Scanning a painting is a bit of trick – here, you can see that the scan had some dark shades in the corners, not reflective of the smooth, bright white of the paper. Fixing that issue changes the actual colors, which in this scan are much closer to the actual painting. So, here is the imperfect scan with perfecter colors.
This was probably the most challenging of the 3 botanical paintings I have done so far. The highlight in the apple was a challenge, as were all the spots and stripes. The colors I used were all labeled as transparent on various websites, and they included yellow ochre, lemon yellow, Payne’s grey, permanent alizarin crimson, quinacridone burnt orange, lemon yellow, and nickel azo yellow. Manufacturers varied to include W&N, Daniel Smith, and M. Graham.
What I have found that seems to pull the final painting together is to place a large, light glaze over various areas of the painting. For instance, on the left I used a pale yellow-orange glaze to pull the warm tones of the painting together; on the right, I used a combination of alizarin and orange and grey to create a cooler contrast. In the high light, I used a very light yellowish-alizarin mix.