Complete Guide to Realistic Oil Painting - Part 5: Shading Exercise | Maurizio De Angelis | Skillshare

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Complete Guide to Realistic Oil Painting - Part 5: Shading Exercise

teacher avatar Maurizio De Angelis, Scientific Illustrator and 3D Modeller

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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

    • 1.



    • 2.

      Difference between opaque and transparent colours


    • 3.

      Shading Exercise


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About This Class

Complete Guide to Realistic Oil Painting

In this course, split into 10 parts, you will learn the very basic foundations of painting in oil.

Focusing on a very classical technique, you will be able to understand the secrets behind realistic painting, and then you will able to paint anything you want using this method.

You will become confident in the full process of creating a painting, from preparing the support to the finer details.

I have chosen a magnolia branch as the subject for our painting, taking inspiration from some beautiful botanical prints from the past.

By the end of the course you will have a clear understanding of the technique I used, be able to produce a realistic oil painting, and to take that next step on your career path as a painter.

Resources available to download:

  • Magnolia branch pencil drawing


Part 1: Starting Point

  • Oil Painting Creation Flowchart
  • Materials
  • How to clean brushes after painting
  • Collecting References

Part 2: Making a Drawing

  • Making the sketch
  • Making the drawing

Part 3: Prepping for Painting

  • Priming the surface
  • Toning the surface
  • Tracing the Drawing

Part 4: Making an Underpainting

  • Making the Underpainting

Part 5: Before Painting a Grisaille

  • Difference between opaque and transparent colours
  • Shading Exercise

Part 6: Painting a Grisaille

  • Grisaille - Branch
  • Grisaille - Leaves
  • Grisaille - Blossoms and Seeds
  • Grisaille - Flowers
  • Painting the Background

Part 7: Refining a Grisaille

  • Defining the Grisaille
  • Passing a Retouching Varnish
  • Recap and Conclusion

Part 8: Glazing **** CURRENTLY IN PRODUCTION ***

Part 9: Adding Final Details *** CURRENTLY IN PRODUCTION ***

Part 10: Finalising the Painting *** CURRENTLY IN PRODUCTION ***

Meet Your Teacher

Teacher Profile Image

Maurizio De Angelis

Scientific Illustrator and 3D Modeller


Maurizio De Angelis was born in Rome and grew up surrounded by some of Europe's most celebrated art and architecture.

It is little wonder that he went on to study Fine Art, specialising in traditional painting, at the Accademia delle Belle Arti in Rome and in Florence.

Living in London (UK) since 2004, he works as a 3D modeller and scientific illustrator, creating digital contents for the media and publishing industries.

His work has appeared in films, TV commercials, books and journals for a wide range of clients.

Alongside his career as an illustrator, Maurizio continues to paint, taking private commissions for portraits using oil paint on wooden panels.

Wellcome Image Awards 2015

Sky Portrait Artist of the Y... See full profile

Level: All Levels

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1. Presentation: painting realistically in or it can be very challenging. It's like our Camille baking. You need to know how to proceed step by step. If you want to get a second resort and if you follow my painting method, you would be able to create realistic paintings by learning a simple technique that will stay with you for the rest of your life. My name is Marie today and it is and a monotonous working in London. I'm originally from Italy. I was born in Rome, where I started find out painting, imploring, receiving a very traditional Italian art ification. I've been painting in order for more than 25 years now, and I always concentrated on releasing porches, still life paintings. I created this course to teach you the very basic foundation off realistic oil painting. There are many methods and many techniques out there, but in this course we're going to focus on a very classical technique. You will be able to use it to pay anything you want, as you will learn a proper painting methods. If you take a look at some of my paintings and one there are, I did them is using this method So if you want to know the secret behind this realistic paintings thesis the course for you, I chose in a magnolia branch as the subject for our painting, taking inspiration from some beautiful botanical prints from the past. By the end of the course, you will have a clear understanding or technique used. Be able to create a realistic oil painting and to take the next day on your career path. It's a painter, so let's get going. 2. Difference between opaque and transparent colours: in this lesson, we're going to do a painting, exercise and understand out mix and shape colors together before diving into the lesson. We need to understand a fundamental difference between oil pains that two kinds avoid pains or Paige in transparent colors. This classifications represented by a symbol and in Mazzini in blocks. Pain is a square but can also be a circle in other brands. Or he can be just a written text like in Michael Harding soil. Three seniors. Well, it's blocks pain. There's also senior pagan, semi transparent, but we just want to follow us now on the two main types, opaque and transparent. So we have a no pay color represented by a black square, while transparent color is represented by a white square on a paid color is a full fiqh layoff pain through which we cannot see through. Normally. These kinds of colors are used in the first part of the painting process as a base prior to glazing, or if we pain alla prima transparent colors is the name, say's transparent, or if we use one of these colors, we can actually see through them. Transparent Kallis are mainly used for glazing which is a technique of transparent Lazov paint that are added one on top of the other. So the processes who pay callous first for base and then transpiring colors for blazing in the following exercise and going to show you how to paint and blend colors together. And once you learn this fundamental technique, we can campaign the grease I in the next lesson. 3. Shading Exercise: I saw from a tone panel, but you can start from a white canvas as well. It doesn't make any difference. I use a triangle to make a rectangle of about 15 by 3.5 centimeters thin . I use some frakked tape taping the perimeter off direct angle frog tape is uses. The glue doesn't allow the pain to penetrate through it, especially when the surface is a bit rough, like in this case, it's not essential anyway, so if you don't have it, you don't need to buy it. - So we want to make a mark every 2.5 centimeters, the same here now with the marker, which is more visible to camera, about to number these spaces. Now I put next to me some turpentine. Now we've got a titanium white and allowed black. If you don't have the same black, it doesn't matter. As long as the black is a pay, it would be fine, but you must be a titanium white. Now we want to put a kala or two between these two. In my case, two kinds of blue on Indeed, Blue, which is a deep blue with high tinting power and an ultra marine blue, which is a transparent, pure blue that becomes a pay if means we touched on in white. In fact, every transparent colors become opaque if mixed with titanium white. So we put down some black. Now, some white, they dig a blue, and then the ultra Marine. Now we have two brushes once more, like the ones likely bigger. We take this smaller brush. We dip into the turpentine jar, but that we tap the brush on the cloth so the brushes only damned not really wet. Now we take some black now, some indigo or any other will pay color you want to use and mix it with back. Now some ultra Marine, it looks quite dark in camera, but in reality it's slightly brighter. I mean, it's basically a tone of black, but there's a bit of blue tent in it, and when we are some white would be more visible, as you can see on mixing them quite well together. Right now, we want to pay in the first cell with this color. - As you can see, I want to remove the excess color by sort off pulling, caressing the surface and make a consistent layoff. Paint with no area where there's more color compared to others. Now I put the brush there for reference with a clean brush of the same size. We do the same. I went the brush a bit, dump it on the cloth. Then I get some white, not very much, and I mix it. The titanium white is a very powerful color. In fact, he has the highest capacity and Tintin power awful wides. I'm starting to notice a substantial difference in tone. I just want to ask some ultra Marine. Then I mix it well and then I pain the second cell. But I don't want to go all that the first sale if I had changed the explosion off the camera, we can now clearly see the colors. We have exposed the whites, but at least the blue tones are more visible, so we feel this cell and again trying to get a flat, opaque surface. Second color is down, and I placed the brush there for reference. Now the third color I grab this time a bit more white. Then I also picked some ultra Marine and indeed A and I keep mixing it's very important to mix well. The pains together now feeling the fad cell and again make its move in flat now the fourth cell as before adding white and both blues while I at some wide I also want to make an estimation, because I don't want to go too far off the last blue we put down. We don't want like a jumping gradation. So we mixed is well and that we paying cell number four. You can actually see that the gradation is making sense now That's done now. Seven. Number five. I want to add more white. The Italian white is quite a feat color, so sometimes he needs some finishing beyond it, and it gets more fluid filling. Cell number five. You can see the colors are very Paige. We cannot see the Tone bank run through it anymore. Now this is also down, and then the last cell I add more white. He has to be considerably lies and in some number five and then I painting, - and that's done. We have our six color spectrum from dark to light indigo blue with the market now mark the center or which sell and the reason why I do this is because I want to so much I want to blend the margin where two sells meat and extend the blending up to those months and get as moved transition. So I want to ease off these margin. So a Kallat number one would get into color number two and vice versa than 2 to 3. Free into two and so on and so forth until we get a nice shading effect. Now you take brush number one in a stock tapping on the surface. And I started ease off this margin here. As you can see, I'm extending and blaring out this area. Now we brush number two. I do bet early the same, but I also move along the transition between two and three. - Now it's brush number three it with the same logic eyes move out of the colors. Now brush them before bash number five and then six. Now I want to go back to color number five as they realized. It is a bit of a jump here and I want to fix it the same phone number four. That number two and then number one. Now we have this shading thes gradation of colors and his staff was moving all out. In order to do this, we need a set of dry, round mock brushes similar to those ones here. We're going to use thes brushes for blending, so our brush for blending must be dry, clean and round like a dome. We're not going to be able to blank colors together with a wet brush, and also we need to use a new clean brush after some time. Normally buy watercolor brushes for this process because they are soft compared to oil paintings, brushes. So let's see our blend colors. Now I take the meat size brush. Can. I want to start from the lightest color? Why do here is literally caressing the surface. I'm not applying any pressure. The viscosity, the thickness off the oil paint is not there. Affected by dissection on Lee, the superficial particles are moved around and they mixed together. And this is what we want. It's really, really important that you clean the brush from a cloth when he gets to loaded with paid like this. Then you start again. It's every Pettitte eviction and he takes time. - No , I changed brush and again clean one. Gonna keep blending colors together. When I'm generally satisfied by the level of blending, I take an even bigger, more brush, and I basically do the same thing. I clean the brush quite well. Once again, I keep blending, - and I think this can be enough for this demonstration. I can now remove the frog tape carefully and you can see the state is amazing. It doesn't allow pain to infiltrate, and this is a We have a noise production. A nice shading, obviously we know after something perfect like what computer could do. This is not for the shop radiant, and I'm totally happy with this. I like when I can still perceive the brush strikes a little. Now let's try something else a quicker exercise, something a bit more, lose less structure than before we make a triangle shape. Using the tape something like this. It doesn't really matter Now. We choose any color. You can be opaque or transparent. In my case, of course. Translucent magenta. As I said before, every transpiring color gets opaque when mixed with titanium white. I went the brush a bit and I painting with pure white, then I wrapped some agenda and I mix it with white. And then I pay with this color, and I basically do what I've done previously with the Indigo Blue. But this time a blend colors straight away. Now I want to add another color transpiring violet, and I put it down. I want to demonstrate the flexibility of all pains in this exercise. So for the indigo blue, the approach has been very methodic. Why, for the purple here it's even a little bit too rough. But at the end of it you'll see that the result would be basically the same. - Now I reinforce the white. Let's start mixing colors together. These would be kind of alla prima painting where painting is done in tow. One session only where you paid wet on wet. Now we take a large dome brush that means in the shape of a dome, and that's before we going to brush gently over the surface of our painting. - I clean the brush and again I blend the colors. You can also change the painting direction. - Now I take a super fluffy brush called mop brush and once again brushing over the surface. What about If something like this happens so like that the white gets dirty. All pains a say flexible that you can just painting again with the titanium white, which is very opaque. And by the way, this is the reason why you need to clean the brush on the cloth. So we pain with the titanium white and again we blend with the more brush and that's it. We have this new shading and he works. Why? Well, in the next lesson we're going to make agrees are using types hanging white and long black . We're going to use the technique that has been explained during this exercise.