I always start by applying a layer of gesso to prep the canvas and give myself a clean, even surface to work on. Once it’s fully dry, I add a thin wash of yellow as an underpainting. It’s a simple step, but it instantly sets the mood—warming everything up from underneath and giving the later layers of colour that subtle glow, especially when I start building the reds and greens of the poppies.

Next, I place small spots of yellow, green, blue, red, and purple directly onto the canvas. It probably looks like an unlikely mix if the goal is a green background, but that’s exactly why I love it—those colours blend into rich green swirls while still leaving faint streaks and flashes behind. Instead of turning muddy, the background ends up feeling alive and layered, with little hints of warmth and coolness showing through the green.

Next, I start blending those colour spots with a small brush, letting the pigments mix directly on the canvas rather than pre-mixing everything on a palette. I use loose, sweeping strokes so the colours melt into each other and naturally form green tones, but I’m careful not to overwork it. The goal is to keep the background lively—rich green swirls with visible streaks of blue, yellow, red, and purple that add depth and texture without turning muddy.

Vary your pressure to introduce texture.

Once the background was completely dry, I went back in with a brush and splashed a milky mix of yellow and white paint across the surface. This does two things for me: it adds extra texture and vibrancy, and it also gently mutes a few areas where I’m planning to place the poppies. That softer, lighter layer creates a bit of breathing room, so when the reds go on later they feel brighter and more intentional—like they’re stepping forward from the sea of green.

This is the stage where the poppies really start to come alive. I mix modelling paste into my red paint to thicken it, then use a palette knife to shape the petals directly on the canvas. I’m not aiming for perfect, smooth edges here—I actually want the knife marks and ridges, because they create movement and catch the light in a way a flat brush layer can’t. The textured red sits on top of the green background like it’s floating forward, which helps the flowers feel bold and dimensional.

Next, I build the centres of the poppies with a small brush, using a mix of purple, black, and olive green. I add a little modelling paste to the paint so the centre isn’t just a flat dark circle—it has body and texture that sits nicely against the raised petals. The purple keeps the darks rich (rather than dull), the olive adds an earthy, natural note, and together they create a strong focal point that anchors each flower.

For the final step, I focus on definition—adding shadows and highlights to bring the petals to life and make the poppies feel dimensional. I use purple for the shadows to deepen the folds without dulling the red, and a touch of orange for highlights to warm the petals and make them glow. Once I’m happy with the form, I finish with one more light layer of paint splatter. That last splatter is my way of integrating everything: it ties the flowers back into the background so they don’t look “stuck on,” and it keeps the whole painting feeling cohesive, textured, and lively.