Gouache still life | Cécile Yadro | Skillshare
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15 Lessons (1h 33m)
    • 1. Introduction

      1:07
    • 2. Your project

      2:10
    • 3. Taking your own photo

      7:03
    • 4. Tweaking your photo

      4:12
    • 5. Supplies and materials

      3:17
    • 6. Getting ready for the drawing

      2:25
    • 7. Drawing

      11:34
    • 8. First layer - lights

      8:26
    • 9. First layer - darks

      9:30
    • 10. First layer - cast shadows

      8:08
    • 11. Second layer - part 1

      5:33
    • 12. Second layer - part 2

      8:20
    • 13. Second layer - part 3

      5:25
    • 14. Background

      8:39
    • 15. Final details

      7:04
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About This Class

In this class I want to show you how to paint a still life with gouache, and achieve a pictorial style with it.

This is the first class in a series of still life, as it's a fabulous subject, where you can learn a lot about shapes, colors, relationships, textures, lights, shadows... Much less intimidating than portraits!

I will guide you through making your own picture with different setup, using only what you have at home, no fancy equipment needed! If you prefer, I provide the reference photo I use in class. I'm using fruits and vegetables, but you're welcome to use any objects that speak to you!

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From this photo, we will make a sketch to place the elements

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Then we will work on colors, textures, lights and shadows to render the volume of the different fruits and vegetables.

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Finally we will add the background and the lights. 

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Meet Your Teacher

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Cécile Yadro

Digital & Traditional Artist

Teacher

 

  New class available!

Bonjour and welcome to my Skillshare page !

I’m so happy you found me! I’m a French artist, both digital and traditional. I love drawing and painting portraits, landscapes, still life... art is an endless journey, I hope to help you with my beginners friendly classes.

 

I post a class per month, more or less:

- Procreate classes

- Gouache classes

- Sketchbook classes 

I would love to see you in class!

 

See full profile

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Transcripts

1. Introduction: Hi, I'm Cecile, a French artists, both digital and traditional. In this class, I want to show you how to paint a still life with glass. Wash is really very versatile medium and you can work with guage like you would do with iron and get a very pictorial effect. If this is what you like, this is a good class for you. This does, is meant for beginners levels. And this class you will learn how to set up your own composition, how to take your photo, how to tweak it until you get the right one so you can work from it. You will learn how to draw from your reference for two, working the different shapes together. How to achieve the different textures, how to render the light, the shadow, the reflections. So helps you join me in this class. And there we will paint along this still life. See you soon. 2. Your project: I have a sketchbook that names to live. Just because this is something that is always very triggering for me because it can be very simple or very complicated. It can be anything. It can be just random stuff you have in front of you, which are, for example, it can be just a fruit sliced into some random versus just the t your drinking. A teapot with reflections like this one. Some transparencies with the battle lines a bit difficult. So we won't be looking at this specific part in this class. Just random stuff, really, what you have on your shelves. And other phase today, what we will be painting is this one. This is something I made was just some fruits and vegetables I had on hand in my kitchen and just grab it. And I will show you how to arrange it until you get a satisfying composition. And if you want to follow along with me, I provide you the exact reference for two for this one. And if you want to make your own photo, I will explain it in another video. So your project would be to make one Still Life is large one, or maybe a small one with just one item in the middle. You just choose what you want. And please don't forget to post this in the class section where you can post your projects. So I'm happy that you're here following along with me for this new class, which is squash still life. 3. Taking your own photo: For shooting, I will use a smartphone. This is an iPhone eight. Just for the record, I don't have any DLSR and I don't plan to buy one. So it shall every picture here is to close my smartphone. I guess you have one or maybe you have a DLSR. Here is my set-up to take my photos. I am using a desk that is under a window and it's today. Another casts whether so it's very cold because there is no harsh sunlight, just diffused light so you don't need any fancy tool to do it. And I'm using two different sheets of paper, one slightly badge and one that is grey. This is just to make some tries and see how it works. You can't also had something to reflect the light on the right because my my window is on the left. And this is from board white or white foam board that I just placed. And this is making the shadows less dark because the white is reflecting into the objects. So I grabbed some fruits and vegetables or had, this is the end of October. So this is for vegetables and fruits. I'm trying to make a nice composition with those items. So let's go and see what we can do by tweaking some elements. And you can pause this video at any time and go back so you can really see the little change we will make between the two shots. So first church, you have to begin somewhere on places elements as you please. This is the first shots. As I said, there is no reflection on the right and this is the same shot but was white foam board on the right. That is giving a bit more reflection on my atoms. And really it's up to you how you like it with or without shadows. Don't forget that we will paint this later. So it's not only what pleases Your eye, but what's easier to paint or not. And from now, I will remove the gray background because it's really too too sad, I would say because the weather is grail, so-so it's enough Craig and I won the Orangi to pop out. So this is all men now without the gray background. Let's talk about the angle where you are taking the photo. This one is took from the hate of the table. And you can also vary it and be a bit higher or completely seen from above. And this is a totally different point of view and a different way to look at it. And from now, I will take it from the hate of the tables. It sees what pleases me the most. And I feel like something is lacking on the left, something very high. So I've been digging in my closet and I got this Orangi bottle. And so I tried to make some various composition with bottle. I like the fact that it is very high, but what I don't like is that it, it gives inside this An element that is man-made. And actually I don't like this in this specific composition. So I'd rather removes this battle and work only was fruits and vegetables. So now I have decided I will take my shot from the hate table, the heat of the table, that I won't use any man-made elements. So I will tweak a bit the different elements in my photo and just vary a bit the place of each and every object. For example, twisting a bit, the pumpkin, twisting a bit, the apple, and moving different ranges. And just to see what is most pleasing to my eye, how the elements are related to each other. And this is just trial and error. And most of all, the most important thing is what pleases you. I can't talk about composition for hours. And maybe we will do this later, but for now, this is just what's popping in your eye. And when you say, oh, I like this one. And you have to feel it in your guts. Because if you don't like it that much, you won't have a very nice time painting it later. I thought maybe it would be cool to integrate some elements. A bit difference, like an onion for example, but the color is a bit dull. I don't like it. So let's try this with a lemon. And LeBron is cool because it feels like it's the same family than the rest of the elements. And it gives a nice yellow accent to my composition, might be very interesting to get it because the light is hitting it and it's bright accents that is interesting. So I'm just trying to move it around and to change a bit my angle, throw the shot. This is always the same thing. I'm trying to get something that please me. And also what I do as sometimes are removed. The reflector on the right here, there is no reflector. And I'm, I'm trying really to find something interesting. And sometimes the challenge is really subtle. This is just the angle of the Apple maybe or the pumpkin. And, and trying to have interesting elements here I have removed when arranging. And because I wanted just to have one of each fruit, let's say fruit. Just to be sure that no one is in too much elements. So here I like the angle of the apple, reminds me of the pumpkin. Here. I have moved it to bit, though I think I have found my good one. So here is my composition. I have switched the orange and the apple. And this one is two quizzes, reflector on the right. So the light is very even. And this is one I will use fixer had removed the reflector and the shadows are much more interesting. To my opinion. Of course, this is just my taste. So now that I have found my photo, let's tweak it a bit and make it usable for our printing. So see you in the next video. 4. Tweaking your photo: So now we have chosen our photo and let's work on it of its amusing free app that is called Snap seed. And you can get it on the App Store as well on the Play Store. And this is what I'm used to to work with. But if you have another one like light room may be or any other free there are turn here. So let's go with this one. So you open and you select a photo you want to work from. And this is the one I will use. And there is this little bar here, but I can imagine I'm painting. So first I want to reframe this to crop the image because it's time to remove this. For example, maybe look at how close we want to be on the frame. Like this one that could. And then you have presets and filters. You can apply it and see if you like kids. Actually, I don't want this one is really too hard. So you can play with this. We'll go back to my current 1D. I just want to work a bit on the lights though for this you're going to curves, anchors. You can use presets as well as brightening, darkening, fading, etc. I prefer to use the curves here. And usually if you go up this way you will outline, so don't go too much. And if you go down, you will increase the contrast. There is very wide part here. Also, just to exaggerate my light reflections so it can work from it. This is just a reference from my painting. It's not a photo by itself. And here you have this very handy thing you can compare with the original photo. So I like this one better. And also you can use a tune image. Adjust, and here you've got everything you want. So brightness, for example, a bit more. Contrast. To increase a bit to contrast. Saturation, I don't think needs just a bit. On me ions. This is softening a bit to sings, highlights. Just two bits. Shadows already. Don't think I need to increase this and warmth. This is already very warm because of the color. And maybe it's, you see, if I get cooler or warmer. Warmer would be right. Okay. So now I will save a copy so I don't change my original photo. Yeah, this will be my reference photo. 5. Supplies and materials: So you will need for this class some fruits and vegetables may be whatever you want. If you want to make your own photo or you can use a reference photo I provide. And if you using my color reference photo, this is a carnivores amusing in class. A lot of yellow, lemon yellow, cad yellow or orange as you prefer, a bit of old occur. A tiny amount of burnt sienna, red, white, burnt amber, and ultramarine blue. And as you can see, I have various Brown's paper. This is a regular drawing paper. Sir, i by enlarge piles, it's really cheap. I found this at my local art store and this is what i use. It's kind of a cone pressed watercolor paper with a very soft tooth. And really not expensive and works fine. It's about, I don't know, 250 GSM, I guess. Another thing that is very handy is taper. I've made a lot of tests with tape and the one I've found that works the best with specific paper is this one which is magic tape by 03:00 AM. And you can use Washi tape. It works fine also, but always made test for the brushes. It's really not much. Flat brush. This is a size 14 synthetic one. It's quite soft and full of water. You can see a very, very small one. It's a size reaches for fine details if needed, around brush, whatever the size is assisted just to blend the Beatty edges to draw a colored pencil and the main color of your truths. So Orangi for me, eraser. And of course, this is very important to have a very sharp point. Spray was regular tap water just to raise rates your palate. Speaking of a palate, I'm using a tile, a broken tile. Well, you can't see in the videos. A piece of glass is fine. The sheet of paper that you throw away after whatever is convenient for you. And the last thing to jars of water that are not Ghana's typically in formal. And what I do as well, I taped my paper on this piece of wood. So when it's waiting somewhere else or accountable, I just wanted to sit for an either I can put it aside and use my desk and I guess that sets. So let's jump in and get ready for the drawing. 6. Getting ready for the drawing: I've printed my reference photo and amusing regular sheets of paper. This is a 200 GSM. And I will use this as a guide to cut my paper because I want to have my life very simplified. And by 1 12th my reference which are the same size, some my final painting. So I'm leaving about I don't know how much it is. About quarter-inch may be and cutting. So this is not rocket science. Just leaving the TPP with good. Let's kills this one as well. Term not disturbed. Okay. So my goal now is to put this on that. And it's very sick. So as you use it on window, you can trace it over it or you can catch Kids. It really depends on your drawing skills. So she wanted to trace, Be my guest. I think it's interesting if you learn how to sketch this. So I will paste this with my tape. Trying to have always the same way. As I said in the supply video. Suzanne, magic tape by 3M works very well, but it doesn't have to stay too long on the paper. Like Each and every tape, I guess. Great. 7. Drawing: For drawing our won't use regular pencil. I will use a colored pencil that I have sharpened. This is kind of an orangey, just because this is the main color here. So it won't show too much under my paint. Ok, so here is my reference. I place it aside, but please follow along was printed version of it. This is in the resource section. You can find it. The first thing as Decide. Whereas the hate of it. Now, as it's the same, really same scale, I can use my photo as a reference as to place my horizontal line, so to say. And ruler will be called very light, very light line. So I'm afraid you won't see everything, but I don't want my line to be true visible. And this is a major shapes now, so I'll pull orange. And for the moment I am not really bothered about accuracy. I will do this later. This is a big shape for the pumpkin. It's a lemon. And this Clementine writes, and now that this is my foundation, my sketch foundation, let me work about different relationships between each other and taking some measurements, so to speak. I will begin with this one. So what I see is the horizontal line is just in the middle of the tail. Tail should be around here and there is this little shadow. And then it's an apple, so it doesn't really have to be completely flat, completely round. Cb word as a shape. And there is a negative space here. I'm looking at this one. I'm trying to do this one as well as this one strand is very interesting. There is a small light. So I'm beginning by tracing the negative space. And I'm making an imaginary line here because my orange is going around here and same as the apple is. Maybe a bit more rounded than the apple. And what about this part? Maybe it's a bit too high. My thing, there is a kind of line here. You see a relationship between this angle and this part. I will draw the shadows at the very end. Here. There is a negative space as well, so it is not touching, it's not overlapping. You need to have this whitespace here. So something like that. Also negative space and the original line. And the bottom of the proofs. I think the bottom of the pumpkin is a bit higher than the one on the orange. Maybe have to exaggerate a bit, exaggerated a bit the shapes, because we know that this is a very interesting texture we have here. And then this is, this one is much shorter and this one, we really need to have this. And this part is almost horizontal and going like this. And you have to be sure. Since this is what could I say possible. It looks a bit squeezed. So I can do his whole job paper and try to go at the same place and you see, it's not bad. Good. Well actually maybe the rates that is going to up the orange now seems good. This is why it's interesting to have the same scale on the paper. Okay, so time for these Clementine, and I think I'm a bit wrong with the horizon line. C should go a bit more down. You can erase colored pencil. If you have soft one. Sees Clementine. Very nice shape here and you'll see about a third of the top. And it is. Just in front of the pumpkin. So I can erase this. And I have to sharpen this, right? Still this negative space here is quite close. It's making something here. So this is not a portraits and you don't really need to have complete accuracy. You just found the beak shapes. So we raise the construction lines you don't need anymore. Just see the horizontal line, so to speak. In here and there. I will shape everything white paint chain, just home to be sure that my relationships are working fine. And time for the shadows. Some shadows of very soft. You see here, I don't really have a place where the shadow is really strong, except here and there. And I want to draw the cast shadows very lightly though, because this is a lost edge. This is not a harsh edge. And this is something we will work with because here it's a very hard edge and here it's very smudged. And I see that the shadow line is just going there. This is my goal and I make a soft line until my goal. And here there is a bit of light coming. Okay? Really dark part. Title won't forget here. There is so much true gaps. And this is interesting because you are beginning to learn your reference for tool, to know it very well. To be aware of those little special places. You see here, there is an Orangi, reflection from the Clementine on the permanent o. And this part is quite lighter. There is a dark shadow, her as well. And I think there should be a bit light theorem when this part to be, to exaggerate this one going outside. It's not exactly like the reference for tool, but also key for me, right? I think we're done with this couch. So I repeat, you have different ways to do this. Either you place your reference where to place the White Paper on top of it on news window. And you tape everything on the window and you can trace the beak shapes. Or you can sketch this. Or you can use tracing paper, trace every outline and report it on your white paper. And if you want, I enclose this catch and resource section so you can use it if you want. 8. First layer - lights: The first thing I want to do is work with a flat brush. This one. Maybe it's too small even while size fortune and gets at sort of half anyway. And I will place some main color shapes just as the first layer to have everything settled down. And for the background, I'm not even sure when playing this. I think I will print on the this one and leave the white of the paper cookies. I'd say this is my plan right now. And sometimes I changed my plan as long as I paint, you do the same. Right? So let's play some color on my palette and make some mixes. So this is my colors. I'm trying to be organized by attains. Its MS in about ten minutes. Okay. I don't know if there is something really specific I want to work from. Maybe I will begin with the yellow parts and I have my reference for two in front of me on my iPad. And the colors are quite different on my screen than on the paper. So I will use the screen as a reference because a euro is really much more brighter. And I will begin by this part. This one, pure yellow. S1 is better rangy. So I'm going from the lightest to the darkest. Why not? You can go the other way around. Going from the dark to the right. And the pure yellow is really powerful. Maybe I will use this pure one for the lemon. And I'm using quite a light wash at this stage, this is my first layer. I know r will be coming back on top of it. At least on time. They should not too. So it's not a big deal if it's not the correct color at this stage. Okay. Seems to me that it's very bright, so we'll turn it down with a bit of white. Some parts seems to be lighter even. So I make a mix was a bit of my what is it? Cadmium yellow, which is actually around now makes something that is a bit more orangey but still very yellow. So this is a mix of a cad yellow, lemon yellow and a bit of conquer. And think I could use a bit more arranging this tool. This is on purpose that I use quite large brush because it's not time yet for details. Even if I really want to go there already. Just on the big shapes. Just wanna feel the light and the shadows. I didn't read to my mix. Just because here I see something a bit more reddish star curve. I lack betas onto her. You really need to control the amount of water you are using. This is a key with cash. So I'm tweaking my color, albeit with a bit more occur bit more read. While I have this hue on my brush, I sink. Some of it might be here. Maybe not that orangey, bit more yellow in it should be better. After all, oranges don't have exactly the same color than pumpkins today. And this appalled is really strange because there is yellow, but there is also red in it. So this is an undeformed camera. Needs to be chief from Hugh. And what I want here is to have my Clementine really a different shade than the pumpkin. And this needs to be dark. And because this is relationships between colours, there is kind of reflected light here. And as well as here. Made it yellow part, I think it's a bit more orange. Okay, so what about the Pomerleau? His colors seems correct. This is lemon yellow was bit of cad yellow. And it's yellow and white, which is here as well. Not sure bat is. I like to have one color going everywhere. So why my brush is loaded, I am placing this color and the other fruits. I will say fruits for everything, even if there is a pumpkin. Okay, so I'm already getting into details. And this is normally wants not yet. Resists like reflection from the Clementine here. Okay, I think it's time to go for the shadows now. 9. First layer - darks: I'll shadows, you have different ways to do this. And I think one good way for me to add the complimentary color to make the shadow. So let's try this one. It's a mix of cad yellow, red and ultramarine blue. Small part really. And some part are even darker, so I will add more. Moreover, every scene actually, for now I really want the big shapes, as I said. And this part is really dark. So I will add a ton, so to speak, of ultramarine blue. This is what really gives darkness to my shadows. So this is obviously the darkest parts of my painting. So you have two screens. And look at the other part where you can't see the same darkness, which is the same value actually. And I think I see it here and a bit here. So I have lower the bit, my shadow mix with o coordinates. Just because this is supposed to be a bit less dark. I think it's a bit too dark anyway. Maybe I'll have to tweak this one because it's way too strong. So here I have to work again, and this is cooler. So I'm getting a blue, a bit of white. When I get kind of a neutral gray. That is maybe a bit too dark and adding yellow in it. What I want to place my relationship first. And as she after hot goes. And shadows on dilemma and I are quite greenish, yellow, a lot of white, and a hint of trauma in blue. Now, this should not be here. And you're using the same mix for the Apple. Watch is a bit of the shadow, the lemon with a lot of yellow cad, yellow. And the apple is difficult because it has its own color mixes inside plus some shadows. So it's really difficult. You wear a red, it's really powerful. But I guess you can tell it's an ample trying to finish. My colors. Red, ochre. Thank It's not powerful enough. It's better. It's red hot. Debate of burnt sienna. And it's not perfectly mixed. My brush, on purpose, I got color variations and this would need a bit of blue in it to darken this part bit. So I can have my Clementine That is really popping out. You see, I'm fixing this mistake. This is darker around here. Okay, so I will have to work a lot on the pumpkin, obviously, not satisfied with this color as well. So let's try to finish this. So this is a cad yellow ochre and a bit of burnt sienna. I think I need to place the cast shadows so I really see where it's going. 19 more pure Orangi here. We know this doesn't belong here. And this is er, yeah, much to greenish. Really not a good color. Insane, like this would be better. As always, I see colors that maybe you don't. You just see your own colors. That very cool. This is what makes us artists to, to, to, to, to write my graphs. So this is more blue in this. I guess the Pomona will be quite an issue as well as the pumpkin. Alright, so obviously this is too harsh and I will work on it later. But for now, we're gonna work on the shadows, cast shadows. So it will give me a good relationship between everything. I need a bit of something here. And it will be just a bit of yellow, ochre and white. Bit more white would be cool. And I forgot this part which is in the dark. And I'm placing this color on the permanent as well. And maybe a bit here. Also. 10. First layer - cast shadows: So for the shadows, you have two ways to do it. Either you inside the seals, neutral gray, and you will make your own mix of gray and you can decide that this is cool or warm. Maybe it would be interesting to make a neutral gray tending to the cold side of the color wheel. Because it will really make your fruits pop up because they are all warm. And there is a dark, darkest parts of it. So I will make a mix, a Gray. Let me show you my palette. At this stage. I said it would be a mass and it is, and let's make a gray. Cool gray. So gray is made was the three primaries and whites. My primaries are not really primary here. I don't have much yellow left and I will use Orangi. I will use blue. So my Orangi is already having yellow and edge and read. So you could say I have the three primaries. Obviously it's to green. So the complimentary of green is red. I need more rates of abused at really saying, I want you to have something quite neutral. Still too warm. So let's go for blue. And to see the color of it's best is to get white. White is really helping you see the color blue or white. This is kind of a neutral gray. Let's blueish, it's a lot. And you see I have a leftover of cocky and my brush, so I'm incorporating it inside. I'm mixing quite a lot of it. So I have enough to place my shadows. And now we'll begin by the darkest parts and the shadows. So it's coming from under the apple using the edge of the brush. And very light this, because I will add white to my mix, made the lightest shadows. All right, go on top of this in a minute so you make a mistake. Is really dark. And get some whites and my mix a bit more watter, a bit more blue because adding white is giving kind of a warmer tones. This is not what I want. And let's increase a bit the size of the shadows with my lighter tone. And I think it makes everything tied together now. This is even lighter. And I like the flat brush because you can really have cool brushstrokes. So I think maybe you like more polished style. I like it quite graph. You can see the brush strokes. This is supposed to be more rounded here. It's a cast shadow of a round shape. So remember my plan was to lead to white of the paper on the top of the background. Maybe I will do the same on the table as well. Don't forget to add a bit more blue when you add white because you will lose your cool effect. Otherwise, maybe they're a bit too dark. My shadows because that's a problem with glass. It's drying a bit lighter or darker than the original color. And sometimes you have surprises. And terrorism, chest hair and light. Just some lightening a bit, some shadows. Really the cool thing with questions you can layer without any limits, so to speak. What I'm already gone into details. But I really need to fix this layers, this values. So I can fix my values in fruits later. So this is very, very light. So squint a bit to use see coming light. I have not made this print. I can do it later. It's a bit cocky. And I think for the first term, first layer, I miss this and that. But said, okay for me. Do I need to paint something here? I don't know yet. For that. 11. Second layer - part 1: Let's make some twist on the orange. Yellow is too yellow in there, has to be a bit tighter. Fixing my mistake that I made earlier. And don't wrap to match because you will reactivate the paint below. Bit more red in it. And I need to darken this up. It seem very warm. Derivatives there is blue in it. So there is also a lot of red. And now it's really depends on your taste to you want to smudge the edges here, or do you wanna keep it this way? I don't know yet. I like to have the freedom just to decide as long as I paint. I don't want to be stuck in something specific. Before I begin. I think it's coming. Each painting as it own life, so to speak. I won't touch it anymore. And you see this Orange is not the same as this one. This is a bit reddish and this is a bit greenish. Yeah, I see grain. So great, it's easy, you just add blue in it. So I'm always weakly, but bit by bit. Okay, so I'm just using exactly the same you sign is too dark so I can go on top of it. Let it shines through this. Now. There is a bit of this here. Yeah, I think I have edge, this is this yellow was really too, too hard. So I added a bit more orange in it. It feels better. This little light here is it gives me a hard time. And now here it's not correct to bit more reddish because a pumpkin is reflecting on it. I'm just digging into my pellet because I have almost all I need on it right now. And this part is really dark. And this is a line that is almost merging with the shadow on the table. So I have to find something that has great value. Yeah, it's almost disappearing. Let's have a look at the pellet. And what you can tell is I don't use all occur almost nothing, as well as burnt sienna. 12. Second layer - part 2: It's working within this poem alone. This is a mix of whites. Here it is. White and yellow. Yellow CAD cad yellow, sorry. It's time to fix the edge. I'm tweaking a bit my color, just adding a bit more cad yellow. So I have a nice variation to slipping a bit of the shadow on the edge. And also using quite dry brush. So there is a reflection here, but it's not fight. Just want to feel the grainy aspect of the skin. So dry brush is perfect for this. And here I see a hint of reddish tone. Quite brighter, truly. Like this. Grapefruit color was a bit of red. It's a sometimes you can see the, the edge between the light and the dark part. Very interesting. Don't touch it any more. Edge. The parts in the shadow that is not the correct color, I'm afraid exists would be better. Let's wait for it to be dry before I decide if it's okay or not. And I don't like this edge. Three to R sh will soften it a bit later. There is light in here as well as here. And let's make the shadow here. We have on hand is it turnouts, small axons, big difference. So at least some ochre. Maybe here. That bad. I haven't worked really on the Apollo yet. Better. A lot of white and my mix right now. This is a bit too harsh separation here and they're here, it's okay. It's a bit merging, quite cool. I always have a problem with the shape. Integrating in the background. Seems like a strange problem, but I have it with lighter. So very, very dry brush tool. It's a mix of lemony yellow, white. Just because there are some stripes here. And I want to feel too right. You can see really quantize not the correct color. And have been too much inside this. You see I'm still using the same color and having it here and there. So it really integrates a racing to submit to yellow for this part's going back with a big more orangey. This Apple I knew would give me a hard time because I have a basis, but now I have to work from the basis and pervert the color too much. I like this red axons. And this line is also a bit merged. So I need something very dark. But still in the current range of the apple. Can you tell my little finger is my best friend here. Since like this colour is already floating everywhere. Very cool. 13. Second layer - part 3: To Apple, e1, e2, soft m. This a bit dry brush, clean water and remove excess water. Maybe I have removed too much. Anyway. This is not the correct This is in full light. I guess it could be. So I have lost my shadow. And this is a hard edge. Should wait for it to dry. I guess. That's it. I have it. Right. Can you see which one is which I guess you should. Maybe there is something to work more here. I think he'll always the coloring lead to most for this painting, obviously. Everywhere. I'm still going on the same colors. This is really fun. This is pure lemon yellow from the tube after roles is so-called pneumonia. Such should work for lemon. Always place the same color somewhere else. Really. I just need this. Maybe it's time to use my burnt amber that I have barely used. And I guess we'll do it. What I like to do is that this sit for a while and go back under another light and see if I can tweak some stuff or not. So I let this sit for a nights that I look at it. I'm quite sure I need to place scanner here and there. So my initial plan was to let the white of the paper, but actually I think it's really 22 contrasting and it backs something. And I want to show you the difference of colors. So this is the original. This is a photo I printed. And you see the colors are quite different. And then this is a photo I took on my iPad, just of this. So you see very different. And I've been playing in procreates and trying to add some color. And really you need to add color. So something a bit peachy bears around here and something been bluish gray and incorporate the lightest part on different fruits. So my goal is to get here. Let's see if it's possible. 14. Background : So the thing is, I have a really large surface to cover and have been placing a very big blob of white. Because I want to make my mix before painting. And I won't make something very soft and Eva and I won't brush strokes to be seen so that we'll really helped me. And thirst saying as I get a large amount of white, maybe I have exaggerated the amount of white. I don't know. And first saying maybe make try. I want something a bit grayish. Yeah, that's a mix of the three primaries. And it's not perfectly mixed on purpose. Non-task strong. Wow, why not? Gives a strange mix. My paint is quite thick. Now. Shown to be able to merge different colors. It's better. I want to go lighter and lighter. As I'm going here. Here there is a bit more yellow in my mix. So it shows this is the part that is lit. Just rubbing my finger as usual. And I have variations in the colors because my brush is not very clean and that's okay. This is what I want. I want the leftover this part going here. So if I press hard on my brush, I'm having parts going out found. Maybe I will leave this one completely white. And this could be a bit lighter. This is what I love backwash because you really can't go over and a lot of time. So using a dry brush, placing some light colors. And I'm still having this very light color. Could be a bit more yellow. Now. Here's something warm. So coming from the o curve, Let's place and see how it goes. Tone it down a bit through is leftover of my shadows here. And next, a bit of this in my color here. Might have to go on my fruits a bit more and maybe correct some values once I have placed my background. Visits value is two lights to some slight shifts and the colors. And you see I'm rubbing a bit harder and there is a leftover this coming. And I'm trying to vary the angle of my brush strokes Just to give something a bit more lively. And I'm, I'm thinking may be my shadows are a bit too cold. I don't know. Let's finish this and see is that after I rarely have exaggerated the amount of white paint I've placed on my palette. Really, there is ten times what I need. You see, I'm, I wouldn't say I'm quite experimented painter with cash, but I still make mistakes. And that's happy because this is how you learn. And my colored pencil is showing a bit through. But that's okay. And here it's a bit lighter. I said when I was drawing that this little part was cool. Dry brush. Maybe lift up a bit, paint below this last edge. Choose to show or is arisen line. Bit brighter. Here. It's more pinkish. Fingers, always fingers. A bit more light here. Don't forget to squint your eyes and look at the values. I'm quite disturbed by this color actuates marie Cool. And I don't like it. 15. Final details : So I'm going was much cooler shadow, this is pure burnt amber. Maybe it's better. Trade from the tube or from the battle. For me, my paint is really dry because I don't want to lift up the blue-gray that is below. So it's a pure color is to store the darkest parts, which are the part that are closest to the fruits. And as you are getting away from the proof, that shadow is getting lighter. And maybe I can place back a bit here just to balance everything because when I squint, I see the same darkness here and there. He'll be here. It's too much. Fingers get all the colors. Okay, let's stop this. And now I want to tone down my burnt amber and I certainly won't be using white because white and that case lower too much the intensity. And have mixed yellow ochre and a bit of yellow and red. Just to have something that is a bit lighter, but not too much. I hope I won't regret that. Is doing the correct color the first time. It's easier. And don't forget to wait until it's dry before you can judge the value will be color. Because when you place it, it's slightly shiny. Depending on the light, can really makes a big difference when it's dry. Now it's better. Now to cover the rest of the shadows. I can add white to my existing mix and cover what I have left. My blue-gray. And that's okay if some of the grey is shining through. It's interesting. Heads got a small round brush into size Sri, because there is some little parts and wanted to fix. But not too much because I want to keep the brushstrokes visible. There is just some parts that I'm not happy with is the line here between the shape on the background. Say this is really something that bothers me all the time. So I gotta clean brush is clean water. I just wanna rub a bits the edge. So it gets a bit lost. This is what I like. But if you want, you can let white of the paper shines through. It, just don't like it. And, you know, style is very much about what you like and what you don't like. This is how you build your own psi just by finding out what you like. Those little edges are part of the style I have now. I have developed over time. But it takes time really. So really you have to control the amount of water here because it will make all the difference. And some of my colored pencil is visible. But as it's orangey, it's not a problem. Okay. What about calling this finished? What do you think? Time for peering of the tape. Just be careful when you do this. You may have trouble sometimes while the class is over. And I thank you very much for following it. And let me know in the comments if you want me to make another class with another style of still life. Because really you have so much possibilities that you can explore with still life. See you soon for another class.