Find freedom in flower paintings

Find freedom in flower paintings. With a parent and elder who designed and a grandma who played the piano, art and music envelope inspired Lynn Whipple throughout her childhood. Art has eternally been a pleasant family name for me. I came home from school and the living room, which was furnished with the materials for painting, spread the magical scent of shame. We have always made art, and it was such a joy. Today the professional works from her home studio facing a lake in Winter Park and at McRae Studios, which her husband’s family began. Whipple also brings her provisions and flower arrangements outside to paint outdoor as a nature lover.

Embrace media of all kinds

Whipple was mostly self-taught, reading art books and occasionally attending art workshops. She worked for the television station Nickelodeon for a decade and went from shopper to set designer, set designer, assistant art director, and art director. I enjoyed working with all of these great people there. But eventually, she leaped to become a full-time artist. As difficult as it was, I just had to say No to them, which turned out to be a huge Yes to my work.

A question of the layers

One of Whipple’s greatest joys is collecting or buying bouquets and arranging them in vases. It is motivated by their light hues, subtle tints or rich shades, and the infinite variety of shapes. It also gathers twigs, berries, ferns, moss, and more to add structural interest to the arrangements. Whipple prefers to work on large canvases for his expressive flower pictures. It enables her to capture the passion, energy, and emotions she feels while painting her subject. It’s simpler to work big, explains Whipple because I can be more gestural and easy. She usually works on three canvases simultaneously so as not to be idle when one dries. Whip the first few tones, each with a single color of warm or cold acrylic.

Create compositions

After choosing flower shapes from various compositions for each painting, he usually chooses a bouquet as his dominant hero design. Whipple then performs several instantly drawn pencil thumbnails in the park, horizontal and vertical forms to determine the most efficient design. Next, quickly and freely draw a few flowers on the tinted canvas with charcoal. And then, he wipes some of the charcoal off with his hand before turning the canvas 90 degrees. Next, draw the flowers again, this time using pastel colors. His goal is to keep the cute girl drawing fast, fresh and spontaneous, and he prefers expression to the realistic description. Often draw with your non-dominant hand or with both hands simultaneously, each creating a different pastel color. Draw the outlines of flowers, leaves, and stems, then shape masses using different colors from Schmincke, Sennelier, Rembrandt, or a selection of harder pastel shades.

Do at the moment

While running, she admits to happy music to maintain an energetic flow of movement in her line drawings, character, and shape paintings. Partially smear the sketch. Then turn the cover and draw more petals on and around healthy, this time with graphite and pastel. Whipple turns the canvas one last time and draws more flowers. Finally, use the charcoal to draw several crossed lines from edge to edge. These lines create interesting patterns of organic and geometric shapes on which he will build later levels.

It all comes down to layers. Levels give med have fun because there will be more. Nothing will be fixed until I want to. I can keep the process and painting open and not stifle by making it valuable with an aspect that is too refined and too detailed.

Forms and values

Whipple goes with the acrylic paint with neutral colors from medium tones, approximately complementary to the basic color. For example, if your underpainting is orange, use a 1 or 2-inch flat brush to apply it gray-blue. And he makes sure to leave spaces through which the orange can shine through. Its neutral color palette ensures that the bright colors of the flowers stand out from it later. After the color has drained, Whipple decides the best introduction for the scent and vase in his head pictures stories. Then he sketches them again freely with charcoal and pastel, quickly paints flower shapes and a suggested vase. Then rotate the canvas a total of three times, each time redrawing parts of the design and gently shuffling them with your hands.

Finally, Whipple examines the various orientations remotely to determine the best option and to observe their shapes and values. Then he draws with crayons, notes the flowers, and freely outlines the shapes and stems of the leaves, the vase, and the tabletop. At this time, he places the darkest shadows and brightest highlights in the entire composition.

Breathing space

It is followed by a layer of brightly colored acrylic paint that is applied with large brushes. Whipple prefers to use cheap disposable hardware store brushes at this stage due to the imprecise edges. Use heavy acrylic paints from Liquitex or Golden, preferably in jars, so that he can dip the brush easily and quickly. It strives to allow parts of each painting layer to have a visible role in the finished design. Then leave room for charcoal and graphite sketch lines, partial etchings, acrylic shapes, drops, sketches, pastel shapes, lines, and markings. The sequence of these layers represents a very productive and energetic group in Whipple’s flower arts.

The hand of the artist

Whipple lights her subject with a warm light bulb in a reflector pinch light and places it near her bouquet to create bright lights and strong shadows. Then start painting the highlights, mid-tones, and darks of the flower shapes. Be careful not to overfill or overfill areas, and let the background color and drawing show through. Whipple sometimes splashes, drips, or soaks in the wet paint with the brush handle for texture and interest. After the surface has dried, it decides a background color, light or dark. Then he carves around flowers, leaves, vases, and tables, making sure that the edges have enough space so that the lower layers can shine through.

Make signs

Apply a layer of loose line drawings and markings in various pastel colors to the dried acrylic. The artist reinforces or highlights shapes of flowers and leaves, often in bright, contrasting colors. The lines follow and deviate from their respective shapes. Active, playful, and strong, this important layer shows the hand of the writer. Then he adds with a round brush No. 10 or smaller for details. You can add lines of graphite or charcoal and mix them to add a halo effect.

Finally, Whipple sprinkles her flower paintings with several layers of Spectra Fix fixative and lets each layer dry completely before the next one. Finally, spray on a coat of gold or Krylon gloss paint as a general sealant. His framer then uses a simple and contemporary floating frame to accentuate the painting subtly.

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