Paint Pears in Acrylic | Clair Bremner | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (46m)
    • 1. Pear Intro

    • 2. Composition

    • 3. Colour

    • 4. Contrast

    • 5. Character

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About This Class

In this class I will take you through the steps to creating a beautiful, colourful pear painting in acrylic.

we will learn composition, colour mixing with a limited palette, creating interest with contrast and injecting character into your artworks.

This class is suitable for beginners and intermediate artists, and I hope you enjoy this class and have fun creating.

Meet Your Teacher

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Clair Bremner

Professional Artist


Hello, I'm Clair.

I am full time artist based in Melbourne, Australia. I specialize in abstract expressionist landscape paintings. I have been teaching in person workshops to art students for a few years and I am excited to be able to bring some of these techniques and lessons into the online world. 

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1. Pear Intro: Hi, welcome to my skill share class. In today's lesson, I'm going to be teaching you had she paints some really fresh, right? Fun and interesting pairs in acrylic on water color paper. So that this project, you'll need some acrylic paints and surface to paint on. The acrylic paints that I'm using, aromatase, have you have a different brand acrylic pipe that's totally fine as long as they are heavy body acrylics, not fluid acrylics. And you will need to have these colored, or at least colors that are similar to them. And they are magenta, quinacridone, Barlett, nutshell, Scala, it, yellow locked, handsome fellow Googlers and titanium white. You don't have yellow right-hand side. You can use lemon yellow. And if you don't have net full scale that you can use cadmium yellow or green, cadmium red, sorry. The main idea behind these colors dogs is that you need a cool red, a warm red, I cool yellow, and a full board. You will also need at least two flat brushes. Is a 20 millimeter brush, and this will be then get three millimeter brush by others software for the Russians. You'll also need a pilot, some water and the surface to Python. I'm using hyper today. However, you can use Canvas or rude or anything that line EBG, these typeof makes sure that if you that mystery 100 GSM typology which qualify for thermally so that you don't get too much to buckle in and looking things up painting. Once you've gotten up those supplies, come back and join me and the beginnings and excellent book. The very first step in this project is to keep your surface whether typo, It's a nice theme, even cart all acrylic paint. It helps to deal the Python, especially when you're using paper. And also a creates a nice colored grounds to begin our painting. Or I don't like painting from just play more specific ones. I prefer to have a colored ground underneath my outwards because I feel like it gives a little bit more vibrancy to the colors and to the painting. So this is just a thin acrylic cart out the yellow light hands-off. And you want this to be completely dry before we stop in extent. 2. Composition: Now that you have a nice dry surface to work on, we're going to be starting the first step in this process. I'm going to be following that the full say's process of painting, which is explained a little bit more in my other video, landscape sketches. But the full say's are essentially for keywords that you can use to remind yourself how to go about putting together an artwork. And those processes are composition, color, contrast, and character. So the first thing that we're gonna do with my MIT is work on a composition. So to do that, we can think a little bit about the rule of thirds. Which if I divide this piece of paper up here into these sections, you can say this is the rule of thirds. And so what we wanna do with the rule of thirds is make sure that there is some focal point or some sort of interesting area that seats one in one of these spots here, these focal points. So I'm going to sketch out my composition of these pairs that are going to be hanging from a tree, keeping that rule of thirds in mind. So the first thing I'm gonna do is get some water down. Acrylic paint. This is just doc believe height. This is the failover. We'll use this to sketch with. Sorry, I'm going to make most of my focal point around this sort of area here I think. So the first thing I'm gonna do is just sketching. Some pair shapes. Are going to have a couple of pages clustered in this area here, hanging off a branch. We're also going to sketchy and just a few leaves. I'm not going to sketch in all of the ways that I'm going to use for this painting. But I'm gonna sketch in just a few. I'm also going to have this branch running Danny misdirection and maybe another branch up over here. So now that I have this focal point in here out of my main Pais, I can add in some more leaves. And I can add in some more pairs that are going to sit around behind these leaves over here. Sorry, I think these are all going to be leaves. I think maybe we can have the bottom of a pair coming down from here. I'm not gonna painting all of the leaves in this composition. But I am going to put in the key areas where I want some foliage to Bay. Just to remind myself later on where it is. And have some leaves and things coming up here as well. So now that I have my basic composition worked out, we can move on to the next step, which is contrast. Now, you can change up your composition a little bit later on if you want you. Depending on how the balance of things guards. So for example, there will be a lot more waves coming in that Dan behind here. But we'll see how the balance got at the moment. This is going to be the sort of focal area based pairs are going to be nothin brought and these periods will be pushed backwards a little bit more. Sorry, I am pretty happy with this. And you can see how this is a very simple sketch. I have not gone into too much detail. I haven't worried about the position of all of the leaves. There will be more leaves in a random background. I just want to get my main focal point and composition set out so that I can stop the next step, which is the contrast and the color. 3. Colour: Okay, so the next step in this process is coulomb. And this colour step is going to involve blocking in our rough map of where all the colors in this composition in his painting a going to beta. And we're going to start from the things that the furthest away to the things that that's closest. So our furthest y is going to be whatever is in the background. And so we're going to work out why forwards like that. Sorry, using the biggest flat brush, this is the 20 millimeter fluffy brush. I'm going to use the high-low blurry and the yellow light hands-off to mix up. A fairly duck. Grey sits a little on the blue side. I'm gonna add just a little bit of white to that to make it a little bit more opaque. And with this color, I'm going to add in some Dhaka areas of leaves that will be sitting in behind everything else. So ignore what you have sketched out. Don't worry about the placement advice. Lakes. We're using this to blocking in some areas of leaves and folded edge that's going to be sitting in behind. So just work your way around the painting here and they in behind all these leaves. You want it to be nice and dark. Now that I've done that, I'm gonna use the same color, but I'm going to add more yellow in which I'm also going to add a little bit of white. And I might add a little bit more blew into it as well. Sort of run out of blue. Yeah, so I'd symbol by light blue. This lovely sort of turquoise color. And I'm trying to create here. You wanna make sure that the consistency of your paint is quite smooth. You want it to be lock screen on your brush. And now that I've done that, I'm going to come through and I'm just going to loosely blocking the leaf shapes that I had sketched in. So I sketched in some IV here. Some in front of base pay is over here as well. Just using the flat brush to help bring a point to the end of them. These ones over here as well. And add just a little bit more yellow and a little bit more wide. Just to bring out a few of these. And to slightly lots of versions just so that I can tell them apart because they're gonna get a little bit lost. Don't worry too much about defining the leaves at this stage. But while you've got that sort of greenish color on your brush, just block in the stem shapes as well. Okay, so now I'm going to block in just the basic colors of these pairs. Just to help give me a bit of an idea as to where things are going to die. So I'm gonna start with the ones that are furthest away. So these ones here, when it makes up a really lot, one grain with a little bit of the yellow, yellow, blue and the somewhat and I'm just gonna block in the under color of base pays. Okay, so these ones that are further back, I'm going to make a little bit more of this blue green color. As they come closer, I'm going to make them a bit more yellow. It's just cutting around. So now I'm going to add a little bit more yellow in to this mixture and a little bit more washed as well. It's going to make this one a little bit lighter. I'll pick this one to get larger as well. Okay, so the last point that we need to do in this section of the stage is to put pull in the background. Now because a lot of the payers are going to be this greenie, yellowy color. I want the background to be a really nice contrast to that. So I'm going to mix up a nice lots color using the payload blue, a little bit of the quinacridone, magenta. And lots of y's that a little bit more blue to that mix. And still with my lodge, a flat brush. I'm gonna take this color and I'm going to block in the areas of background. Now you can use these to clean up some of the edges of the leaves as well. Define areas inbetween. Pay is leaves and branches. But don't worry too much about being precise with it because there'll be things sitting on top of it, so it doesn't really matter that much. But you want to sort of cover up most of the yellow background that's left behind. You want that to sort of be covered up and defined with people in states to keep it nice and loose. You'll notice how I'm moving quite quickly. I'm not being precise at all. Some people would be tempted to move down to a smaller brush, but I like the, the looser effect that you get by using the bigger brush. And with a larger bros, you're less likely to worried about capturing too much detail at this stage. We're really not interested in detail at the moment. That will come a bit later on in the stages down the tracks are working my way around the painting, adding in the 11 to color on top of all of the gallery. So now we have the color stage DOM, sorry, the color is blocked in. Now this obviously isn't the final colors that we're gonna be using, but we now have a bit of an idea as to what's, what is leaves, what is paying, what is background? From here, we can start working on contrast and character. 4. Contrast: Okay, so the next stage in our project is to start adding in some contrast. So you can see at the moment that all of the values that we have here in these base colors are the sign. There is no highlights, there's no docs or shatters anywhere. It's all just flat. Sorry. It's really important to add in a lot of contrast NGO paintings and that's referring to the light and the dark of the values. So we're gonna change this from being quite flat into having a little bit more depth. And we're going to stop by adding in some shadows. So I'm gonna get my fellow blue again and a bit more of the yellow light Hansel. As I mentioned before, you can use lemon yellow. The important thing is that it is a, you want a cool yellow NOT a warm yellow. Sorry. I'm going to switch down ci, my 15 centimeter brush. And I'm going to start thinking about some contrast. So I'm going to mix up, start doing that over here. And it makes up a bit of a darker color. Palette, keeps on banner ads being annoying. But I'm going to add in a little touch of the yellow. We will learn about with some of the what you're looking for something that has a stronger changing value then what's underneath. So you can see this has got some nice contrast in it. And we're gonna use this color to add some darks into our leaf shapes. So just every now and then, get some docs and some shutters in behind the pair and into the leaves. So I'm going to add in some of these stems with this dark color. Anywhere that there's a bit of a leaf that silver city in behind everything else. I'm going to add doc in the Steyn down here. Okay. I'm going to leave the leaves for now. I'm going to leave the leaves because look, these leaves are going to be sitting in front of some of these pairs. So I want to finish them off too much. What I wanna do is go back to the things that are a bit further behind. So this Pe here for example, and this one, and this one and this one, they sitting behind all the other pairs. So I'm gonna spend some time focusing on those and working on the balance of contrast indoors. So bringing out the lights and the dogs. So the first thing I'm gonna do is add a little bit of a shadow. And I'm just going to mix up using the colors that are already mixed on my palette. I'm gonna mix up a bit of a dirty gray. So this is pretty much a combination of the yellow, the blue, and the red to make a bit of a greenish gray color. Now you always need to work out what your Locke's guards becoming from before you start doing lots and shadows. So I'm gonna say that my lot is coming from this y here, which means that the shadows are all going to be on this side. The highlights of going to be on that side. For example, this Pe here. I would bring a bit of a shedder. I ran to the side here. Now can you see the shape that I've added into this path? Obviously, the pairs are round, so I don't want to put a shadow that goes straight down. I want the shutter to cope with the shape of the pay. So I'm gonna bring it up all the way around to the bottom here. I'll do the same with this one. Sorry, there's going to be a shutter that runs across the top. It's then going to hook in around here to create that ran Shutter. Sound with this one here the shadow is going to sit on the sausage, the top of the page. And it's going to come around a shadow on the HEA with this Perry's. So this beat underneath is probably going to be quiet doc. And it's gonna go around. Today. Is one here will be the same, but have a shadow on this side and ran the leaf around the other pay. Like this. Not going to worry about this one and this one yet because they're in front of everything else, I want to resolve what's behind them first. So now that I've added in that shadow, we're going to change that color by just adding a little bit more yellow in two inch. And we're going to add a little bit more variety into that Shari. Just with a few mocks of these slightly more yellowish green. And now I want to create a highlights. Sorry, I'm going to mix up the same sort of yellowy grain that we started we eat is if I'm going to add more watts and more yellow. So that is much larger than the one we had there. And we're gonna do the same thing as before, except I'm going to add a bit more watch into this section here with the bowl of the of the payload bay. So you're gonna add your locked onto the opposite side to weigh the shadows. Again, making my brush strokes in the shape of the pair. So this is the random Santa that the pay is usually have. So I'm just gonna make sure that my brush strokes imitate that. Define that edge a little bit tricky. So I'm going to edit a little bit more yellow. And I'm just going to play around with the color a little bit. So there might be a bit of a highlight on some lot reflecting back. Same, it might be a little bit more of a of a highlights. Now, if the light's coming from behind the page, there will be a little highlight on the opposite side as well. This is a backlight. So I'm just going to add that in as well. Now to give these pays in the background a little bit more color, I'm going to add some naps all scholars and bring a bit of a pink, pink sort of shame to it as well. Sorry, little bit of an ethyl scarlet net though skeleton to type titanium white mixed together. Because of this agency, will make a really pretty pink color. You can also add a little bit of the yellow to that just to warm it up again even more. So I'm going to add some touches of these pink to some areas of these, not all of them because some of them will be a little bit less rock than others. I can also come in with a slightly stronger color here and there just to give it a bit of character. Or I can watch an up and coming with a lot of Asian as well. I don't want all of the pay is looking exactly the same. I want them to have a bit of variety. Sorry, now that I've done that, I'm going to bring a bit of contrast into the pages in the front. So I'm going to start by making a really lot yellow because I'm gonna make these one's a bit more yellow than the others. So make the shadow a little bit more. This color. Just neaten up that edge a little beach. And you know this one Ching. Ok. Now we'll come in with the highlight. Make sure the edge is niacin. Niacin Chris. Well, I have some of the somewhat brush I can add it in to the other payers as well if I feel like it needs a little bit of a highlight here and there. And I'm going to add some peak into these as well. At this peak into that, in that circular motion, it gives the effect that the rounded part of the pay is Brian sorry. Am I leave that one brings that it went down and it will do bold to be pink. So this is mostly just the lemon yellow. So I want to bring like a stub, wanted this one to be a little bit more yellow than the others so that it comes full, which in the composition of h. And this one as well as at a bit more yellow to that too. So you probably find that you have to play around with the contrast a little bit. Now that I've added denies other colors, I have lost a bit at the lightness, so I'm going to come in with some, some washed again and just add a bit more of a highlight on, onto the pairs. Sent me this one here of sort of lost a bit of the leader, the contrasting Yonsei. So now that I've done that much, the Pays, I can now come in and add a bit more contrast in the leaves as well. So I'm gonna switch back to my larger brush. And I'm gonna mix up some a lotta blues, just using the high-low and the lemon yellow and a bit of what? So the yellow lot Hadza and put a watch. It's going to add some lotta highlights and some of the ladies, because we have add docs, we need to balance that with some light. So this is the contrast character done. Contrast. Part of the process done. The final step is to add character up. Sorry, I'm going to let this dry completely. And then I'm going to come in and talk to you about what it means to add clarity TO painting. 5. Character: So the final part of the painting process is what I like to call adding in character. So what that means is injecting a bit of lost back and she'll painting that can be increasing the highlights, adding pops of color where there isn't much color. It can be playing around with the vibrancy and certain areas, adding things, taking things away. So it's a bit of a personal journey and it does depend a lot on your particular painting, what needs to be added and changed. I'm just going to add character to my painting based on what I have done here. But you'll painting that Martin ate at your Arne spice to your painting and may not be the same as what mine is here. So what I'm going to do is I'm going to boost up the color of this k here, and probably this one as well, just to bring them forward a little bit. So I'm gonna do that by bringing in some really, really lot pops of yellow. So I'm gonna bring this lemon yellow, yellow light heads are in. Again. I'm going to add a highlight of it to this side of the pair. And this side just to make it a feel as though there's light coming around. So I can use the same color and this one down here. Again, I'm going to add a bit of highlight on here. And add just a little bit more vibrancy to some of these areas. This one back here, maybe I'll bring in a bit more than orangey pink color, which is just the natural crimson ends. The yellow light mixed together. I'll bring some of that up into there as well. If I add in a little bit of a quinacridone magenta under here, I can add a bit more of a darker shadow as row onto these pair, which is more pKa. So we'll get more of a perfectly so the shutter to it. Now also guides you brought an object and the background. Background. The value is a little bit too similar to the leaves. So I'm going to mix up that same sort of purple color that I did before, except I'm going to make it a lot lighter in value than what it is at the moment. So I'm gonna add a lot more white to it. In other words, it's not the same sand colored, close to the same color anyway, that was the quinacridone magenta ends the failover Lu originally. So now my adopt this sort of environment, much lighter value color. And I'm going to add that in just here and there to bring up a bit of a highlight. Now, I'm going to use this to do some negative painting as well. Just to fill out some areas in the background where there's not a lot happening. It will add an extra dimension, an extra layer of stems and leaves and things in behind and shadows behind the pairs. C-c. How lift that little triangle there. So that's going to indicate now that there is a bit of a lease in behind, there, seems going to add some pops up in here as well. Then a lighten it up a little bit more as well, but just adding a bit more watching today. Then I can add a highlight here in there as well. Just to give it the feeling that there's a little bit more light coming through in some areas like dot-dot-dot woodlot con overlook the get break up that space in-between. Nice pays a, b, j, k. Sorry, I'm mostly going to bring in a bit more of a light-blue color on some of these leaves. And I'm also going to bring some of them in front of the other pair is just to give it the feeling that there's things tucked in behind and around and just a bulk couch, the composition a little bit. And I can also use just the edge of my brush every now name to create a bit of a highlights. And we'd have interest on like the leaves themselves. And finally, I'm going to go through and give some little strong highlights here in there just to live to their luck as well. Just to make you can come back. And I'm adding some sort of Dhaka daka areas as well, like Homer re adding some of these branches that have kind of painted ICBA. Get sum. And just add some really strong ha, Lars on this. Some areas like for example, this pair up in front. And so maybe this one here as well with a bit of a highlight on an H. I'm gonna bring some peak in here in there as well, just to balance the pink that's down in here. Don't really want it to P it just on the pairs. And I'm going to bring a few lights around in a few other places. Thing with acrylic paint is that it doesn't dry, darker than what you apply it. So you may find that once you come in and done some of those highlights in the background, once it dries, you may need to come in and and re-add some of them in a bit of a stronger contrast. So that's what I'm doing now. And just adding in some of those lotta areas back in just helps us define edges where I feel like it needs to be popped out a little bit. And the final thing that I'm going to do is get a really nice deep purple color. Every now and then, add a bit of a blemish on to some of these pages because they weren't perfect and looking little bit pivot to the my Mitt. And I can also use it to add in some stems every now and then on my leaves. A bit of contrast here and there. Maybe a shutter. Again to add a bit of character. So I'm pretty happy with how that looks now, I think it's nicely balanced. I will make another decision once it's totally dry. And I will then decide if it needs a few touches here and there. But I'm pretty happy with that. And I think that looks clinical. So I hope you enjoyed that tutorial and I really look forward to seeing all of your pairs. Make sure that you add them into the discussion and it's the project group so that I can say them because I love saying them. And if you have any questions or comments or you want me to go into more detail in anything, just leave a comment and let me know and I'll try and get back to you as soon as I can. And I really hope that you enjoyed this and make sure you check out my other videos as well. By