Watercolour Tomatoes, Learn to Paint in a Realistic Style | Theodora Gould | Skillshare

Watercolour Tomatoes, Learn to Paint in a Realistic Style

Theodora Gould, The Carpenter's Wife.

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8 Lessons (1h 37m)
    • 1. Introduction

      4:27
    • 2. Tools & Materials

      7:31
    • 3. Tracing the Image

      11:36
    • 4. First Layers of Colour

      14:04
    • 5. Darker Layers and Starting Stalks

      20:59
    • 6. Continuing with Fresh Eyes

      17:23
    • 7. The Final Finishes

      19:02
    • 8. Final Thoughts

      1:38

About This Class

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In this class I will talk you through, and show you the steps taken to paint these realistic tomatoes in watercolours.

It's not as hard as it looks and once you're learnt the technique you will be able to use it in future artworks.

The class is aimed at an intermediate level, but I welcome beginners to have a go, or anyone who hasn't painted in a realistic style before.

I will talk you through the tools and materials I've used, then show you how to transfer you're image onto the watercolour paper.  Follow me as I paint the picture, speeding up certain bits and slowing it down to show you technique and method.

If you've taken my Pumpkin Painting class, you'll enjoy this, especially as it's filmed from above and you can see clearly what I'm doing.  If you haven't and you enjoy this one, then I'd recommend you try the Pumpkin One, which you can find in my list of other classes.

You will find a full list of materials and a reference photo in the projects and Resources Section.

I do hope you enjoy it

Theodora X

Transcripts

1. Introduction: And I, and welcome to my rather untidy garden studio and my skillset to us on ACH paint these realistic tomatoes. In this class, I'm going to talk you through the steps that I've taken to paint this picture. It's a case of building up successive layers of colors, starting off with very pale colors, moving on to darker areas and then darkening up the Baylor colors until he gradually built up the layers to give you something that she's got shape and form. And hopefully looks like you can just pick it up off the page. Painting in this realistic style does require better patients, but it's definitely worth it for the effort. So I've listed this class as suitable for an intermediate level. Don't be put off if you're a beginner, then by all means have a go is not as hard as it looks. And I hope that you'd be able to something which you feel proud of. So I love to try a variety of different painting methods, but this is one that I keep coming back to say here are a few examples of some of the paintings that I painted using this method of building up gradual, there's color. Paying very close attention to the reference picture than comparing it to my painting. Tweaking little bits until you finally have something which hopefully looks realistic. So I hope that by the end of the class you'll have a painting similar to this one that you do feel proud of. But more than that, I hope that you'll take the technique away with you and then be able to implement it in your feet. Paintings, say a bit more about me. My name's Theodora, I'm an artist and a silver smith, although less Silver's method. Recently living in a rural part of England county called Somerset, not far from where they hold the famous gustatory festival. I love to create and try new things. So as a result, my other classes on Scotia, I think it's about seven at the moment, are on quite a wide variety of subjects. As a couple on silver clay, which is the material that got me started in silver sniffing. I've got one on illuminating your art work. So adding gold leaf to your artwork in a very simple way, have on, on cyan and types which are these, these four bloom white ethereal prints. So use a special chemical, there's sunshine to make them. Have one for making these fundamental watercolor cut out cards, which I love doing. And I did have another painting calls. Using the same method is this one a building up layers, but that class is to paint a realistic pumpkin. Now that was the first class that I uploaded to skill share when I've learned quite a bit editing and filming since then. So with this class, you have the benefit that it's filmed from above. So you have a very clear view of exactly what I'm doing. The pumpkin class is filmed from the side so you can't see what I'm doing quite so clearly, but I know a lot of people have enjoyed it and I've loved seeing some of the projects from that class. So if you've taken that one before, then you probably enjoy this because you have a much clearer view. And if you're taking this 1 first, then why not go and have a go and can afterwards? If you want to know about any feature classes I'm doing, then there's a follow button up above which you can click and you'll be notified next time I have led us. And if he wanted a little bit more about me and see some more examples of my work. I spend far too much time on Instagram. I'm Theodore adopt Gould. Did pop by and say hello. Say, I think that's about it. If you have listened to all of that and decided you'd like to have a go at this. Then let's move on to the next class where I took you through the tools and materials. 2. Tools & Materials: Tools and materials, you made it this far. In the projects and resources section, which is down there somewhere, I put a full list of all the tools and materials that I've used in this class and where possible mix of waste by them. So I'm based in the UK, so that might not apply to some of you, but at least you'll know what to do and give you an idea of what you need. There's nothing really out of the ordinary. And I did just quantum quickly mention my color chart. So what I do is draw out a grid on a piece of paper with the same number lines as there are cans of paint. And then in the same order that they're in the palette, paint on a very thin layer of each color, let it dry, paint on a slightly thicker layer, let it dry, and then a really thick layer at the bottom. So when you're looking at your reference photo and you kind of think, oh, it needs a little bit of this a little better that if you look at your palate, actually it's quite hard to see with colors which like this one is Payne's gray and this one is black. But in the, in the palette, they look very similar. But when you look at them on the color chart, we can see quite a big difference. So I think you find that quite useful and that's definitely worth doing with whatever habit paints you've got. Also in the projects and resources section, you will find a reference photo. So I'll cut the Boston, just called it a day there. So there's a reference photo which you're going to need to print out so that you can trace over it. For the purposes of the class, I sought to thinking that most of you will probably be using the reference voltage do your painting. So for the purposes of cars, that's what I've done. I do, however, prefer normally to save the image to my iPad and use the image on my iPad as a reference because it's much clearer in crisper. My printer that I do this on isn't brilliant. So you lose a little bit of the crispness that I see can see it works. So you're going to need to trace your reference photo. So some sort of tracing paper doesn't have to be particularly high-quality just as long as you can see through it. You're going to need a couple of pencils. Say That's just the book extended. Even say what it is on it for the HB pencil. And then I like these little objective pencils coupled with a cold. Because you always have a nice fine tip hail constantly sharpening it. Again to want a little bit of masking tape for sticking Daniel tracing. But don't stick it down and then go away and leave it for days because you'll find that actually your masking tape will TE or papered leave it too long. So once you stuck it down, trace it, and then pages of paper. Paint is quite important. You want something for this method. You can sometimes end up doing quite bit of rubbing on the paper and you want something that's going to stand up to lots of rubbing, it never gets too wet with this method. But if you're rubbing the surface, you'll find that the brain starts to lift it. So these are the two that I would recommend. This is the one that I use in the video. It's a 100% cotton hot pressed and it has a nice smooth texture. It comes. So to say that it's all stuck together. The top where you can separate it. But it just means that if it does get very wet, it doesn't lift off. Doesn't really matter for this because there's an shouldn't Well, shouldn't get that wet. But just a word of warning. If you do get this when it comes with a sheet of black stuff over it like that. And every time I order it had I would have mini panic when it arrives thinking I put a black one by mistake. And we haven't just have to, it's just a protective layer. This is quite an extensive paper. It is good that it's expensive. And I actually have another one, which I think I might always prefer, which is much cheaper. But it has lovely smooth finish again, maybe a slight bit more texture to it that this is one I tend to use mostly. So again, it's hot pressed. It doesn't say whether it's someone said called Monopsony dashed is, but it's gets a really good paper and it comes in a massive watch of it, which I love. Potty rubber is useful. So I keep my limits settle minutes ten. And it's just a moldable rather. It's very useful for making your lines as faint as possible, which you'll see in a tracer. Because basically once you've painted over a pencil line and count and rubbish out, so you want it to be as faint as possible. So I'd recommend party rather. I like to mix my colors on a ceramic plate. The little watercolor palette does come with this tin cover that I didn't like the way that the paint pools on it. So my favorite is ceramic plate, just any old cheapy ceramic phase, I recommend it's white to say that you can see your colors and updating that. Pates also involved are important. These have Windsor nation artist cosy debates. The artist quality paints have got more pigment in them than other ones that you buy. Which means that once you painted a picture, it will last longer. If you use artist quality paint and they are more expensive. Basically, use whatever you've got, whatever you happy day again, need do lots of watercolor painting. I would recommend investing is not as hard as he runs kitchen Raul and never started painting it with that piece of kitchen roll to hand just to dry your brush. Brushes. Say, I use round brushes, which you've got a nice point on them. And I like to have normally three different sizes depending on what I'm painting. For the purpose of this, I have three different ones. So what numbers I got? I've got 257. So anything similar to that? Two is the smallest, seventh biggest. Again, I'll put links to something similar. And you're going to need some water because they are what kind of things? So I think that's everything. Let's move on and I'll show you how to transfer your picture from your reference photo onto your watercolor paper. 3. Tracing the Image: With this realistic started painting, it's very important to get the perspective of your objects, right. Say for this reason I take reference feta and I trace over it and I transfer that onto the watercolor painter. Thank some people have an issue with tracing. I don't think there's anything wrong with tracing. I don't think there's any such thing as cheating or not. Some of our great old master painters use something called a camera Lu Cedar, which is quite interesting and worth googling. But they would, Camera Lucida would project an image onto their canvas, the scene that they wanted to paint, so that they can then get the key points in and get perspective right. Which gives the painting is really as tracing really isn't any different to that. It's just about getting key points down an outline and a starting point. If tracing and camera leaders were good enough for the master's, then they get enough funding. So we're gonna start by tracing over reference data just to get the shape, the tomato shades and where the biggest sort of lines are since very definite line down there, definite line down there. And say that we can get all these nice dorky bits in the right place. So I've taken my bit of tracing paper, which I've taken the edges off just so it's roughly the right size. And some masking tape. Just say that if doorbell ratings over halfway through tracing it, we're not going to move the paper around and not be able to line it back up again and pencil. And just go round and trace Eva and he very obvious lines and get the outlines of the tomatoes that you want to get enough detail in this tracing so that it's easy to see what's what when he transfers onto the paper, but not so much that you gain to complicate it. Say, I tend to just go for the main lines. And I can very easily see what's happening in this middle bit. Say, I'm going to just see the bits IC. And then once you transferred onto the paper, will have another look at it and maybe do a few tweaks them. Now again, then stick it on that to use the back advance for the next phase, the Tennessee River. This is the side we've drawn on. So again, tentative and then it's just with an ordinary folk standard pencil scribble on the back where your lines off. And then put your reference photos one side because you're gonna need that when we stopped painting and watercolour paper. Tenure tracing back over so that the square root of x on the back and place it on your page, deciding where you'd like it. Remember to bear in mind. You're going to have a bit of a shadow. You don't want to have it down there and then have the shadow. And I like it about I think. And then go back to the drawing, back over those lines again. To impress too hard when you're doing this. You don't want to leave an indentation in the paper below, just in case you change your mind about where you want to line today. But you want it to be hard enough say that when you do pin it back, you can see that fits transferring. And I can see here there is a line which I haven't scribbled on the back of somehow miss that, but I can put that in afterwards. Can be quite hard to see where your lines are. Once we've transferred, once we're sure about the others. One thing to be a little bit careful, Augustus, you're rubbing your hands over it. You will get a pencil dust on your fingers, but be careful not to transfer that onto the page. So what you can do, one just put another piece of paper down on D0 hand. Just say don't mock appeal. The nice watercolor paper. And then we've got the outline for autosomal tes. So what would you just take her reference photo? Sorry. It's quite difficult to squeeze it all into the camera fees, but I'll do my best with the photos. With reference phasor drawing. Just check that we've got our lines and you want it to make as much sense in your head as possible. So very genet clay, checking against your reference phase J over any lines that don't make sense to you. And I'm not pressing hard. Any lines that haven't kind of come out fully at the end of this stoke. Any lines you forgotten like that one that I forgot there? No, it comes off the end of that bit that she's drawing that line out quite far enough. So I'm just going to hold to that and that's fit because you see those two bits touching and in my Tracing there not. Some reason. Some places you can put in a suggestion of lies on this bit is not a definite hard line like it is at the edge. It would kind of help me. I know it'll help me when I'm painting. If I can see where that line is, say you take it from somebody you do. And I, so I know that this bit is here and it goes down like that. And then that it comes off the very softly and very softly put back on in. Coming out. Then we're gonna take our policy rubber bits of masking tape stuck to just about everything. We've seen that attacks as well. Find a nice clean Bessie With potty rubber. And then just gently david, But any lines, especially if any of them are too hard or determiner, he's wrong to have a look at any of the lines just making them as faint as possible. We want to see where to put the paint that you don't want your lines to SHA-3 because you won't be able to rub them out once you've got a layer of paint over the top of them. And that's a shame if they show through on the final painting. So to rub with it, squashes on top like that. It'll just keep the lines there that make it very faint. Here we're ready to start painting. So you can just see very faint lines. That's enough for me to get the first coats of paint on. And then I'll have a structure to work with. 4. First Layers of Colour: Say, I've got my reference photo to hand, my plate, MY postcard paper, a variety of brushes, some kitchen row jar of water, and paints. A jar full EVA. And my color chart sheet. Say, let's have a look. We want to start off very lightest colors. So sort of on these edges here, it's almost white and it's got other, such a slight tint of kind of pinky color in it. So I'm going to go to that first, which I can then paint all over. The monetary bits, not the stems. Now you might not have the same paints is made, but out of my set, I'm going to go for a very washed out wins and red, I think. And I'm going to use my biggest brush. Say. But somebody who plate. And then lots of water. Cuz this is foremost White. Keep adding notions of working outwards. It's useful to have little scrap of paper. Aside. Just so you can test your color. Let's put a little bit on and then wash my brush and just debit on the kitchen and then pull that color three up a bit too much for sure on that. So I debit or my pitch mode again. Take care with your edges, trying keep kill outside edges. And I'm working in the direction that the tomato goes. So to me it kind of curls around like that. That's its shape. So I'm trying to mimic that with my brush strokes. And that way, if I do get a line where it's dried or overlapped, area that slightly darker than another. It doesn't matter. It looked like it was parses the painting of like you've done it on purpose. So this first walk. Can you use that mobile to with all of these areas rarely going to be dark except for these very light areas, say, going to be getting back over these prints. And this first layer is going to be hardly noticeable in the painting. A tool that sometimes when you're painting something, the hardest thing is actually stuffing it. And this is almost like sort of confidence. It doesn't matter too much because it's a pale smoking rate against the effect he pays will lift it too much. But it means that you've started. I keep having more set who paints it doesn't just get darker and darker. Now that I've done very light bits, actually going to just put on, normally I've not gone dark bit, but I'm gonna have a quick go at these sort of lighter orangey bits. By adding a little bit of wins, a yellow to red. Pink at a moment. Just think we need to orange it up it from my end. But let's backtrack. And I can see that in hand here. And I've got these very orange bits, so I'm just going to put a wash of those on the hey, see that? Pinky that wash we just put all next to an orange bits. So I just want to be careful not to completely cover this fessed up. Can you do end up with a sharp edge like that? You split your brush. Tried helpful dental and just soften that edge. We can keep print SR brush and drying it. Suffering edges. And again, still painting in the direction that the curve is the tomato goes. So there is a fit to the hair to see maybe a bit dark, but there is some of that sort of orangey color in this and getting just prickly bush. That attractive because it's a definite lines on that that you can see it's already starting to get shaped just from doing that. Actually, that it's 2D ammonia to Matt. So now I'm gonna go in for some of the darker areas, which will help me to get an idea of the form and the shape. We indicated to mess around with the women's. Yet a secret with this technique of painting is to always go lighter. If in doubt, basically go lighter because you can always make things dark, but you can't make some lighter when it's you've made them darker. So I think that's a good color. Just to be on the cautious side. I'm gonna get into these dark areas. This and I can always darken it up. Chuck, definitely a tiny container. You can align my fat. Sort of an edge might not line that, can just wet brush. And just soften that. Tomb paintings. I find K through a stage where you think, oh my god, slips. And the secret is just to keep carrying this when I haven't gone your eyes up to the edge with that line because I'm gonna just soften that in a bit. Try not to lose this ice area. Lacking line here in this area is going to go dark. Just buy the damn fresh mix tape. That sharp line hurt. So you can see how I'm just going around building up different areas of cauda, trying to leave certain parts, the lightest color and darkening areas. So I'm gonna go round the other two in the same way. Then we'll have a look at it again and see what we think it needs at that point. 5. Darker Layers and Starting Stalks: I'm going to get darker and read it again. And quite pumpkin like a moment. That's a little bit more of my brings a red. Again attacks in a bit of Alizarin crimson as well. Since it's a bit bright and that's gonna be faulty pain control, that means and like put admittance. So orange unit haven't painted these before. So you've got me thinking as I paint, just going through the process with the taking away of the orange. I'm just saying check. Can try and keep working in the direction. Tomato that painted on time at Seattle. Got me. Try not to get to the lines to shop where my fresh strike ends. So they're not difficult to get rid of this. Oh, she doesn't really have any definite 9s. And I'm sort of coming at getting rid of all SRA and then putting back into what I painted. So I'm still using my biggest brush just because I can cover more area and try and eliminate some of the joining lines by using it. So I'm gonna suffer this line festival because I'm going to put more of that color on that. But it'll be easier to lie to joining either by soften that nine fast and then come back to this area before it dries and kind of dry my brush and then whoa, back into that nine. And since he stops, go dark at the other colors, dots make most sense. So this bit where it was quite yellow and now we've gone dark. You can see that that's fall to light and we're going to have to go yellow, a mat that by building up in layers like this, it just gives you a bit of leeway that have confidence and trust in yourself. You're not gonna go too wrong. Just do it with a little bit our time. So that's now quite wet. Tom. I don't want to play around with that too much. My instinct is telling me that I need to put more on that if I'm going to let that dry, move on to the next tomorrow. And then I will come back and add more layers to that. Times with my brush I almost kind of stippling edge rather than dragging it. So to pounce you brush on it. And she's quite good way of softening. Small area. Two here, the top half of that line is quite a solid line and the Boston Hoff's not. So I'm going to leave that line. That just comes to soften. No possible. And then do my kind of roughly steeply. Thanks. Matt. Today this you'll find to brush starts to pick up some of the pigment from your page. So you need to keep white paint on your kitchen roll every now and again. Just say you don't make the whole area too dark. Try not to lose that yellow area. Just softly blend. So I've been painting for maybe about an hour and a half. Obviously bits of it you've seen speeded up. And this is the stage, right? And I think next I'm going to go for some sort of midtone. So I'm going to go for some of these. Well then, now mid tones they will join them. I think they were lighter that now that we've got some dark color on there, I can see that these yellow bits and sort of orangey yellow bits need to be darker. So I'm going to go onto those next. And then we'll reassess from that. Move. Slightly sick aversion could be a bit more yellow, yellowish color to draw. In these areas. I'm just gonna suffer me for these mines with a retina yet I meet with the damp brush. Just doing that movement for that. And then I think we're going to need to go darker again. This read some mix up, some more of that. So that was Clinton's a Read this or encourage user. I'm going to say Kevin in order because well listener, say this one. We comparing that to that I can see I need more of this cauda. We're onto. Yeah. You just saw from that into the editor. So if you look at the stalks, there are different colors in the store because well, so you've got very dark green and bright green. And then the sort of yellowy, most brownie color on the end and say we're going to get for that stock for smaller brush. Pay list of those colors, which is a kind of yellow, a Brown. So I'm using a bit of my Xunzi yellow. Okay, for this yellow curve in that as well. And I'm just going to pick a green areas with that. And that's gonna try purity quit today. So I'm gonna get some. Sap Green. And I'm gonna put them little bit. Olive green and us as well. Coming it's quite soon bright. So test and dry. That is sometimes favor line real quick. And just use your finger and just push it. Actually the way push the paint to a safe and that line I went slightly, I just push it with my finger and then got my line back. Most of this is this degree and he kinda, but I do want to just leave a few areas to base Yele collective I can't into suffering. Head choose Where the green and the sort of yellowy color blend together without lines. And mental, There's a feed. Pale yellow, getaway bit savage. Just going to leave gaps for the rest of it is pretty much Doc. I can put this green on that. And then we want to go to occur again, say, well if green. And then my favorite most versatile culturable Payne's gray, this is already struggling color. Say we want to add a little bit because the time. So I tend to put my brush Payne's gray and then put it some as separate on the plate and then mix it in. Much swoop down to my smaller brush chunk on the trips on the attachment brush. Just particular snippet, dark spots. Same way as before. If need to soften any definite lines. And small areas like this. Instead of stippling method works quite well. Let us not assume. And news when painting the New Testament newlines His suffering that strikes notes to blend means. I'm always looking from here to here to see the difference. Even for very darkest areas. Which again, probably will need to go. Now occur again with the next layer. That it gives it that the default and helps it to come in our minds to what the shape actually is. Which bit overlapped switch aren't just got snow that falls. And we're gonna save that happens. Skip OK. To just use a corner just to sync up the puzzle. Piece, kidney drips. So now we've got a bit of colour on the stalks then not done by any means. And it just helps to sort of pull the whole thing together. Gives us a better idea of what we need to do on the tomatoes. Say, at this point I'd recommend you take a break. When you've been looking at something for so long, you start to lose sight of it and what it needs with it might not be able to see the wood for the trees. So I would suggest probably leave it overnight or go off, have a cup of tea and I, Sloan walk and then come back and look at it again with fresh eyes. 6. Continuing with Fresh Eyes: I've had an overnight break from my painting, which I think is always a good idea or doesn't have to be an overnight rate, but certainly go off and have a cup of tea. Do something else, and just take your eyes away from it. It's when he comes back, he comes back with fresh eyes and gave me bread. So that's my Liz Ryan chromosomes. And some wins the orange and gt special command. And I'm going to leave out the Windsor red this time and just go back in with some of these davka areas again. Let's try and build up the contrast. Will just try and make sure I don't have any lines across which mouse head I, that you put more orange. So the more deserving chromosome become a add more orange. Nine hands to definite, you know, Khomeini. Veterans face a defining line here. And I have got a defining line of my paintings. Just going to give us stuff from the edge. Plus I soften the edge, my brush is gonna pick up a little bit of that color. I think it's actually right over that yellow area or list all mean the same thing for definite line message just to this pedal moves from my brush. Something that and so to me, this area here. So looking at Hall of Shame comparison to this, so you can just wash my brush. Tried off a bit and just in a bit and a smoke brush picks up a little bit, it's a red. Again, just carry it. A is the area, so didn't lose that area completely. But this is a defining line. Train it on it. The style comes up fat measured there as well. And I am going to do something similar with this. I'm hurting, I'm rubbing my brush on the edge. And less than that will sort of merge together. Turning a bit that's that red, Hoover, terminal orange more. So with my smaller brush, cheaper aggression, just gonna mix them all kinda. Didn't I tease my small brushes to mix colors. I can help it because brushes just didn't last as well. Now with my smaller brushing your game in, just define these areas is that And the brush say made it to the big one and just soften. And there's quite a lot with the shadow. And this fit picks up for it still might be a bit wet. Say, I'll concentrate on another area and then come back to these areas on the red, which you've got this dark color in them. Trying to decide where to go next. I'm going to do a bit more on the stems. The red areas that drying, say smoke, my accent, green. And similar things for a and will also take aim to you. A bit of my Kinsey Yele. Just put it on the side. Because I think that the yellow areas and this a much yellow as my paint, them, setting MD a thin wash the DNA into those areas just to brighten them up a bit older. Now I've got a few areas that need to be read by that fits in there as well. But I'm not going to worry too much about that moment that I wanted to paint the red end where I've just put the yellow on the minute to bleed into one another and say, let's just small dock that hand. You see the two dark marks here which and then hit more contrast between yellow, green. Okay. So now I'm going to mix it in this color. Mixing and little Payne's gray with that. Rabbi's Payne's gray than black. To give a better, more realistic shadows, then black might use some black Khaliji, the shadow underneath that. So now using my middle-size brush, just sucking in that chat and I get the average. And he was so desperate Px comes down. I think men are getting t computed that ready orange into these gaps. So now we've my bigger brush. And just a little bit of a gray, just a tiny bit for the shadows. Again with a set of reference picture has taken the phage graph on a ceramic tiles and it got a bit of a, the election as well. For the moment I'm going to ignore all the reflection. I'm going to go for these dark areas. Let's try and make such multi-phase mixed there that sitting rather than just placing the past with everything. Stopped light and you can build it up and painted his own men just SF net outskirt. It's very subtle to begin with. You know, shutting kind of comes between the three and think a little bit because the red and then I would choose just to match, say Kathy bank get the red in that and then what actual interests with my clean but sure if kitchen row and then debit jump claim, being very cautious with these shutters, you can hardly see it. But we can go in and document up and it's always best, good light and dark. So I will let that dry before I try and put mole, the doll, come to it. And this thing to, this alphabet is jumping are significant to just with little water on my brush, toroidal fit, damp brush. Just gonna see them personally. You can shop and this. So I'm gonna leave that for a moment. Stri 7. The Final Finishes: So I'm gonna hit dry. And I think the shot is really helping to sort of pull the painting together. The stalks still need attention, but I'm going to come back to those and give out a bit more shadow underneath. So I think it's got that feeling that it's starting to get there now. So just with my Payne's gray and some Olson just gonna go in and dog. And that's something that, that Charles again. Now they look a little bit more like that sitting on the page. Think I probably still need to go darker again with that. Again will dry. I'm going to put a bit of an orange Walsh because I think I've got a bit too much contrast here and hey, compared with this. And we'll say these bits look a little bit too white to me. So we put a bit more orange, which is the Windsor orange, Into the red mix that I made. Just thin it out that and then just literally painted over the red areas just to kind of ties in because they are different kind of it, they're not so different as different designs on them. So you can see, I hope you can see the difference between that one and that's got a sort of softer look to it. Because the Walsh kind of ties it together. So I'm going to do the same on this, which you just gonna go try and keep your edges shop. And I'm not rubbing it in too much. We're not trying to disturb the paint layers beneath this one that she just wanted to put this bit of color over the top of. The rabbits I've done just sort of consolidates the whole thing. We're doing this you'd like to bits and still stay light and dark. That's, we'll go a little bit darker. So the overall effect of tone stays the same. You just changing the color and the feel. Like I say, just consolidate in Europe. And it helps you to sharpen up your edges as well. Which makes the painting kind of Pop. Looks like you could pick them up off the page. And so again, because I've put wash over the whole thing, I now have to let that dry. Bulk just my normal rubber. I'm just gonna go round the edges and just take out any of the pencil lines that is still visible. If you're feeling a bit stuck and you're not sure. What the painting needs. Quite a useful thing to do is to take a photograph of it. And I like to take a photograph maybe come with the reference picture, just helps you to look at it in a different way. So looking at the photograph, I can see that obviously my Stokes, you need a bit more work. I think when I put the wash on and I said I've done a bit too much there should probably have left that I think I've lost a little bit there. So maybe if I darken up that line there that might add that bit back in. It's just kind of gives you a fresh angle to look at. Another useful trick I find with any drawing or painting. I'm not probably not gonna do it with this one that is to hold it up to a mirror. So look at it in a mirror and all of a sudden it gives you a different view on it. And the, any faults or things that aren't quite right will sort of pop out at you. So hopefully those are some useful tips. Saying, I'm going to just try and darken up to that bit little. So I'm gonna go in with my Ready orange dust of mine. Was that Mozart contrast back again that I lost. Actually go down to my middle. Brush up my pit that big is holding but too much motion. Long hand just to sharpen up the edge and submit. You can look for more contrast and can't think that more shall we? Say? Payne's gray can see on the video to get my camera any higher than it is to give you a wider view. But I think now I'm going to try and concentrate on date. Just checks and I've still got fan I'm trying to concentrate on the stalks and get the stalks done so that all some bits of brown and the stoke say is much darker color than that. And in here there's a bit of this brown, a color for this little sort of pinkie thing going on that. So I'm gonna take my smallest brush and have a go at doing some of the detail on the stoke. Say I'm gonna take it off and just try and get some of that money coming in. Maybe a little bit just to kind of shop Nazi edges as well. So just very fine lines. Really just using the tip of my brush. And I'm also again to you that says green, the mix that I made and then put a little bit more Payne's gray in it. So it's already quite dark. Just got him some already doc that I like to always tease the mess lines again to just stem, define stoke events. And then the next one again, much the Brio. So these are really just the last little tricky bits that they do make two different stippling of heat pits on here just to get that and kind of effect. But unlike soften that just by wetting my brush and then just stiffening the top than thought. And then you can very clearly see, I think it's where the stem is being cut off then is that the sort of pinky area? Say just going to take my pinky mix. Beginning to jog. Make kind of pinkish area that, you know, something about this dark area that I'm pushing them. I think it needs to be a bit darker. Damn hand say like dark color again, this is going to help to define that edge shoots a tomato, that speech and a bit of a talk out of interest that show, map it to the ground and said Sten, who ran a different kind of gritty yet areas seems to be okay with it. And I can do the same things this just doll could just when that kind of it. Was my middle brush. Not miss that most of the shadow. You might even try and unpick tiny black and white up close to the tomatoes. Come teach day a little bit more. Shut down hair as well. And now what I'm going to do is leave it all to dry. When we go for a walk or something like that and then come back and look at it again and see if there are any final tweaks that need to be done. Because I think that lineally that I think probably done as much as I can to this. I loved my storks, but I think the overall look of it, I think it looks like tomatoes. Say, That's what I was aiming for. Mike just put Payne's gray and my smallest brush. Shoots try and define these stalks and knit that off. And be the tenuous, tiniest touches. I think he's as good as they're gonna get. But I'm going to just tweak the shutters that I'm gonna take little bit of black and mix it in. Black are the Payne's gray sets exist light and dark and just go in place to the tension the tomato, either in seven teachers and see the tip of my brush screen next to the tomato stays where it is. And I think terribly happy with the shadows saving fiscal net wide in the mouse a little bit. And it's interesting having a look at it face to face graph. What an option. I thought it was finished. But I decided that my shutter is we just too tight to the tomato bringing and met with. There we go. I think that will take. 8. Final Thoughts: So you've got this file. My final thoughts. Thank you so much for watching. I really hope you've enjoyed the class. If you can think of many ways in which I can prove it or anything I could do differently than do let me know. Also, if you have any suggestions of things that you'd like to learn to paint. And again, just send me a message and you can leave a comment in the discussion section. And I did what was tried in cut, didn't miss one. I tried to apply to everybody and these helpful as possible. I'd love it if you could share your creation with me and the rest of the class. In the projects and resources section, you can upload an image of your final painting. But I will say love to see progress shots. So if you have taken photographs of it throughout the process, than it would be wonderful if we could share those. If you're on social media. Instagram is where I'm usually at. It would be lovely if you do post a picture of your final painting on Instagram, you tag me Just so I did miss it. As I said, it's Theodore at DOT gold. And if you've enjoyed it, then please leave a review. It really helps me classes to get seen. Fully button up above. And then next time I'm not making the class. Again. Thank you for watching and I will see you sing.