Mike Sibley
Comment
Posted Sep.1st, 2012, viewed 12 times
Half the battle is getting away from the reference and from what is "natural". All that matters is the end result and the message you are sending. For example, the tones at the base of the big 10 o'clock petal are the same as those you used on all the other petals. But here I think you should be emphasising the depth of the inside of the flower. By darkening the base of that petal, so it's a degree or two darker than any other, you send a clear message that this petal is different, and that it is extending down into the depths of the flower. You could use the same strategy for the base of the 2 o'clock petal too.
Hopefully, the result is a clear message that the flower has depth, and those darker tones will emphasise the rim of the foremost petals too so they stand forward.
Arguably, you could do something similar with the shadow cast below the 7 o'clock petal on the stem - the aim would be to clearly show that one recedes and the other is springs forwards.
As you work, imagine you are explaining something to someone who has never experienced this object before - they can't see into your mind so you have to make thing crystal clear.
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