Learn how to paint a pink orchid in Acrylics

and how to create acrylic washes

Artist level:  All

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In this tutorial, I show you how to create depth and shape in your acrylic paintings and show the importance of washes. Both images and written explanations have been provided, which offers a better experience for the reader. You can find the reference image below. Screen grab, print out or view on your mobile whilst following the visuals on a second device.

Your painting does not need to look exactly like mine, I encourage freedom of expression. You may favour a different style, but can still use the techniques explained here. If you wish to include a background with your orchid, complete this first before the flower.

The colours used in this demo are the Graduate range from Daler Rowney. These 6 colours can be found in most acrylic starter kits, or you can use colours from any paint range.

I hope you enjoy this tutorial!

The Products you will need

White watercolour paper or canvas   -    Acrylic paints
Paintbrushes  -  Palette dish   -  Water dish  -  A sheet of kitchen roll

​Paper Used: Arches Aquarelle 300gsm        Paint range Used: Daler Rowney Graduate acrylics

The reference image

Photograph of a phalaenopsis orchid

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Colours used:

I have chosen three paintbrushes that will aid application. I used the following Daler Rowney Graduate brushes:
​Sword 1/4",  Liner 10/0 & Angle shader 1/4"
The painting in this tutorial measures 7" x 6". If you are creating a smaller painting, you may not need the sword brush.

The angled brushes can be used two different ways. Use the brush width for thick applications and the long edge for thinner ones. When applying base tones, the width of the brush allows for quick coverage. If shaping or creating detail, use the edge. The liner brush is best for very fine details. ​

For the base & mid layers, I use the following colours: Primary Red, Primary Blue  & White I mixed the colours as follows:
Pale pink - 80/20 white/primary red
Mid pink - 40/60 white/prim. red
Lilac - 60/30/10 white/prim. red/prim. blue 

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IMPORTANT TIPS:  
* The amount of paint you need will depend on the size of your painting. When mixing a new colour, it is better to mix too much than not enough.  Store extra paint in a seal tight container to stop it drying out
* Applying paint over a wet surface makes it easier to blend
* When taking a break, cover the paint palette with cling film and store in a cool place.
*  Adding drops of water onto the paint palette will help to keep the paint supple during use. Do not mix the paint and water together.
You can find out more tips on working with acrylic paint on our tonal background tutorial

Reference images
​​The importance of layers

Before you begin, visually split your reference image into three layers will help decrease the amount of time you spend re-working your painting. Study your subject or reference image and pick out those sections which make up the base, the middle and the top layers. I have already split this  into three, so you can see how I predetermined each layer. Always start at the base and work 'up' to foreground. If your painting has a background, this is always the base layer. ​

A simpler image to explain this process is the one seen above. Completing the background first makes it easier to overlap mid-layers. This is also the case with the foreground, allowing you to create smoother transitions. Working any other way could mean repetitive applications, an unnecessary and time-consuming job. ​

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1 - BASE LAYERS  - THE SEPALS

Before you begin: If you are using watercolour paper, you may need to soak and dry your paper first. Learn how to size your watercolour paper (Blick Art YouTube video). Always keep your paint supple in the palette by applying a drop or two of water on top, but do not mix. You should apply your paint colours from light to dark. As we are working with acrylic washes, the initial base tones needs to be made darker than those found in the reference image. Keep a piece of kitchen towel close by. It is frequently used to absorb excess water or colour from your paintbrush.

Begin with the smallest sepals found at the bottom of the flower. Use the angled brush for application. As these are shaded by the lip, they should be painted darker. Work on each separately so as not to lose the outline. Wet the paper/canvas before applying paint as this aids blending. Cover the whole area using pale pink. Load the width of the brush with lilac paint, then brush outwards towards the edge (2). You only need to cover three-quarters of the area. Apply following the white guidelines shown on the image. Add a layer of mid pink (3) using the same application as before. Finish by adding a white edge and blend towards the pink for a smooth transition. Repeat (4 and 5), on the smaller sepal, but apply individual lines using the edge of the brush, dragging it outwards (see image 6).

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2

3

4

5

6

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1 - White

2 - Pale Pink

3 - Lilac

4 - Mid Pink

Wet the area first. Apply white paint at the base of the sepal using the angled shader (see image 1). Apply pale pink to the rest of the area. Whilst applying, define the shape using the edge of your brush. Overlap the white to achieve a smooth blend. Using the mid pink tone, first paint around the outline then continue on as recommended in the previous step.  Start from the outer edge and work your way inwards and down to the white area. Blend the pink into the white slightly but do not cover entirely. Repeat using the lilac tone to complete this stage. ​

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2 - MID LAYERS - THE PETALS

Depending on the size of your painting, use either the sword or angled shaper brush for this section. Wet the paper/canvas surface and then apply white paint to the base of each petal. Use the images provided showing the direction you should follow. Using pale pink, paint the outline of the petal first, then apply individual strokes, starting from the outer edge inwards. Overlap the edge of the white paint as before. Follow the same steps using mid pink and finish with the lilac. As a reminder, the petals & sepals at this stage should be darker than the colours in the reference photo.

POINTERS: The arrows on the illustrations show you the length and direction you should apply your paint. Using the edge of the brush (the thin length) will help to establish the shape of the petal by applying the detail correctly. The pink & lilac tones should always overlap the white. Ensure these colours blend into each other for a smooth transition. 

1 - White

2 - Pale Pink

3 - Mid Pink

2  - Mid Layers -  Surface wash and details

Ensure you read the pointers below before starting as this describes which colours you need for your wash. Start with the white first and apply over the whole area. Work on one petal at a time (in no particular order). Whilst the paint is still wet, add a light wash of mid pink (and lilac if needed). Ensure the wash does not saturate the colours completely. Apply undiluted white paint to the base and outer edges of the petal/sepals where seen in the reference image. Blend at the overlap to create a smooth transition .

POINTERS: Mixing your white paint.
​The consistency of your wash will vary depending on how translucent you want it to be. Other brands of white paint may be more opaque (less transparent) than the Graduate acrylic white I used here. If this is the case, you may need to dilute more than I suggest to create a workable acrylic wash. When the water evaporates from the painting, the wash may be so translucent that you need to apply more than one layer.

3 - TOP LAYERS

Read the pointers below for the colour palette specifications. The illustrations are marked to allow you to follow the written explanations easier. 
STAGE 1 - Fill any missing gaps around the column and throat area using pale lilac. Apply a mix of lilac & mid pink to the 'column' head and a loose layer of mid pink to the curved tips of the column area.
STAGE 2 - Using a mix of Burnt Umber and Vermillion (with pale pink to lighten), apply to the lip and extended edges of the throat section. Use Burnt Umber to create shadows. Add highlights to the centre of the lip using a pale pink wash, this will help create depth. Finish by placing the dark line on the centre of the lip but soften the edges with a wash of Umber/Vermillion. Apply Cadmium Yellow to the throat area.
STAGE 3 - Mix a little Vermillion/Umber with  Cadmium Yellow to add shading to the throat.
STAGE 4 - Using the Umber/Vermillion mix, paint the throat markings with the liner brush. Create shading by applying Burnt Umber to the darker areas. Use the pink, lilac and white tones to finalise the column, blend for smooth edges. Complete the outside of the curved tips of the column area. Apply lilac over the mid pink (applied in stage 1). Add unmixed white paint to either edge and blend together for an even transition.
​STAGE 5 - With the liner brush, use a mid pink wash (30% paint, 70% water) and apply loosely to achieve the curved effect of the petals & sepals.  If your lines are too pronounced, take excess paint off with a tissue or apply a white acrylic wash over the top to tone it down.

POINTERS: Colours required
Burnt Umber, Vermillion, Primary Red, White, Cadmium Yellow
Mix the Vermillion, Primary Red & Burnt Umber together for the lip (Labellum). Mix washes of both pale pink and lilac. Place a little of the mid pink into your palette, as well as Brown Umber, White and Cadmium Yellow. The brush you need depends on the size of your painting but use the liner for small areas and the angle shader for larger.

Paint tones needed - also use Brown Umber, Cadmium Yellow & Mid pink

Stage 1

Stage 2

Stage 3

Stage 4

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I hope you enjoyed this tutorial. If you would like to request a subject for future inclusion, please get in touch. Feel free to Email your completed painting to me via [email protected] so I can add it to a gallery on this page.

View Our Other Acrylic Paints Tutorials

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​Tutorial created: April 2020