The photo resource is something I pulled off the internet, so we'll just call this exercise, "Santorini Color". It is ideal to work from your own photos or experience, but I am teaching paint technique, so this suits my purpose.
Step 1: Here we go starting with the tonal sketch (mapped out first in pencil) using thin watercolor washes, then deeper shadows added with burnt sienna and burnt umber. Burnt sienna is my go to color wash for starting any painting. It has a quality of "light" showing from underneath the painting, as if you are painting on gold leaf. This will become evident later.
Step 3: I started placing these neutrals in their appropriate light to dark
relationships, remembering the "Bounced light does magical things" principle!!
To make my cool grey neutrals, I used raw umber, raw sienna, and copious amounts of white. I used raw sienna and white with very small amounts to make a warm version of that to use in tile and shady grout areas. For lighter brighter areas I used raw sienna and white.
Step 5: Keep adding varieties of neutrals one on top of the other fleshing out the highlights. On the white wall you can see I used a variety of warm whites and cool whites for grout highlights.
Step 6: Time to start adding the greens that go under the flowers I mix a little sap green raw sienna, and burnt umber to get glazes that let burnt sienna under painting show through.
Step 7: After laying in a variety of green leafy strokes, leaving some of the burnt sienna showing through. Next I started working the flowers in with white, raw sienna, and a tint of red, to create a warm white onto which I will put a warm raw sienna red and a bright red. To create the flowers I use a semi-circular strokes, placing the flowers in light vs dark groupings.