Pumpkin Vase with Lilac Flowers (Halloween Special) - Just STIPPLING with Oil Pastels | Raju Dyapur | Skillshare

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Pumpkin Vase with Lilac Flowers (Halloween Special) - Just STIPPLING with Oil Pastels

teacher avatar Raju Dyapur, Artist and Vedic Maths Coach

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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

10 Lessons (57m)
    • 1. 01 Introduction

      1:31
    • 2. 02 About Materials

      5:42
    • 3. 03 Preparing For Painting

      0:54
    • 4. 04 Painting Leaves

      3:47
    • 5. 05 Painting Firtst Layer For Flowers

      11:19
    • 6. 06 Playing with shadows

      11:01
    • 7. 07 Painting the Pumpkin Vase

      11:15
    • 8. 08 Painting Background and Table

      8:39
    • 9. 09 Final Details

      2:13
    • 10. 10 Thank You

      0:55
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About This Class

Afraid of oil pastels OR do you think that you need to be experienced with oil pastels, then think twice because in this class I am going to take you through a simple STIPPLING approach to a painting which will certainly make a good gift or you can even frame it for yourself you brighten up your living space.

Interested to learn" Then, please join the class and we will get stippling.

You get many ideas which can be adopted for any of your projects.

Who this course is for:

No previous experience required except your enthusiasm and eager to stipple.
Anyone can start painting this as I take you through simple techniques.

I am very much sure that every student will certainly get something out of this stippling class.

Meet Your Teacher

Teacher Profile Image

Raju Dyapur

Artist and Vedic Maths Coach

Teacher

Based in Bangalore, India, Raju Dyapur is largely a self-taught artist. He (worldofpaintings.com) has masters in Information Systems Engineering from Cardiff University, UK.

His experience in drawing/fine art comes from his learning in school and college and the training he got from private lessons in Russia

He has conducted numerous workshops in many countries for more than 8 years and he has been conducting workshops in India since 2014.

His students range from different backgrounds including working professionals, Fashion Designers, Interior Designers, movie editors, 3D designers, art enthusiasts etc.

He is completely captivated by nature, seasons, colors and absorbed by landscapes and cityscapes. Most of his paintings depict the colorful and mesmerizing l... See full profile

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Transcripts

1. 01 Introduction: Out of all the flowers, when you start painting flowers, what it can do is you can start with poppy flower, which is very easy because petals are bigger than you can actually share them, follow the contour, and then you can actually make them beautiful. But when it goes down to certain flowers, and mainly when you look at it from little bit further away, you don't have to put too much of details. So keep that in mind because every time you don't have to stress yourself to put the details and then struggle into a final result which is not going to be satisfied. So in this course, what I'm going to do is I'm going to show you just most of them is just to play and then minimum amount of effort. But main thing is I'm actually using not the student grade, not the artist grade. I'm going to use level of middle range of oil pastels. So remember that because I don't think that not all the time you need a super artist oil pastels. So I'm going to use those pastels. Follow me along with each and every step. I'll show you layer by layer. Then you'll be good with your final painting. Hello, my name is Roger that I pulled from our loop ends in.com. If whatever I said until now, if you are interested, I hope you will enroll in this course and then we'll have a 100 percent enjoyment and have a wonderful painting by the end of this project. 2. 02 About Materials: So let's go over the materials needed for this particular class. So what I'm going to show you here is first we look at the surface where we are going to paint. So this is what I use. This is made for human acrylics you can use, but mainly five pascals. So when I say pastels it is, I'll pustule soft pastel pencil plus the charcoal. So this is what I'll use if I really need something to be saved for a long time or otherwise may be something to be framed. So these are the ones, but main thing is you have to remember these clumps in. You can buy them separate. But this comes with the different pastel colors. So creamy color, just the white. I could have used this for this particular class, but I ended up using the white one. It has a little bit texture. You can see that little bit of texture, not too much. I think he can get that in the video. You have creamy color, light cream and a lot darker, premium, little bit darker, but you have five shades in this, but you can actually use this in different scenarios. I have other classes and courses where I've used these ones for still-life. Of course for still-life and pour some landscape also abuse. So this one comes in a set but a little bit expensive than if you really want to just try out our starting off with oil pastels. So I would suggest go with good drawing book. So this is what is, you can buy online, all sorts of things. But at least it says premium drawing book, not expensive. It comes with a good number of pages, but pages are almost a 130 GSM, 100. And that the GSM, the ones which I showed you before, is a 160 GSM. You can even use a 200 GSM watercolor papers too. This is watercolor paper. This is a 200 GSM. This also has some texture. You can use that one as well because those ones, you can frame them and keep them longer. And if you are practicing, just go for artists. Bad our artist's book, which is a 130 or a 150 GSM. Then moving on to I'll pustule. So this is what I've used. You can actually just corn by student grade ones. This is the mid-range one, which is what I've used Pentel. It's available everywhere. It can actually look at the on my website where I am. I mentioned all the materials needed. First massaging are blending. You can use cotton swab, which I didn't use here let me show you that one as well. And another artist, oil pastoralists. This is what I've been using, if not Gallery, this is what I buy, which has very good creamy texture, comes with 48. And it's, s little bit nearly three times the price of what I've shown before. Gallery one is almost four times the price, three times, and this is almost three times and four times. So it's just a matter of which one do you want to use and then which one is good for certain techniques because here it has its little bit harder compared to that one. Here I've tried this and the other artist's oil pastels, both with mineral spirit. These blends easily and this one is little bit difficult. So if you want to try it out, you can actually try out with mental spirit or otherwise just blend with cottons, falls. Apart from that, you need a masking tape. Depending on your country, you might get it in blue colour or any other color. So you can actually use masking tape so you can get the border or your painting. And you can also put it on a board, something like this. Apart from that, I have used I could have used cotton swab. I felt maybe just to get the corner sharper. Just this is as you can see, that's what I've used for doing. So. And I've used this one every time. What happens is once you get that color, you just have to either use a sharp blade or craft knife to peel it off or otherwise, you can use a sandpaper and rub it off just to get that sharpness and get that color off of this blending stump. This comes in a set, but I'm just showing you these two are more than enough because it has sharp edge so which you can actually reach the sharp corners of those leaves. And then the last thing is the black Prismacolor pencil. It's a good investment. You can use it for a long, long time if you're actually buying this by one of these and one of black one and the black and white ones. So at least you'll be able to use it for so many other techniques. It's well worth the buy and then milliwatt the investment so he can buy this black, which I'm going to use it for shading and shadows. And if you can buy white in your collection, a pretty good set. So these are all the materials that you need for this, for this class. And then once you have all this, Let's get started with the painting itself. 3. 03 Preparing For Painting: Here is, as you can see, what I've done is I've just drawn all of that the same sketches or liberal as a PDF so you can actually follow the sketch out. Otherwise, looking at it, you can draw the leaves anywhere. It doesn't have to be exactly the same, but the bottom portion is the viz, which is a pumpkin shaped, so I'm weren't actually color it based on that. So what I'm trying to do now is although I've used hedge bend till I feel that it's too dark. I don't want any of those pencil marks to be there. So what I'm going to do is it is them in such a way that they are barely visible, but It's good enough so that I can actually occur them. So I'm going to use this prismacolor black pen tool. You might have already watched the materials and then that stump as well. 4. 04 Painting Leaves: So here what I'm doing is I've taken white, light green, and lemon yellow, only these three colors, whichever color you have from your help us to set light green. Because the name sometimes actually differs from brand to brand. Just go for diff, differentiate yourself with light green and dark green and take those ones. So what I'm trying to do is I could have just blocked the color and then just left Cretaceous. So what I did is I've just put yellow somewhere in between. And then now I'm going to put on the border somewhere in the middle, light green because I'll PESTEL is not sharp enough, so I'm actually not be able to make them blend with the tip of my finger, even with you and with the tissue paper. So that's the only reason that I'm actually using blending stumps. So once that is applied, all I've done as you can see, just the yellows there and then barter don't cover the low and light green. Then what will happen is you will not be able to see that yellowish color, which on the leaf it, you can actually get that just by blending it. So the blending stump I'm using mainly because of that reason, make sure your blending stump is clean enough in such a way that any of the color from the previous painting should not just get marched. See that? That's exactly what I'm doing. So you can actually blend it. Make the SharePoint list you get sharper just for small leaves because unless and until you are painting is large enough that you can straight away use. I'll post those to get those leaves. In this case, it's not, as you can see, another thing to notice is that not all leaves are actually facing me. So some of them are turned left, some of them are turned right. So if they're turned left, your perspective of looking at the leaf is just maybe a thin line. Are maybe move this way less and some of them are bigger, some of them are wider. So you just have to keep in mind that when you're painting something like this, you have to have a combination of all of them. It's not that just because it is Leif, you make all of them leaf shapes and then it just feels that they are actually facing. So it's not, That's one thing you need to keep in mind, the one-way drying. So once this is done now I'm actually going to go with darker green. This is a Taylor green and darker green. But as you can see, I'm trying to put maybe the edge underneath the leaf as part of shadow on one side of the leaf. So that I can show that it's more three-dimensional rather than just two-dimensional. It's not that I'm not asking you to exactly cover the entire thing. So make sure that you're actually just trying to get that lighter side and a darker side. And then some of them are actually casting shadow on top of each other. So if you keep that in mind, if you want to work out with any of the other shadows, if you really need, we'll do it at the end. But for now, just remember about the direction of the leaves. And these three colors which we have put for all of them. 5. 05 Painting Firtst Layer For Flowers: So here in this module, we'll try to paint first layer for the flowers. So let's just keep that in mind. Because anything you paint, you have to keep in mind that the light source and the shadows. So based on that, we will try to add shadows, everything at the end. So but you just have to keep in mind because we are working with all pastureland then May. And main thing is once you put the darker values are otherwise once you put too much pressure, we won't be able to erase that entity so that we can get back the bottom layer. So keeping that in mind, all I'm doing is like I said, this whole painting is actually just going to be stippling. So all I'm doing is just stippling. So just make sure there is apart from leaves. I think maybe with the vase again little bit. There is nothing much. So everything is stippling. So just keep in mind, like I said, the light source, in this case, my light source is from left, top-left. So top-left, and then anything at the bottom, and on the right-hand side is the one. So that's a top-left where the highlight is for all of them, which is very brighter, so you put less pressure on That's where at the bottom one from the right-hand side is the shadow part for the vase. On the table are even entire flower and it's casting shadow on either on the table, on the wall. So just keep that in mind. So what I'm going to do is I let all of you follow these steps exactly what I'm trying to do. Make sure that you're trying to put more pressure while stippling at the bottom and on the right-hand side. And and one other thing that I forgot about is anything that you want to make. You want to get. The shape of the flower is this is the time. So you can, one of the major thing, One of the important things that you are actually doing it in this particular module is that stippling getting little bit of a highlight side, shadow side, and the shape of the flower itself. So if you get that done in this, then we can actually try to increase little bit contrast. Shadow will see which color to use. And then based on that, we'll see and how to use it. Because at the end of this painting, we need to make sure that that contrast is, is there and the darker and lighter part and on. And another thing is that in this that I'm also trying to get, I should have gone ahead with different color, two combination of two colors, but Titov getting white ones. So if it is white, I need to get that list something dark backgrounds. That's the reason that I'm going to go with black background. But with white, I can just leave people as white. That does not show, that might show the shape of the flower, but that won't show those petals. So if it is, no, I can't leave white paper as white. So you have to use other cold because it's not exactly as white if you use white paper. So it's not exactly as white as white paper. So here in this case, white flower. At least if it is white, I need to use some other color which is gray, which I'm going to use that gray, you might use it as the lighter portion of the petal and then as well as just the little bit of shadow of each petal. So that's how I can actually show. And then you don't have to cover the entire flower. So if you call the entire flower, that will just turn into a grip loss. So here what we are trying to lose weight, I need to leave it as is and little bit of gray color just so that I can get the shape. And then after that, when we paint the background, we know where the chip is and how to paint it. So just follow along with me here. And then you should be good. By the end of this module, you should be good with the shape, shadow, and highlight will increase each one of them by looking at it. And then we'll see what happens. By now you must have already shapes. And then as you can see, there's just a light gray. I'm just trying to get the shape. See how to build up the shadows in the next module. 6. 06 Playing with shadows: So in this module, we'll look at building up the shadow for each of those flowers are then in-between where our light doesn't reach. Just get the contrast by putting some black. When I say black, maybe it's just a black pencil. I'm not going to exactly use black, I'll pustule. So now what I've done is I've taken, I'm still playing with the same wildlife now I'm going to go for darker wallet. So you have, you must have a darker while it set. So I'm going to go with a darker violet, which is more of a bluish violet. So you can actually use because the one color which we had applied for, I was lightweight that are otherwise the pinkish white. So one of those colors, So when you look at the colors from your collection, from your set, so you should be able to differentiate those ones before you start off. So I'm expecting, I'm guessing that you have watched little bit and then you have chosen the colors. Although I've given all the list of materials, Marty, it's good to watts so that you will know exactly what goes first, what, and what comes next. The reason behind that is exactly, you will know what is in your set. It's not that you have the same exact same set. So if you have exact same, but they'll set so you will, you will know exactly what look what, if not, if you have a different set or maybe you have limited colors from your set, then just drag to make sure that you match up the colors. And one more thing you need to remember is that although I'm using these colors, it doesn't mean that you have to use the same color. If you are using any other color, maybe you want to use these lilacs with just a blue, then you have to look for lighter and darker blues. So that's one of the things out. Otherwise, if you want to go with the pinkish color, so then you can actually look for pink and then the red are otherwise you want, if you want to go a little bit dark, but you can actually go with the model itself. So try to make sure that at least three values. So when I say pretty well, those are the values you have. So now what I've done is I've just completed that. The darker ones with that, I'm going to use little bit of blue here. You can, there are two things that I'm actually going to go with. Ultramarine blue. If you want, you can go ahead with the Prussian blue as well. So either ultimately not Prussia impression will give me one little bit darker. So you just have to be very careful with applying darker colors. What I've done is only light is from leftOp and then it's on the right-hand side, are at the bottom of each one of those flowers. So that's where I'll put colors. Although you can see that all of them from far, whenever you do this, just do one set at a time and then look at your painting from four to six feet away from your painting. And then you should be able to see the shape. And then if not, and then go back again and try it again, come back and see because what happens is if it's continuously start working on it and then you won't be able to see the shape. Then what? When you hang it somewhere, then you might not be able to see that chip. So I'm going to go with little bit of green, this green. The reason why I'm using the green is just to fill up some of the areas. It doesn't have to be exactly the gaps. So those gaps, the Philip leaves are maybe certain leaves are just underneath the flower are underneath the other leaves, which are going to be dark. I might not be able to define each edge of the leaf. So based on that, I'm trying to put this darker ones here and there. Once that is done, make sure this is where you need to build up. I could have used sometimes what happens is you might have seen some of them straight away using black, but it's very rare that I use black unless and until it is needed. If not, I'm actually going to use the similar color which is made up of whatever the color which I've used and the combinations of colors which can actually cure was that darker ones? Main thing is in this scenario, like I said, I'm actually using dark blue. I've used ultramarine blue. And if I am going to use a darker green and yellow, it's actually going to give me a darker color. It doesn't have to be exactly black. Just because I've decided that my background is actually going to be black. That's a reason if your background is actually going to be other, any other color, such as darker red, even the darker green, light green wall. Martin this case I already have the green leaves, so i'm, I'm just going to use this. So this is again stippling our little bit of smudging here and there. Irregular shapes. So there is nothing much. Sometimes I'm using more pressure, sometimes I'm using less pressure. So as you can see, some of the places where I'm actually using the darker green is a place where maybe some leaves are behind the flowers that are peeking through between petals or something like that. Just the addition of green. So now I'm going to use a little bit off my black pencil. This is where I will try to look at the lines and the branches, any of those small edges. And in between maybe there are some twigs, small tweaks here and there hanging. So that's only I'm not putting too much pressure, but I'm trying to concentrate on if I want to separate two leaves, maybe I'm trying to put that black color either on one of there just are otherwise as part of shadows again, I'm trying not to use black. Also, it is just, I'm trying to use this pencil so that I can get sharper edges, shapes, right? And then the shadows, right? So if you're following along with me, you can pause at anytime and then try to make sure that look at your painting and see how it actually looks. But try one thing. The main thing is try not to put too much pressure with the pencil. Like I said, once it is done, then you won't be able to erase it. So those are all the things that I have already experienced, so pride and then I was not able to, then it is just the practice. So now that you are following along with this video, so you should be able to minimize your mistakes. Then you get connected workflow. Again, I'm going on with while it again so that I can get some of the petals here and there. You just see, You should know exactly when to stop. Make sure that the shape is right and highlight because light is from left top corner. And then based on that shadow is supposed to be on the right-hand side, those flowers should be casting shadows on the leaves, but those are the leaves which I have shown here are the ones which are actually getting the lights. If not, maybe they're underneath so much. They are just dark so you don't have to worry about it based on that, you just try to color it. And then we'll see exactly how to put the background when it comes to the background color. And then as you can see, some of the places where I'm trying to put dark and that is where I'm trying to define those shadows. It's not that everywhere it is shining and just the shadows you just start to play with that. There is nothing as right or wrong. It is just I know these flowers I've seen many photos. I don't have a straight reference that I actually painted this. I have an idea about the flowers and then weighs something different. So when you look at the completed the painting, when new, you might have already looked at it when you started out. So just keep that in mind and that's what I'm trying to get to. So once that is done, shadows, then we'll see, we'll work with the vesicle. So try to follow along and build up your contrast and shadows with these 23 colors. And then you should be good with this part. 7. 07 Painting the Pumpkin Vase: So in this module, we'll try to concentrate on painting and the pumpkin ways. So pumpkin weighs just a color to colors, but will also concentrate on shadows as well. Light is from top-left, so on then the shadow should be on the right. In the sense the value of the color for that particular object. In this case, it's surveys, so that has to be a little bit darker. So it depends on actually what you want to use. You can still use black, but I'll let you know exactly when to use on what to use. So I'm trying to use orange first. Then we'll go with red color, not the Manon red color. So first, cover the entire vase with orange. And I'm going to leave a little bit of a spot on the left aids. It can call it as highlight, but that is the spot where the light is exactly reflecting into your eyes. So you can actually look at many photos, reference photos, any photos, just Google them and then you should be able to find any photos. You can look at a photo of it. Tree, there are leaves which are reflecting light green. There are those leaves from the same tree. And then leaves which are deflecting lot darker green and then shadows are there, but there are leaves we tell actually reflecting trait light into your eyes party. It's not exactly when I say it's reflecting straight into your eyes, not like a mirror, but they're actually reflecting straight into the rays are actually straight into your eyes. So what happens is their leaves are green, but still they look white. So you can see those white spots so that, that's spot on. That weighs the white one on the left is the one which is very bright. You can have done that in two different ways. One is leave the spot on otherwise, if you're actually using your white pastoral, what I would suggest these one CFU colored this entire thing. You have to use white pastel and then just press it so hard that the little bit of I'll personal actually just sits on top. So that is the other option because you are to have a good day. I'll post a lot of the rise. You put enough pressure so that he can leave. So what I've decided is I'm just going to go ahead with leaving that part. I want I can actually put a little bit of white inside that are otherwise we have taken white paper, so I'm going to just leave it as his. Apart from that, any other highlight will define the shape of that vase itself. So you have to see because main thing is now that what I've done is I've just blocked the color. So once you start putting details in terms of the shape of that particular subject, in this case, it's a pumpkin shape. I'm actually going to, that's a contour. So as you can see, the lines which are actually I'm drying. That's the Contoso for this kind of things that you have to keep in mind that even if it is a football, the contour of the lines along the axis on the top and the bottom. The center line will be straight, vertical and onto the right, that their card right side. And then onto the left of that straight line from the midline in their carbon left. So that's the only way you are to show that perspective, but that's a contour of that particular object here, if not defined, put, this is one of the mistakes that you might end up doing is straight lines fasting. And the second thing is not knowing whether these curved lines are supposed to be on the right-hand side, towards right out, and then on the left-hand side towards left outside. So that you have to keep that in mind. Do you just have to improve your observation skills in such a way that when you look at certain objects, you should be able to look at the contour of that object and the lines which are actually on that particular object itself. How do they follow from left to right, top to bottom curve is the strike. So just keep that in mind. Now what I'm trying to do is I could have left it as is, but this waves will also have a little bit of other high lecture we just sharing it might not be as bright as the spot. What we have left. It might be just a little bit bright enough, so I've just applied a little bit of wide. Try not to blend it too much. You can. If you blend, maybe it might become literate light orange. But then again, see in 11 layer, you might not be able to get the effect what you're after. So main thing is you have to go back again and again and try to apply different car. So that is, that's just the line. It's the rim are otherwise just where it has actually bent on top. You can call it as a rim. So which is the rim light. So that is not in terms of photography Bud Light for that way. So I've just put that one line. And then this is where I am. Now I'm using black pencil to get a little bit of the shape and the shadows of that particular contour or whatever falling is there under ways which is going to look like three-dimensional and then which is going to look like a pumpkin shape. So now that I've done at the bottom, I've just put lead to wait you but make sure when you're using black mentioned one which I'm using, the good one actually, it is, it's soft enough that it blends with all pastureland, then it can I can actually merge and blend it with my blending stump as well. So that's one of the major things. So on the right-hand side, I'm going to put a little bit darker because as we have already discussed, the light is from left to right. So it actually has to be a little bit darker than the left side of the vase. So that's, that's where you are to keep in mind. Now the way I'm applying is like I said, don't put too dark. You can actually get darker layer by layer. And I still have a little bit dark from the tip of that blending stump as well. So that actually gives me a little bit of darker color there itself. This is one of those places where you can go with dark all PESTEL. So if you are actually going with dark all pustule, make sure you apply it. Use Alba, still end up play the color, black color, just a touch. Just detach what I said, don't push it too hard. If it becomes too dark, then what happens is from, from a distance your eyes are actually going to go there because either the fetus too dark or too bright that barrier eyes are going to concentrate on. So now what I'm trying to do is build up that shadow off the leaves and the flowers, making sure that it is just enough pressure and just enough dark. So if you really need more dark when you can't required, if not once you if you are using black girl pustule just does monoline. And then blending with the blending stump, draw a small line and blend into the blending stump. So making sure that that leaf has to be shown properly because it's facing us and then the edge is supposed to be lit with CRISPR when you look at it from a distance. And then little bit of shadow, exactly how to lead. So just playing with the shadows, light is from left and follow along with this. So you will be, by the end of this module, you shouldn't have your pumpkin weighs ready with proper shadows. Never leave it. Just like an empty without the shadows. It feels like actually there is just something stuck onto that. It's not part of the entire painting. So it is just, like I said, I'm just building up the contrast and get that darker tone. And then once that is done, we'll move on to the next module. 8. 08 Painting Background and Table: So in this module, what we're trying to do is paint the background and the table. Just a table is just trying to get this edition of the table. Not going to put too much of effort. Just painting the table. Main thing is, see as of now there is no background and the vase looks like a sticker because it's not sitting on anything. If it is sitting on anything, again, it should have shadow so that it's part of the entire setting. So now I'm going to use black. So as you can see, there are white lilacs and then the other lilacs which are inside and the one on top edges. So what I'm trying to do is I'll get the shape of that outside. But made sure because my edges are not going to be crisp anymore. Because those are, if there were big petals, I know that I can actually get the contour or the shape of their teeth as you can see. I'm actually going to get that shape and then first get the edge and then cover, cover it outside. So this is actually in dumps off. This is called as negative painting. Negative painting sometimes what happens is the one which you are going to paint later, you will not be painting in the first place, but you'll paint it outside and then go for the subject insight out of whatever you are going to paint here. That's not what I'm after. What here the negative painting is. I can call it as just covering the background. But the only thing is when you do the negative painting, yet actually very good, careful about the edges. Very important that edges. So I'm going to use my finger here, making sure that I am not getting any sharp edges near the flowers. Are any of the floors, are you on the leaves? So I'm just going to use this, use my finger and just to blend it on Smart Object. So that's one thing. We'll try to, you know, if my smart you'll come back and then we'll try to put there just properly. But like I said, we need to make sure that it's going to look more realistic rather than something which is faded. So that's what I'm after. I can see the black very well for my painting. Only thing is because I have the studio lights for recording from two or three different directions. Three different directions. Those are the ones where you might look like it as dark gray. I've completed that, it just the repetition of the same thing. I've shown you a part of it. And then you just repeat the same thing and then try to apply get that dark as much as possible. So black color complete. So this is where I'm actually trying to get the edges, like I said, the negative painting and making sure that it is, It's not crispy and the edges are not crispy because of the petals. And then once that is done, and another thing you need to, maybe you're asking yourself a question. If that is the case, then I need to see maybe some shadow on the wall. So 23 reasons for that, at least more. One of the main reason is that when the base is on the table and the wall is far, far away from the ways it up. So that means actually if the vase is, are the table is next to the wall, then I'll be able to see so that you have to keep in mind that most of the time, the way you have arranged the still life, the shadow casting shadow on one, none other, depends on where the object is. So here it's just like in photography. So if you want a darker background and then you don't want the shadow of the person standing. So you just have to make sure that the distance between the person and the wall are the background is quite enough in such a way that you don't get the shadows you want with either the flash of light. So here it's the same case. The wall is very far away. Main intention is the shadow of the ways and some of the flows which is actually going to cast on the table. So that's part. So this is the edge of the table which I'm going to image I have drawn. So I'm going to create the blended. I could have just gone ahead and put just brown and then made it to brown, but I didn't want to know. One. The main reason is that light is from top-left and then it falls on the table. Very well. It falls on the table so late actually lifts up the table surface. And then the side, we'll just put that little bit darker and then smudge it. So underneath the table we need to differentiate between the edge and underneath the table. Here, I'm just going to smudge as much as possible. I would not yeah, I would have done it with the blending stump. It would have taken a little bit longer time. Like I said, this, I'll PESTEL is a medium range one, so which is softer than the student grade, but the one with the artist will be even more softer. Soil blending will be easier. Here I'm trying to put a little bit of more pressure. So if you are using either student grade or otherwise just the one which I'm using. You will get to know how much pressure the unique door put mud here on the table. Even if you leave the marks of the oil pastel, it doesn't matter because it's just a table. Table can be of any type of green on it. It doesn't have to be as small telophase. So this is the edge where I'm going to differentiate between the table edge. And then underneath that, that table where I need to put a little bit more shadow. So once this is, this table is done and the shadow is done mainly for the table. Then we'll concentrate on shadow of the floor on the table, on the right side of the base. And then the vase itself, because as of now it looks like a sticker. Maybe it looks good, but it looks like a sticker because I need to keep in mind my highlight, shade and shadow. So shadow is not that. I need to use that shadow as well. So we'll come back and get to the shadow in a minute. So for now, as you can see, the bottom one I'm trying to put a little bit darker. We are light doesn't touch. So you have to keep in mind that where the light touches, where it doesn't. Depending on that, you should be able to adapt on it. Lighten the color. Sometimes contest actually place a very important role where you need to do a lighter shadow, darker shadow. So here what I've done is I've just used little bit tough black. And then I'm just going to pretend that that casting shadow from this. But main thing is, as you can see, I've used black, a little bit of black. But one thing to notice is that I'm considering this shadow as soft shadow, so it's not the heart shared. A hard shadow will have a sharp edge. So it is just the soft shadow. Sometimes when you put like this and if you feel that it is too dark, go back again either you can use the same table, Colorado there was, um, no, I'm going to go back with the white to lighten the color if you feel that it's stored up. And another thing to notice is that the back side edge of the table is blended with the backdrop. So that does not have a sharp edge. So that's one more thing you need to remember too, is you can do it either. You can blend it with the background, a lot of logic and show that. So this is, that's a lost edge. So that's another concept that which comes under still left. It's a lost edge with, I'm not worried about it, but it's there, but the focus is somewhere else. I've just put a little bit of shadow for the waste. So now at least it looks more of white belongs to that whole setting and then it is also on the table. So if you want, you can actually increase the contrast by using pencil or the dark. And then you should be good with the painting. 10. 10 Thank You: I hope you enjoyed this course. Just by using simple techniques. I think you must have got good idea about how to use. I'll pustules and then how to use certain techniques doesn't have to be too much. I've given you enough ideas, simpler tools, even simpler, I'll pass TTL so you can actually buy it. You don't have to spend too much, but still get a very good end result. So if you have liked it, please post your paintings, whatever we have done. And then I'll be very happy to answer your questions too. I'll be releasing, I'll pustule full landscape course soon. So keep an eye for that costs. It'll be leading in some weeks. So and if you have any questions, like I said before, so you can post your questions and I'll be very happy to answer your questions. So until then, bye-bye.