MasterClass - Mushroom Painting on Canvas | Bill Singleton | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

MasterClass - Mushroom Painting on Canvas

teacher avatar Bill Singleton, Illustration & Fine Art

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (1h 58m)
    • 1. 1 Intro

    • 2. 2 Acrylic Gouache Paints

    • 3. 3 Block in

    • 4. 4 Painting

    • 5. 5 Painting

    • 6. 6 Painting

    • 7. 7 Painting

    • 8. 8 Finale

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

This MasterClass is a complete start-to-finish painting tutorial. The entire painting process is about two hours long and I describe my paints, brushes, composition, types of brush strokes, and mental process as I'm painting. I am using acrylic paint on canvas - specifically the new Liquitex Acrylic Gouache paint. 

Meet Your Teacher

Teacher Profile Image

Bill Singleton

Illustration & Fine Art


Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. 1 Intro: Hi, a Bill Singleton. And today I'm gonna show you how I painted this. So this is you should get a closer look here. This is a mushroom that was growing in my backyard and I painted it on canvas. So this is just that eight by 10 canvas just over white. And then I got Jessel and mix it with a little bit of raw sienna. This is acrylic and coated the whole thing. I like to start with a neutral background that way can do your darks and lights back and forth. So the paints I used in this is liquid Tex acrylic wash. Acrylic washes, basically acrylic paint that looks like wash when it's finished. So I'm gonna share this entire painting from start to finish. It's about two hours for everything, and I'll describe my whole process composition, brushstrokes, brushes, paints and, most importantly, the ideas behind what I'm doing, especially warm and cool colors. So let's get started 2. 2 Acrylic Gouache Paints: Okay. Thanks. We're gonna be using this, uh, liquid Tex acrylic wash wash. So most of the painting we'll be done with these three paints. Quite black and burnt number and probably 90% of painting will be done with those just those three colors. And then I'll also add a little bit green and yellow. That'll be 99%. I might add a touch of blue here for highlights, but that's about it. So let's get going here. 3. 3 Block in: all right. So white as I told you before, usually start instead of blob. That was kind of a blood I put a line with. The white reason is is because the white you need to be really pure when you're using it. So as you're mixing pain on here, you'll contaminate areas. So I like to make a a longer line with it so that I can sample at other uncontaminated areas. When I need Teoh, we're gonna use, uh, number in black. All right, start with a big brush. Really big. So start with a flat brush. It is the biggest one I have here, so let's get going. So right now, we're just gonna block in. So the reason I painted the canvas, this wrong number color first is so that we have a neutral color to paint into, Right? Right now I'm just walking in. Thing is just black and white in a little touch around right here. Alright? Right now I'm just blocking and so doing any detail, really it off. So the main thing that makes these paintings work is the contrast between the warm and cool colors and the values, and I'll explain that as we're going here. All right, that's good enough for that. Now, let's start blocking in some of the background. So this black ground is a bunch of twigs in my yard. And, uh, what I've been doing is what in permaculture they called shopping Drop. Basically, whenever I trained many of my plants, especially when I do small trams like anything any small branches like size of your finger , smaller her leaves, they go right back onto the ground. So you'll see in this. Let me show you the photo here again. A lot of this stuff here is chopping drop. So they're small little twigs and leaves. Oops, Sorry. Small little twigs and leaves and what they do, Steve, the soil. So basically like in my garden, I don't use any fertilizer. Never have. I don't need to, because it's basically in a natural cycle so that the when plants dire branches die, whatever we need to chop them or when leaves fall. They have all kinds of elements and chemicals in him, and they're in the structure and they can't be used by anything else until they break down . And that's where the mushrooms come in So the fungi comes in and it starts colonizing all these little twigs and leaves and start breaking them down, back into their basic elements again, back down into the soil. And once that happens, all these chemicals and nutrients are available again for the plants. All the plants, toe uptake, the nitrogen carving and basically all the elements are set free so that they can be used again by the plant. So once you get up a cycle going like this, you don't need any fertilizer at all. And the only type of fertilizer I do you sometimes is, uh, manure, since in the natural system out there, there larger animals that are coming along and pooping on the ground spreading nitrogen, other nutrients in the species. So I do have a little of that sometimes. Plus, I have the birds here and the birds come in and they leave all kinds of poop bird poop in the yard, which is full of nitrogen and phosphorus. And what other good stuff? So you see him just walking in some of this shocking drop area. It's actually fairly abstract, which is really what it is in nature. Sometimes I get down on my hands and knees, and I'm looking around my garden. Some of this, these areas of all these twigs and different positions and the light's hitting it different reminds me of the abstract painting. The painter that comes to mind the most is, uh, Jackson Pollock with his drip paintings, but they're very abstract, but there's a certain beauty to them. Beauty to the way these random branches kind of fallen twist and catch the light. So for the back back here, uh, looks like this little glare on here way, all right, I think there's less clear with that. So for these back branches here, I added, quite a bit of white and black sort of gray it down because it's going back into the distance. So anything that's going back away from you is getting grade down by the atmosphere to serve the natural atmospheric perspective. So now, as I come to the foreground stuff, then he's lesson lists of the gray, and it's gonna be warmer and warmer. And what that does is visually, it pulls it forward. So it's gonna pull this foreground forward, and this backgrounds gonna be visually pushed back. Same thing that happens in nature. We're just using that that technique to mimic that in the spirit perspective. So this four grounds gonna have less white and a lot more ground, maybe some areas of just white and brown without any black. Like I said, this stage we're just blocking in. Okay, Since this is an abstract pattern of leaves and branches, I can kind of make them go wherever I want. That's the artistic license part of this. So if you could do whatever you want, you can use these little elements as part of your composition. Important composition composition is I think of it as a stage. So here's the stage. Here's our main actor right here. They were lighting coming down our light source and then all these little twigs and stuff for the cast members of supporting cast and what's their main go? Mr. Provide a setting. And to push your attention back to the main actor so we can have these little twigs and and things coming in and pointing towards this, it just reinforces your composition. Every line pointing in it. That be kind of boring. Look kind of bad to you. All right, let's get a little bit darker here. So when you work, if you're working as I am right now, where it's still wet, your painting within toe wit it starts kind of getting the quality like oil paints just a bit. Is the pain to it generally the way These acrylics, I use more of a kind of dry brush technique, but it's fun to use all the different techniques we can talk about those. There's a little drive Russian and live it wetter right here. Since this is wet, we're painting wet into wet. Now in your painting, your eyes going to go to where the most contrast is main areas of interest. So course we want that to be right in here. Put some darks around the's darks back in here, and this really makes that pull forward. Once again, we're just doing the block in right now. - Let's see. So when I'm blocking in, I'm thinking of my main composition. Teoh, trying to reinforce that. No, a little bit of white. And that's just a great back. Just a town. Just about done with the block in one big branch coming up through here. Actually, this is actually in the photo, and it works good for our composition. Teoh kind of brings your I right into here. I think we're gonna have to bring in little bit of another brown here. Liberte, Rossi, unit here. Kind of match. That background. Yeah, I think I need a little bit of that right in here because this bird numbers a little too dark. So it's That's about right. Once again. Like I said, we're just blocking in this block and is gonna be our roadmap to do the more detailed painting. Put a little bit of that back in here too. - All right. I think that's good for phase one. Block in. Let's go toe phase two. 4. 4 Painting: all right for the Black and I was using this big brush. Now we're going to go down and not cheer a little bit smaller. So as I've explained before, the way I paint this start with the biggest brush I can, whatever works. And then as you're painting, you go to smaller and smaller brushes. So I think of his gears in the car. You start out in first gear as you get going faster, you move the second year. Third gear, fourth gear is your cruise along the freeway you're in fourth year. That be the smallest brush. So now I got this smaller brush here and you go in and I was standing up before, during the block end, I'm sitting down of a smaller brush, standing up with a big brush. Now I'm sitting down with a smaller brush, some kind of pulling this brand. I don't think this branch went up totally behind it in the photo, but it's a nice kind of featured a pull your eye through their candy unifies the background a little bit. So painting in some of these background areas here. Like I said, these air just twigs and leaves in a few rocks. And if you really get down close and look at it, it's It's very abstract. Takes on a very abstract quality. And I just said earlier, I I think a Jackson Pollock quite a bit Want him doing some of this small nature stuff and , you know, people say, Ah, well, abstract painting, you know, isn't natural. It's like it's totally natural. There's a lot of abstraction in nature, you know? I mean, we're used to looking at it, our level. But if you zoom in, if you look real close at things or if you zoom out its satellite images of stuff very abstract. So putting in some of this abstract patterning here some of these rocks and debris. But we're not gonna detail them too much to keep them fairly abstract because we don't wanna take away from our main actor here. So you notice I kind of messed up this edge, and that's fine, because the one good thing about thes one of the good things about these paints is that they're very opaque, so I can like, paint something over this edge here, not worry about it, cause I can come back over and discover that right up. So I painted with acrylic paints for well over 40 years. And one of the things that I always hated about him is there to translucent sometimes. And like, if I was going to do that with acrylic regular croelick, I mean, this is acrylic paint, but it's acrylic wash, which is way more opaque. It's kind of super acrylic. If you ask me if I was going to do that with regular Krilic, come back over this edge here with White. I'd have to hit it like quite a few times, and even then it become translucent. And what happens is it starts looking kind of milky and, like I don't want milky. I want a strong white. So that's why I've pretty much which totally from acrylic regular krilic to this, uh, acrylic wash pain. That's one of the main reasons. The other reason is there's very little color shift from wet to dry, and that's the other thing with acrylics. And on my YouTube channel, somebody put a comment that, uh, about that and they go, that's what you call it a value shift. I was calling it the bettering of the acrylic. Uh, I think there's somebody with English is a second language, and, uh, it's like, Yeah, that's actually a good term. It is bitter. It always made me bitter. So once I discovered these paints, which has been about a year ago, really started embracing them more and more to the point where now, like I'm Harding, hardly using any dis regular acrylic paint. So the good thing about this brush here is you can do a big area flat area, or you can turn it sideways and get some really nice little lines with it. So it's kind of versatile like that, like say, here, right here, that campaign over that. We have to do it twice, but it's opaque enough to where it will stay. It will cover. See second, just paint right over those areas. And here, too, so you can use the capacity of this paint to go right over to clean this edge up. There's a reason I paint that way. I tend to paint my backgrounds right through things. I don't paint up to the edge and go around it, because when you do that, what happens is you start getting little marks here That it that, uh, go up to something and around it. And I don't want that. I want the background to go behind it and threw it. So that's why I usually paint it first. Okay, this is catching the light here. This is that little don't know what you call that stuff. Ryan. Name for it on mushrooms that peels down, peels up. So that's a really nice feature, this mushroom. It makes it look interesting. Kind of like wrinkles on an old person's face. Is it character? So this is a little bit that Rossi, Anna and White the lights. Just catching this right here. Okay. Start putting a little bit of background a noise in here. The way I learned to paint some of these backgrounds like this is to, um but get those Ever look at those three d image things. They're not three d there a to d thing, but you sort of almost crush your eyes and look at him, and then you see a three D image. Forget what you call those things. Anyway, I sort of practice with those cause it's really kind of the same thing with these backgrounds. is like You don't really want to look at at this background that you don't want the viewer to be looking at the background so much. The background is it's just almost a frame for your main image. So you want the frame to match the painting. But you don't want people's eyes to be drawn to the frame, and it's kind of the same of his background. So I'm keeping it kind of loosen abstract because I want you to look at the background and enjoy it. But I really don't want you to your Ida linger there much because there's nothing really in focus, So you're I won't stay there long, but it's gonna look like what it's supposed to look like. You can't just throw in a bunch of blobs the pain. It still has to have the characteristic of in this case, uh, debris and twigs, but at the same time be kind of loose. I like this tweet here, cause it really as I work on it, it's gonna really kind of pull your eye back into here and then all these little twigs out in here once again, they're also pulling your eye around 5. 5 Painting: see a these focus back in on your your main character now. So now that I'm looking at this, I think this should be a little wider, like right through here. Show you the original photo. It's the phone over here. You can see it's a little thicker through here. So sorry about that. So I'm gonna make this a little wider. The base here. And as I said before, the thing I really like about thes paints is that they're opaque and they're very what I call correctable. So if you do something that you don't like or something in the wrong place and the wrong color are the wrong size, change it so I can come in here and start making this wider here at the base, Just paint right over what was there. And this is opaque, but I'm using it kind of thin, so it sometimes doesn't totally cover it The first time, which is fine. Could let that dry a little bit. I'm gonna work on right under the the cap here. This area right in here. This is kind of a dark area, cause it's shadowed. It's in shadow. No, I think this is a little too cool. And by cool, I mean, it's the shadow should be warmer. So I'm gonna put a little more brown in it. So basically, it's too cool. Both white and black are both cool colors. All right, so kind of cleaning up some of these edges here. Once again, I'm just using pretty much straight burn number here, warming up this foreground and you notice my brush strokes of directions and stuff for kind of random because that's the way this piece of nature is. There's a lot of randomness and and if you put brushstrokes all the same way the same angle , it's not gonna look right. It's is going to kind of ruin that illusion. So I'm still putting in just pure burn number right here. It's been a little black in it. Now this is dark in its, um, here's some really dark little branches coming across. That one's kind of cool, So this is burnt number with black, so it's the value goes darker, but it's a warm, dark, so that starts pulling this this back in here. All right, it's cool of these round brushes, taken kind of get a lot of different could be sort of Cala, graphic with them. You like in Chinese writing How Oriental writing How you can Depending on how hard you push or turned the brush, you can get some really interesting brushstrokes. And with these around brushes I found there very nice for that kind of effect. And then you can you can do scum bling. Get that scum ball type effect and you can do glazing so very versatile. Really? Okay, let's see this one across here. Let's carry him on through. So now you see is I'm putting these darks in getting a little more that push pool in here. Get now, these little twigs. And I think he's It's not ethical kinda glaze in a little bit of that in here. So let me get a little more water on my brush. See how that it's darkening it. But it's You can still kind of see through it a little bit this area back in here, too. So see if I can push all the way down with my brush and get a different kind of marks and then kind of smear those around. However I want to I think this area in here could be a little darker. It's once again this is just pretty much straight up burn number and black. I'm kind of darkening right around the mushroom cap, which is really gonna help push it forward. Asserted to find that edge too. The edge of the mushroom. Like I said before, I'm not going to use too much of this. Really. Ah, warm, dark value back in the background. But we'll put a little bit here. Yep, that's working. So, basically reason all the sorta techniques that you can use Well, not all, um maybe an infinite number. The lot of the techniques in this one painting here. So using glazing, stumbling, smudging or smearing, uh, telegraphic breast strokes line work. When you do that, you start getting a really rich painting because she got to use in the right way, and that's really the trick of it. So if you want to practice something, what I would do is practice brushstrokes, and, you know, I'm gonna make another video on just that. So stay tuned on that of, ah, just doing different brush strokes and how to achieve it. And your your brush strokes are really sort of your think of it as an alphabet. That's your alphabet. And once you string, you can make letters. That's the alphabet. And then you could string those together to make words and then longer wants to make sentences. And then that's what you're saying. It's sort of a visual vocabulary, So once you get the brush strokes down, then you can start making words. Those words. You can make sentences and then you can actually say something. And really, that's what art is about. You're saying something. I mean, that's what makes this piece of art different than a photo. It's like I'm saying something with up the art, the painting that the photo couldn't say And, of course, the opposite street to the photos, going to convey things that I probably may not be able to convey with the painting, although I don't know if that's really true, because I can copy any photo. I could make any photo like 100% where you could not tell. But I did that a lot Teoh years ago. That becomes just a technique. After a while, it's like you're just matching colors and values. That's no fun. This is much more fun because I'm playing with the plane with the paint. So this is not a photo. This is a painting. So as I'm painting, I kind of lose some of these lines sometimes. No problem. You just go right in and go right over him again. - All rights taking shape are you darken it quite a bit there. And I think we need to lighten up some areas now. So I'm still using this. This brush and part of me is like Scott, a smaller brush, but I don't think I should quite yet. Okay, So mixing yellow car and this rock number going in here where there's a few little areas center catching the light there, this is, I think, a mesquite leaf mesquite pod. I should say it's already starting to decay. Getting moldy, turning black back in here. I'm just very sparingly putting this coloring cause it's pretty intense, but one intensity back in this area. So if I am going to use this color in the back, mix it with white, that cools it down, also pushes it back a little bit. That could do some of these little fine little lines and and if you need Teoh. Well, think about having paying like this is You can flip it around and work in some stuff every once in a while. I'll do that. Now. We'll do some of that same tone right down in here. So see how that starts making it look rich. And that's how you get that three D effect. You're doing these warm and cool colors on top, each other kind of going in very a la Jackson Pollock. And the weaving of those kind of together is what creates that dynamic. Okay, I'm going to give in to my in close is to get a smaller brush. You go down another not chairs the number four. So put in some of these little small little details in here. It's no use air, just tiny little lines. - So , you know, some kind of jumping around a lot because I'm sort of working on the painting holistically . I'm gonna get that same color, mix it down just a little bit. We're getting the highlights that air down in this sort of shadow area here. So what did I do? I basically does darkened and warmed that same color that I was already using. So I get that same color and then mixed it with burn number. Probably a little bit of black in here, too. Then here and there may wanna have this a little bit lighter here and there. All right, that's working pretty good. I'm going to introduce one other color here. Ups is burnt Sienna. So this is basically ah, a red, very brown, red and metal That's gonna really warm up some of these areas right in here. I don't need much of this. Some of this on this escape pod here. This is going to do two things. It's gonna warm up this foreground here, and it's also because it is warm. It's gonna pull this whole area up a little bit. 6. 6 Painting: I use just a little bit of the pure color here and there. Probably not much back in here. And then this is ah, like a dead leaf here, going to get that same color and then makes a little bit of white with it. See, just great it down just a little bit. Little bit of black. Yeah, that's about right Kind of cooled it down. So I mean, there's, like an infinite number of levels of warmth and cool that you could do for each color and then mixing up similar adjacent colors. And that's kind of pretty much the way nature is, since these air grade down, these would be really good for back in here. So once again, it's this, uh, burn number. But grade down too much black, although, you know it's yes, Some of that works back in here. Yeah, so that it actually works really good in the background. But let us Gumbel some of that. All right, it's taking shape. All right, that's looking pretty good. Maybe just a little bit indication of some rocks down here in the shadows. All right, now, let's go back into the mushroom here. I think This is a little narrow in here to the company toe. Add some boat to this. All right? No, this this shadow color I made here, actually, I think it Yeah, I think that I work right there, so this works because it's warm. So not only is there direct light on things that there's ambient light to in the ambient light's coming from all around it. So the light that's on the underside of this this is in shadow here, This part is, but it's also getting reflected light from around it. And all this stuff here is warm. So these shadows we're going to be warm makes it a little bit of white. Okay, this is looking pretty good. I don't want to get too warm in here. So when this light comes down here, this is going to cool it off quite a bit. So now I'm gonna work in these little speckled areas here. What it is is it's part of the membrane. And I think that was on the cover of the cap. That search starts breaking up and chipping away. Let's see. So think that colors like raw sienna and a touch of burn number and white. That's way too intense. It's getting a little closer. Needs to be a little more neutral. So that neutralizes. I'm gonna put just a little bit of black Liston. Neutralize that color just a little bit. That's a little better. Yep, that's working, I think. - Moving the shadow back up into here basically kind of glazing this area here, all right, I think like I said, I need to book this up a little bit on this side. They should be just a little bit thicker right here. And once again, I That's why I love these paints is you can change things. And for me, these paintings are a series of adjustments like you draw it one way, you draw something here, something there, and it looks right. And if it looks right, keep it. But as you keep putting more and more stuff in, sometimes it just doesn't look right anymore. So that's when you adjust it. And that's why, for me, I like these way better than watercolor because watercolor, whatever you put down, where you put it down, it's going to stay there. That's it. It's like you can't do anything else and That's why I almost never use straight watercolor . I think watercolor is probably the hardest type of painting to do, and I love it. I love people that air good water colors. It's just amazing. But, uh, it's not for me. I I changed things too much, and this is the perfect medium for being able to change stuff. So now, mixing a little quiet with that color, which is doing two things, it's cooling it down, and it's gonna catch these little highlights here. So this is where that the light is kind of raking over this area and catching these little things is a sort of curled up. And that's where it was talking about earlier, when I said, That's what's going to really make this painting. Is this lighting right in here? Because it's that's really the interesting part of this painting, I think, and I think that's what cut my eye when I does that conclude the photos that I took. So the lights just catching some of these little areas here I'm not copy nous exactly like it is in the photo. I'm kind of altering it, but I'm keeping the spirit of the thing so Yep. That's working now mixing this down just a little bit for some of these other areas that are still catching the light, but not fully in the highlight area. It's kind of this transition area here. Let's put a little bit another later on here, so you can still see. It was still wet. So what I did still put down a layer, actually lifted off the paint that was there because it was still wet. So that needs to dry a little more before I can do that. But I can work down in here. Okay, That's looking pretty good. Yep. Looking good. Or shot my brush. Now I'm going to come in with some of these harder highlights. Mission this wide area here. And for that, I'm gonna use a tiny, tiny, tiny bit of blue. Not not much, not much at all. In fact, it's gonna be so little blue in this that your eyes not even going to read it is blue when you see the painting. But you're I can pick up, uh, color differences that are very fine. And so it's going to read. This is being picked up by the light So what is this? This is titanium white and a little touch of blue. In this case, it's called Light Blue permanent, and you can't really see the blue much here, which is what I want. I don't want it to look blue, but what this blue is basically is it's picking up the sky. I mean, there's two types of light on here. There's well, there's several types, but to the main lights coming from above are direct light strictly from the sun. And the second is ambient light from the sky. And that, and being like from the skies is blue. It's got a blue cast to it, and that's what we're picking up right here. That's what this is catching set, ambient blue light. That's funny. Talk about warm and cool. This is just adding this cool highlight here really starts pushing this mushroom forward, and then we'll put a little bit of it on these edges here, where the light is just catching the the edges of these little things is they're curling up . Like I said, this is really the interesting part of this painting of this scene. And here's a piece of this, uh stuff coming off here that's catching the light. So this thing is just a little rough. The the mushroom cap. It's got a little bit of a grain on it, and the raking light hair is catching that, which is kind of cool, so pretty in the light. So once again, this is straight up titanium white with a little bit of blue and just a touch of blue in it . I'm just gonna scum one that in a little bit. But you already see how this is starting to take shape. Now that's Ah, it's dark in this just a little bit. Just put a touch of black. I'm using black, not brown, because I want to still be cool. And black is also a cool color. Yeah, so now there's a few of these aren't quite as directly into the light, but they're still catching it right in here. So this is where the cooler light is catching this cap of this mushroom here. So now it's really starting to take shape. Now it's coming together, and the reason that's coming together more now is because I put that little touch of blue. Like I said, it's not enough blue for your eye to read it as blue, but your eye does read that it's a cooler light. Yep, I think that's working. I'm not gonna put just a touch of that right in here. To where? The lightest kind of catching in that. Maybe right down in here, with the lights catching. It's that little sliver of blue light. So that cool blue light and then against the warm here kind of helps that make it like a little richer and then it every once alike, and put some on these little twigs that are here in the background. Maybe in this. So once again, the reason this painting works is because the warm and cool relationship warm and cool colors. Okay, so this is a number four. I'm going to step down another notch here. This is an even smaller brush, which is a one. Use this to get some of these details in here. So it's important to have the right size brush for what you're doing, and then you could use any rush for anything. I mean, you could cut your grass on your lawn with a pair of scissors. I mean, it will work, but it's probably not the best way to do it. It's the same with paint like any brush, a work to do anything. But you gotta use these long enough to find out which ones are the best, All right. Still, this is this blue, blue and white here, a little bit more in here, where it's really catching it the most. And then let's do the ones we're mixing a little bit of black with that. Come down more, this little bit more shadowy area here, over here, too. Okay. And then there's this and apart here, which is peeling down. It's maybe a little darker. Okay, I think that's working pretty good. A little bit darker right in this seem here. But it's peeling out, Doctor. Right in here. You may wanna warm that up just a tad. It's a little bit of burn number in here. Yeah, I think I get that. Just a touch too cool. Let me let that dry, and then I'll come back to it. In the meantime, una de these areas right around it here, which are pretty deep shadow from the cap. I see how just putting that that dark warm in here really made that other pop forward. They're so put. That was too cool. Before I had used black for that shadow. Now I'm using the burn number. That that looks a lot better. Okay, No, let's get some of these shadow areas here with its cast in shadow. Yeah, I think that's right. So this is basically does burn number and white, maybe a touch of black hair. So the shadow areas where this stuff is peeling up here? Yeah, I think that's working. And it helps everyone's for if you sort of step back from your painting, okay, It's coming together. I think I need to hit this area here again. That paint should be dry, so I could sort of repair that. Yes. So it's basically burn number and white in this case, it but a little touch of blue in it. Teoh. All right. It's looking pretty good. All right. I think I'm gonna take a break here and we'll come back and finish it up. 7. 7 Painting: Okay, We're on our final lap here. So one thing I'm gonna work on is just air here right here where I kind of repaired this edge, made it wider, but you can still see it. So hit that again so that that will totally disappear there. I'm gonna come in with a little bit of greens, some leaves in the background of stuff in that will. But this pops and more. So let's get going on this part. And I believe my white starting to dry up, get a little more white here, so I took a break. So a lot of these painter dry here now on the palate. Let's see how this does. So that's a little a little too light. Least for the side works. Get on the top. All right. Next. We're starting over here to recreate that color again. That looks pretty close. Yeah, I think that's it. So that was burn number and white mostly. Okay, we're starting to lose that ghosted edge is there, right? It's still a little bit more this detail in here too. Some of these little dots here go work a little in these shadows right here. They're pretty warm, but I'm gonna clip down just a tad with a little bit of black. Especially right on the edge of it. Also dark in Italy. Yes, this cast shadow right here's a little darker and warm This shadow up just a little, - Okay . These air, all these little shadow areas here they see how just putting a little bit of shadow under there. Now, that really lifts that, uh, I don't need much at this point. We're dealing with mostly subtleties. Pretty subtle stuff, mostly from here on out. Yep. So catching. No shadows there. So this is just burn number and black, Okay, Right up in here and here. Excuse me. It's a little bit right in here. And put some of these warm colors here where it's turning down. It's looking pretty good. I think this edge work successfully here. Now, another little shadow here. Okay, I think we get most of those. Yeah, let's continue of this burn number and black. I'm having a day under here. This it's a dry on top side, the under to get to the wet color. So now I'm just working on this edge here, taking this a little crisper. Do the same thing on this side here, Right in here. I want to put dark. Only we want contrast from that ground foreground. But I don't want to put, like, a dark line all the way around here. But if you just suggested here and there kind of get the idea. Okay, That's looking pretty, kid. Okay, this is low too much, right? A little more of this. This'll number number number. So just put some more debris lines here coming down. All right. I think that's working pretty good. A little bit of greens in here, and I think I need a bigger brush for that. So go back to this one. So the screen is way intense, and I wanted to be in the background there, so I'm gonna mix it with white, which will cool. It probably would've black, but you also cool it. Well, Too much black. It's okay for the shadow part. So these are just some leaves that are kind of laying around. I'm gonna warm up just a little. A little bit of warm in that Shano area. Okay? Okay. Just putting some leaves. Just here and there. Now, let's come in with some white quite in green. Maybe just touching this blue. Uh, it already dried for the touch more blue. So this will be for the highlight Part of the leaves here gets a little too blue. Here we go. Maybe just a little bit of warm this up alone. But it was some yellow poker. Yeah, that helps. So just through a little bit of yellow car into this mix, I just throw a few little mesquite leaves in here, okay? Are you telling that down Just a little. These are pretty gray out here, these greens and putting in so they will receive back. Okay. What's it need? Think. Now, we're gonna come in with just really right highlights. Maybe just a little touch of this blue in here where it's catching on twigs and what not No, no. Run away brush. All right. I think we're going to switch gears a little bit to my small brush again. Yeah. Go back to this one. And this is gonna be for some highlights. Just blue and white. It's a touch right there. Touch right there. Okay. Just sit in some of these little twigs and and things I think we're just about done here. Putting a few more leaves in the foreground here. Okay, take a step back. What's it need? It's looking pretty good. Now, this still bothers me just a little bit right here. He used to be warmed up. Just a touch too cool. So this can reactivate a little bit. And if it's not totally dry kind of reactivated. So now I'm my white has been pretty contaminated at this point. All right, That's a little too light. That's a little bit of burn number, and okay, warming that up a little bit there. Okay. Okay. Yeah. And that color works perfect for these little areas here where it's kind of curling up. That's working pretty good there. I think we've got this. Okay, what else does it need right in here? Looks a little funny. This is behind it, but, uh, used to be cool down. Just a little warm. This shadow up a little bit en lighten it up. It's a pretty good all right. I think it's about it. That's working. All right. Just a couple more little touches right there. A little bit of this Gruber number, and you're in there foreground. Bring the foreground forward. Just a little too warm it up. 8. 8 Finale: okay. As typical for me, I am. I finished this painting yesterday and now, after have hung out with it a little bit. I see a few things that I don't like. Uh, let me see here. So, like, this green actually kind of overlaps this, so it kind of destroys that three detect effects. I need to push this back a little bit and probably have his branch go through here. Uh, this seems a little too strong. I'm gonna mute the end of this and French off a little bit. Um, this looks a bit weird. Like it almost looks like it continues the the stock here, which it shouldn't. This is supposed to be in France. I'm gonna work on that. So it should be a leaf here and then just some branches going through here. And then I don't like the way this highlighted Rock is behind this. It kind of Ah, it's kind of fighting with the composition, so I'm gonna knock that back to So let's get started. Also the area right in here, I need to refine the way the skin of this is peeling back around here from the mushroom cat . So I'm going to start with the burnt number and some black and just start knocking some of this back here. I think this will help the the mushroom pop forward a little bit also. So this is black and burnt number. See, I thought this this was too light. It was sort of detracting from the mushroom. So the mushroom itself is I guess it early. Our main character. So we want everything else subservient to that in this little character here. This rock was, um, acting a little bit two out of place, all right? And I think this screen here, it's a little too much. So I'm gonna knock this back a little bit smash here. So this branch, I'm gonna make it kind of going right behind here. So bringing that through, Maybe just a touch of white on this, Okay? So I think that helps a little bit Still with a little touch of green there. It's starting that. Okay, that's better. Let me do this edge a little bit. Okay? I think that looks better now. This branch here looks like it definitely is behind here. Where's before? The green was kind of set overlapping into their, which was messing up with my three dimensional, three dimensional quality. So now that we've gotten this darker area here, let's put some kind of twigs and stuff going back this way. So this is Ah, raw sienna and burn number. Break this shape up a little bit and we have twigged going to hear. All right, that looks better already. I think this is just this here. It's a little twigs going back this way through here. All right. I like that. Better already. Que? No, I'm gonna knock this back a little bit. This looks a little too pointy, Some just knocking it back down a little bit with some Well, the wrong number. And and, uh, yellow Oakar, maybe add another little branch of this tweet hair coming out. Okay, I think that looks pretty good. Let me just find the edge of that a little bit. Okay? That part looks good. Go work in this area here. Like I said this to me when you squint your eyes or get back, it looks like this stock goes down like this, which it does not. It goes into the ground and then these air foreground uh, leaves and seeds and debris. So let's make it more like this. A little bit more of an angle here. This is Rossi and and Bert number again. So that's dark in it, right under this leaf here where it's going in. So it looks like it's kind of headed underneath there. Okay, I think that's working. Now. This leaflets give it just a little more shape. Not too much. You need a touch. A white in hair. All right. I think that works. Okay, take a step back here. Yep. That's working pretty good. Okay. The other area I wanted to work on just a little. Is this part in here? So brush out. So this was why a little bit of black. And so I think I had this in the wrong place. This should really be coming out, like, right here. That's where this is peeling back. Getting ready for that Teoh the mushroom cap to open up. This, too should be a little more defined here. So this is I guess it just black and white here. All right, That looks pretty good. So I just sort of through the shape in real quick and Now I'm gonna refined that shape a little bit, so wash it brush out and a little bit of this darker color Here. This is coming down. All right, that's working. Nothing got mixed this black and brown with this white that I had a minute ago. Here, come back in with some of this. So the reason I put the brown is it sort of warms it up Where these areas air curling down towards the ground. So they're picking up the ambient warm light from the ground here. Oh, and in this little area here needs to be better defined. All right, Almost there. Now, a little bit more. This very warm dark right in here, right in here helps to make that curve curve around here little bit right there. No, I'm going to refine the edge of this Stipe here. Stock. Excuse it. And in this side, Teoh, I think we're almost there. Yeah, let's go into this a little bit more. Here. Put a little bit of a shadow in here then. This is sort of like just curling around. So I'll put a highlight down the middle here and put some darks on this edge. Yep, that works. Put a little, almost pure white right here, where it's kind of catching the light and right in here, where the that curve is kind of catching the light here. That's a little too, too late. It's not getting down a little bit. I think I need a smaller brush for this. This detail is, uh, a lot smaller, so going down the size. So let's see here. Where was I? Let's get some brown. And if you can see, that's kind of contaminated with brown. And that's why I was telling you like to do a stripe of white because you're mixing paints and dip in your breast. You tend to contaminate it so I can pick up here where it's pure white, and now I can put that on. But down in here, I don't want it to be quite so intense. I'm gonna put just a touch of black at it. And I didn't want the Brown because of Brown. Warm it up and it'll kind of mess up that illusion of If these air highlights coming from above, they need to be cooler. If I put Brown in and it's gonna read is coming from underneath is reflected. So that works there the same thing here to find this a little bit better, but that highlight down the middle over the lights, catching it. I think that's a little too intense. Two. White, I should say. Tone it down just a little bit with black there. Remember black and white or both cool colors. So cooling that down sets where the cool light from above is hitting it. And then right in this edge here it's a little whiter, all right, I think that's about it. Yep, I think it's done All right. So what did we learn? Start out with a toned canvas. I like to start with a neutral color, either gray or brown. That way you can paint your lights and darks into that. And then we started from the adding lines into this sort of creating the warm background. And then we kept in mind the warm and cool so and you get a brush to. So these highlights in here are all cool colors. Wherever the light is coming from above coming down. It's cool, cool light so ever it catches in here. It's cool and even back in here on these little twigs and things. Wherever the light's hitting from above, it's cool, light hitting. And then where it's on the ground that there's like regular in here. It's reflecting back from the ground, so it's warm. So this light and here's warm. So we get this warm and cool colors, and that's what really makes this thing pop out of the background. So there we have it took like, uh, almost two hours. That's typical for this size canvas painting with this amount of detail, Uh, I wouldn't have to. Two hours is pretty typical. If I was painting this little looser, liken oils more painterly, I could probably do it an hour, but slightly different style. So oil style. This is, uh, this is my krilic style, and the way I painted this is is my style. You guys, Aziz, you try your own stuff. Try your own variations and, uh, create your own style, and you can go out and get a photo or paint from life and try the same techniques. But I do. What I've always done is I've copied a lot of other people's techniques over the years, and I've had different instructors and I sort of pick and choose what I like from their techniques and incorporated into my own. So So this is a result of painting for about over 50 years, probably. So I hope you enjoyed the class and we'll catch you next time. Thanks.