leaf right here, like that, right here, I want to accent the dark tone of this, this has two tones this center, dark green and light green, I want to put a few more dark tones around here, like this, because they are you now, and a little vermilion on top of that, I would like to see a little purple, like that, now the whole

idea is keep this painting loose, to have fun with it, with color as well as with the drawing, just let yourself go, I'm doing something I tell you not to do, and I'm going to stop right now before I lose the painting, that's over today, and you'll love this painting, and now for the signature, goodbye for now. This program was made possible by a grant from Commercial Union Assurance Companies.

Thank you. But you can't see that he was, I can see he was good as he was.