 Hi there, I'm Sandy Olnok and today we're going to be talking about glazing to achieve the right kind of color that you want for a white rose. So let's get started. In my previous video we talked about layering and layering is very much my comfort level. I love rich color and strong contrast and we talked about that and I now want to discuss glazing. Glazing is much more subtle and it's for the purpose of changing the tones of something and with a white rose there's a whole lot of tones going on in here even though it's a white rose. You can see from just looking at that thumbnail picture the center is warm so I've got a mixture of some very warm colors for that very middle. It turns into some kinds of greens and then you've got grayish colors around the outside but I'm not one of those painters who's going to sit and swatch out a bunch of mixes of color and then have to remix them in order to paint with them because now I've used all my color on swatches and maybe if you're better at mixing large amounts of each color then you could actually get away with that but I don't paint that way. What I do is just create a large puddle it's one of the reasons I like this palette it's an expensive palette but you can do the same thing with any palette that has a large mixing well and if you don't have a large mixing well if you have a palette that's just got little tiny ones then get yourself a plate or a tile from Home Depot or something and mix on that so that you can have a lot of areas of color to pull from because what I ended up with here was some of those golden yellow colors at the very center because those were very very warm and then it started moving into greens and with every flower you're going to get a lot of different tones as you move through it but it's really obvious in a white flower because what the heck color do you color a white flower so I was looking very specifically at each section as I was painting to see out of the the tones that I had in this palette what colors did I need to add to it to make it look like what I saw and I had these golden yellows but I pulled into my my mixing well a little bit of cascade green because I could see I was going to want to use something that had a greenish tone as I moved out from that center so it seemed like it would be a good color to mix with some of the yellows and brownish colors that I already had in the palette to knock them back a bit I added a bit of a color that I was suddenly freaked out by that top section was done in Oriolan and that did not feel anything like what I wanted it to be so I added in some new gambos to warm that up just a bit because it was just a little bit too light and too pale now as you start working back into areas that you'd previously worked on if it's completely dry then you can do some brush strokes right over top and change the tone so I had a lot of brown going on and I wanted to green it up but then I got to the center section and I went uh oh I didn't want to green it that much because that that center section is still more in those warm tones so I went back to my yellows in order to both add layers of color remember layers add the depth the contrast and to work toward the overall color that I'm going to want for each of these sections but the good thing about all of this is that I knew that in the long run I have control over those tones by using glazing glazing is when you start using very very pale layers over a dry painting to change the overall tone of it so any of these areas that end up feeling too green or too brown I'm going to have options to fix them later and if I try to fix them right now then I'm going to be doing wet into wet because the paper is still wet so patience is key so I'm adding more of the colors from the green sections as I start moving out because we're getting away from the yellow moving more towards something that feels a little more greenish and then we get to the outside because we start moving toward that grayish color and I wanted some of the that grayish color to pull toward the inside of the flower because when you're looking at any kind of white object it has tone to it it has some color to it and kind of the overall color I saw in certain petals was a pains blue gray type of color and that's what I'm using very watered down there's not very much pigment in this mix at all although I put some thicker pigment into my palette so I'd have it as an option if needed and I'm just painting the shadows on the white areas the whitest areas around the outside and while it feels like maybe it matches the the petals at the very bottom of that flower I'm starting to already see I'm going to need to use glazing because the colors on the top side of the flower are a little more golden and not by much but there are enough golden that I'm going to have to do something about it but what I chose to do here was instead of just constantly changing colors as I moved around the flower that I would use the glazing technique to achieve that and that the pains blue gray layer that I'm putting down is basically going to be to create the actual tones of the flower itself and create all my shadows because I wanted to have something consistent around the flower I didn't want it to change so much because knowing me and knowing the way I paint that was potentially going to be an issue for me to try to make them match all the way around and if I could paint the outside of the flower in one consistent fashion with the pains blue gray then I can use glazing to get the overall tone to where I need it to be on the flower itself it takes an eye to see subtle color when you're talking about painting white objects because you can see how much gray I'm putting in here and then using water to soften it out and lighten it up further if you need to use a paper towel or a baby wipe or something to lift color off do that if you're you put down too much but painting white requires a lot of subtlety because white objects still have shadows they still have some shape to them and everything that our eye sees we see it because of contrast even if it's subtle contrast like in a flower like this whether you're working on a white flower or a scene with snow in it or a white dress whatever that is look very carefully for the shadows for those subtle subtle shadows that you're going to see and that's where you want to put your focus because that's what's going to give that white object form I started bringing in some of those grays toward the center so I could get some good transitions going I'm going to be doing some wet into wet before I do some glazing because I want to show you the difference between how the two perform here I wanted to take some of these colors I already had in my palette and pull them out into the rest of the flower it's going to give the flower an overall sense of harmony so it doesn't look like I've got all the yellow in the middle all the gray on the outside and I'm letting some of those edges blend in really softly if you're using a very pale gray and very pale yellowish brownish color you can get away with that there will be times when you get to a stage in your painting or you get to the very end and the paper is dry and you're like oh no now what do I do my my painting is not the right color that's where glazing comes in and here I'm doing a combination of glazing plus layering because I'm trying to change the tone of some of the shadows because the shadows either became too greenish or too brownish I've taken away the photograph at this point too if our goal as a painter is just to replicate a photograph that's already been taken it's already been photoshopped it's already been perfected all of its blemishes are taken away all of its colors are just you know whatever it's been manipulated if all I want to do is replicate that there's already a photograph taken of it so now is my chance to bring myself to the painting and to bring my own expression of what I see in a flower what I want to paint it to be so at this point I already knew where these colors were headed I knew where the colors were that made me happy I knew the ones that made me feel like okay that's looking like a decent flower center I wanted to bring some more of those colors out into the petals and get a better transition of color than I could see in the photograph I wanted to put my own spin on it so I'm adding a little bit of green shadows and then using a wet brush to just very softly blend them into that color on the very outside edge and increase the shadows under particular sections so that some of those petals would start to pull upward that wasn't in the photograph and I didn't really want to try to replicate what was in the photograph if I didn't get the kind of realism that I was looking for now here is where I decided I hadn't changed the tone of this outside petal enough and there it was dried but it was still feeling very blue gray it didn't have the tone of everything else so I'm glazing over top of it to just change the overall tone of that petal and you can see I'm glazing over just parts of it so that I can add that other tone that brownish tone into just certain areas of the petals I can add in some veins into them I can add in whatever I want it's a painting I'm the artist and I can adapt any way I wish now I also knew that some of this was going to end up changing again and that's because I was going to paint those darn leaves and everything we see we see because of contrast and I wanted something that was going to have that deep rich contrast in the painting because that was going to bring more reality to the whole thing rather than just the flower itself and I wanted to see how much more dark was needed if I added in leaves the leaves I also did not go back in and add many many layers many passes of color so that I could make them look all hyper realistic or anything like that I wanted them to be soft and muted and I wanted them to basically disappear from the painting because they weren't the important part that center of the rose was the part that I fell in love with and anytime you do a painting or a drawing or a card or whatever it is that you create focus on the thing that you loved about it what what caused you to want to make it and then pay attention to that and help your viewer to see that so now I had all that contrast I realized I could afford to go much darker with some of these center areas I could afford it because now I had the contrast of all that depth around the outside edges and the more contrast I add on the inside the lighter all the white is going to start to appear because now I've got all that dark color in in contrast to it in the center pulling your attention in so if the outside gets too dark then add more darks in that center portion these center sections as I add that depth I'm also adding in more desaturated colors I'm toning down some of what's there because the more toned down sections I get the more the areas with color are going to pop because they're popping in contrast to what's there so even at this phase you can continue to change the tone of the flower you can change the tone of a leaf by just using very watered down paint to do so or you can change the tone of a shadow by using a very fine brush and thicker paint thicker paint is going to give you darker richer color and glazing over top of anything is going to give you a change in tone so I'm using both as I put finishing touches on the petals of my flower and I'm adding shadows that were never there in the photograph shadows that the photographer blew out but boy does it add a lot to allow some of these leaves to pull forward remember that as perfect as a photograph may look a photograph is also making choices about what to show the viewer because the photographer can set up their lighting in a particular way they can edit their photos in different ways in Photoshop later to remove or add or at contrast or whatever to the details that they want to show and you can do the same in your paintings by using glazing and layering to make your own choices about depth and saturation level and hue and all those kind of things that make a painting yours so there's my finished white rose and if you haven't seen it yet you can go back and watch the previous video I'll put a link to that on the screen as well as in the doobly-doo down below if you need to see that one so you can get some more ideas on watercoloring with flowers or with whatever your subject matter might be all right thank you so much for sticking with me hit the like button if you haven't share this with a friend subscribe if you have not and I will see you again very soon take care