These zinnia studies are experiments with dry brushing, layering and different handling of edges. For example, the top bloom has more expressionistic brushstrokes where as the bottom one has clearly defined petals. Both have all the leaves radiating out from the bloom as in the previous post but their edges are less defined and more integrated with the background. I also made an effort to layer the colors, especially in the leaves and background.
To see an example of a masterpiece with orange zinnias, check out Vincent Van Gogh’s beautiful Vase with Zinnias.
Ever since I can remember, my mother’s favorite color was blue. Then suddenly – in her 60’s I think – she fell in love with yellow and still prefers it to this day. So I wanted to name one of these yellow zinnias after her.
I think this one has the best composition so far. I limited the leaves to those that radiated out from the bloom instead of including bits of foliage from surrounding flowers. That will be standard procedure from here on.
So far, my zinnias have been done in a painterly (with visible brushstrokes) style. Click on the link below to see a photo-realistic yellow zinnia by contemporary realist John Stuart Ingle.
Here are Zinnias 3 and 4, aka Karen Sue and Cissy. I feel that these show improvement in the both the petals and the foliage. The yellow one’s petals still look a bit too outlined but the pattern in the leaves is much more natural than in the previous one Zinnia 2.
The white bloom below is simpler because it only has a single row of petals. I left off any suggestion of vein pattern in the leaves on this one and concentrated on getting a good variety of greens. I also worked on getting some more livelier brushwork into the background.