'When painting a flower centre I like to look at it for its painterly qualities and see the flower parts in terms of mark making,' says Ann Blockley.
'Stamens and pollen, for example, can be portrayed as a series of dots or lines.
'The tip of a palette knife can be used to splatter a fine dusting of paint, and the edge of the same knife can be used to draw fine lines of watercolour.
'Dots of wax crayon or oil pastel can represent chunkier markings.'
Different techniques for painting sunflowers
In my sunflower series I became involved with ways of describing the large centre, with its countless small seeds.
I was not concerned with the intricately arranged spiral patterns that the seeds make, although these are fascinating, but simply their repeated round shapes.
I explored different methods to represent this idea.
For example, in one version I prepared a flower centre with the glass bead gel that is normally added to acrylics.
In other experiments I tore holes in the paper surface, stuck collage on to it, broke up the watercolour with granulation medium, or used different materials to draw or print small circles.
Sunflower 1, watercolour and Indian ink, 171⁄4x15in (44x38cm)
Sunflower 2, watercolour and ink, 22x181⁄2in (56x47cm)
In this rich flower centre I added dots and circles of gold ink in ring-shaped patterns to echo the design made by the seeds.
Using paper collage
During my exploration of sunflower centres I decided to stretch the boundaries beyond manipulating the paint to the paper surface itself.
Cutting and sticking was one of my favourite childhood activities. I believe that in a search to move forward it can be valuable to revisit past hobbies or interests, especially those enjoyed before adulthood.
Building up layers of paper shapes suggests opportunities for describing the overlapping effect of petals or other three-dimensional elements.
Alternatively, a paper collage can simply act as an unusual abstract interpretation of certain shapes.
Paper can be cut or torn out and reassembled, using PVA glue, in an infinite variety of ways.
Sunflower, Cut and Torn, watercolour, 22x181⁄2in (56x47cm)
Reflecting the plant’s character
In my sunflower experiments I was sensitive to the nature of the plant’s different parts.
In Sunflower, Cut and Torn (above) I used cut edges to describe the crisp petals that curled over the middle but torn ones to represent areas within the rough, seeded centre.
I tore holes out of the paper and even attacked the surface with a scalpel, picking out small perforations.
In Sun and Stars (top), I stuck small overlapping circles of paper into the sunflower centre before I began painting.
The watercolour gathered around these raised edges to emphasise them.
I rubbed gold paint over the embossed shapes when they were dry to create a slight sheen and make the circles more pronounced.
This extract is taken from Experimental Flowers in Watercolour by Ann Blockley.
Try painting Experimental Landscapes with Ann's book which can be purchased from our online bookstore
See Ann's top advice for painting spring flowers in watercolour by
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