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3.
I used the deep cadmium yellow and a little of the orange red to delineate the
center of the yellowish rose. Please note that the brush must be lightly held.
All strength should concentrate on the movements with the bristles, and not on
the handle.
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4.
The rose complies with circular movements, now done only with the deep cadmium
yellow, maintaining the light that springs up from the white of the paper. This
light will be kept no matter what, because it will be the central focus of the
painting
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5.
I start the reddish rose, also by its center, with a mix of alizarin crimson and
burnt Sienna. I continue with circular movements, again maintaining the light
that comes from the small quantity of pigment in the paper.
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6.
With a mixture of orange red, deep cadmium yellow and a little alizarin crimson,
I start the darkest part of the upside down rose. At the lightest part, I eliminate
a little of the alizarin crimson.
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7.
The three main flowers are already delineated. I then go back to the composition's
background, deepening it with a mixture of dark ultramarine blue, a little sepia
and small dabs of sap green.
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