Phase 1: Letting the Rose Find Its Shape
I did not attempt perfection in the first place. I gripped the blue ballpoint pen lightly and drew messy, loose lines to begin with. Of course, the only purpose of this draft was to grasp the meaning of the rose, not to engage the onlooker in any way. The stem and leaves are merely optional—a few short lines to fix their position in space. At this point, the purpose of the process is the free-flowing creativity, and the mistakes were encouraged because this is where the flow is experienced rather than being in control of it. "A drawing is only a drawing, but a base is a start; so long as the base is living, the drawing is full of life too."
Phase 2 – Giving the Rose Shape
But once the general concept seemed just right, I began to follow through on more clean lines. I carefully traced out the lines of the petals, deciding which should remain and which should be eliminated. I was mindful of where the petals curve inward towards the center and outward at the edges. I defined the stem and the leaves better. I was not moving in such a rush here but was actually listening to my drawings, taking my lead from the rose. The object was incremental and believable but not so solid that I was locked into it.
Stage 3 – Teaching the Rose about Light
This is where I began to feel as though I was painting. I began shading with detailed strokes of my pen. I didn’t shade by instinct, without looking. I traced with my lines according to each petal. Thicker marks would go into crevices and places where other petals overlapped. Where lighter regions would be, I left it as it was. I began to create depth. I didn’t press too hard. I did it patiently. The rose began to emerge three-dimensionally from paper. This is when I knew it was ready to enter the final stage.
Phase 4 – Breathing Life Into the Rose (Final Phase)
In the final phase, I began to think like a teller of stories instead of a beginner. I darkened my shadows only where it truly mattered, around the base of the petal lips, the center, and the stem. I carefully refined my edges so the flower did not look wooden. I focused on balancing contrast to ensure the center drew the eye but the other petals were soft and beautiful. I drew much more slowly than ever in this series. Each line had a point. When, finally, the rose felt finished serene, earthy, and alive-I stepped back. It was only then that I added my signature, not for show, really, but as a gesture, a silent nod to myself, a message: I drew this myself, and this is what it meant.
