Foundations of Oil Painting: Master the Basics

1. Foundations of Oil Painting: Master the Basics: Are you ready to immerse yourself in the vibrant world of oil painting? Whether you're completely new to oil painting or looking to refine your skills, this course will guide you step by step through the essential techniques and tools that professional artists use to create captivating, expressive works of art. This course is perfect for beginners who are excited to explore the fundamentals of oil painting. Will start with the very basics from color viewy and how to create a wide range of colors using just a few primary colors to learning about essentials, tools and materials. Gradually, you will progress towards creating captivating still life paintings filled with vivid colors, smooth transitions, and dynamic textures. Through hands on exercises, we will explore how to learn about essential materials, including papers, canvases, palette knives, brushes, and different palettes. Get hands on experience with popular oil painting mediums like linseed oil and linquin learning how they affect drying time, glossing, and the overall finish of your work. Learn how to set up your palette efficiently, organizing colors, innovator simplifies mixing and keeps your creative process flowing smoothly. Create bold textured strokes and add dimensions to your work with a palette knife. Learn how to achieve dramatic reflections and highlights with this versatile tool. Explore the different uses of soft haired, hard bristles and angled brushes. Learn how to control textured precision and application to elevate your paintings realism and expressiveness. Put theory into practice by painting real life subjects like apples and bottles. You will use a variety of techniques from glazing to impasto to bring your still life compositions to life with realistic depth and texture. That's not all. You will also learn how to care for your tools, ensuring that your brushes, palette knives, and other materials remain in top condition, ready for your next artwork. By the end of this course, you have mastered both traditional and modern oil painting techniques from creating smooth gradients to adding bold textured strokes. With a focus on still life subjects and practical exercises, you will gain a deep understanding of color theory and artistic expressions, giving you the confidence to create oil painting that truly stands out. What are you waiting for? Take your painting skills to the next level, express your creativity and start creating artwork that makes lasting impact. 2. Understanding Oil Paint Colors: Hello, everyone, and welcome to this new course. In this lesson, we are going to become familiar with colors, getting to know the oil paints and the characteristics of colors and how we need to see them. These are the oil colors that I'm showing you on the screen. We are going to use them in this lesson. And what we intend to achieve at the end of this course is learning how we can properly see the colors. Have a look at all the range of colors that I'm using, what we are going to train our eyes and our mind to get rid of the distraction and accurately see what is there that needs to be worked on the sense of the colors. When we try to buy oil paintings either for ourselves or as a gift, there are many samples out there that may seem confusing. You can buy them in packs of six, 12, 24, or even single, one by one. These are the colors we are going to use, and later on, we will become familiar with their names and when we try to mix them with another color, how they will look like. What is interesting to know is that these names are mostly the same in different brands and it makes them easily recognizable. For instance, this is cadmium yellow, pale hue 119, so they all have numbers. It is good to know that we have two types of yellow here. One is light, which is called lemon yellow hue. The color is 346, and you can see it here. So even though the same brand, we have two colors, but they're all a bit different. And then we have cadmium yellow, as you can see, two brands here, the same name for the colors. Now we have moved to cadmium orange hue, 090 and cadmium red hue, 095. This is another sample of the color red from different brands. This one's light cadmium red. Also we call it Aesarin Chrisman hue, 003. The red tone has a bit of blue in it. It's like cherry red. It doesn't matter what brand we are using. The Aesarin Chrisman has the same tone. Just like we had different tones of red, we have different tones of blue. However, the most important one when it comes to blue color that we will be using is ultramarine color, which is called 660. Then we have tons of blue such as cobalt blue hue, 179 that you can see here. In different brands, we have the same names that makes them recognizable. So even you go to different brands, they have the same names. I might just the numbers to be different. So the next blue color tone is as you can see here, cerulean blue hue, 139. This one is lighter than the previous two and it's very close to the sky blue tone. The next one that I'm going to show you to here. The next tone of blue that we will use a lot is Prussian blue. 538, as you can see here, is a very beautiful color, which is dark blue tone, close to navy blue, and we will use it a lot as well. The next commonly used color is titanium white. So it's better if we have larger tube of it. I always buy a very large tube because we are going to use it a lot more than any of the colors. Now, look at this one. Viridiant hue that you can see here is a green color tone. It is the main green color tone that we will be using in this course, but it might not be the main color green that you use it in another subject matter that you try to practice. The important point you need to consider is the combining, mixing these colors. And how we can create a new color. It will be infinite numbers of colors that we can create here. So in this course, especially, we only need eight of these colors. Alizarin Chrisman Hue, which is 003, cadmium red hue, 09 fine. As you can see, I have it from two different brands here, but the color tone is the same. We will need cadmium orange hue as well, 090, along with the cadmium yellow pale hue, which the number is 119. They're the same. And also viridian hue, 696 here. And the last one that I'm going to show it to you, not the last one when it comes to blue, ultramarine color. This one, 660. Now, the next one, as I mentioned, is titanium white. Very useful and cobalsblue. This one, 179. This sums up the colors we need for this color palette we are going to use in this course. We can use these colors and create the rest of the colors we might need ourselves. Keep in mind that in this lesson, we won't be used colors such as black and brown because we can create them easily. Why is that? Because we intend to analyze and understand the colors in this course, later on, I will tell you more in details that the color black actually does not have that color pigment or that the color brown is actually a combination of many of some of the main colors that we can create easily, so you don't need to buy it actually. So these are the colors we are going to use in this course. But in general, it is important to know all the colors, to know their names, their tones, try to practice. And when you go, like the brand colors, this is insuraNeton color that are used by professionals are known really for their artist label. You do not necessarily need to use artists colors, and you can go with any oil color you have. And if you wanted to make sure how to use them and which ones to use, you can send me messages. I will help you to get this brand that is within your budget and within your area or your local art shop. Now let's go through next lesson, and we are going to talk about solvents and different oil paints. But by now, 3. Working with Essential Painting Liquids: Hello, everyone. Welcome to another tutorial. In this lesson, we are going to get familiar with different mediums and solvents typically used in oil painting. These are a few samples of the mediums liquids and solvents we'll be using, and I'm going to introduce them to you one by one. Oil paint is solid and thick in the tube, so we need to use these mediums to make the colors ready for painting. Mediums help us alter the effects of the paint. They can speed up or slow down the drawing process, and they also allow us to adjust the consistency of the paint. For instance, when we want to leave visible brush strokes on the canvas and build texture with the paint, this is when different mediums come in handy to achieve that effect. Let's talk about some history behind the mediums and solvents. This originated from China when oil painting masters discovered Chinese oil paintings and their glossy finish. They began developing mediums that would help them modify the quality and appearance of the paint in their own work. If we categorize the mediums, we start with those that increase the glossiness and transparency of the paint. The main ones are linseed oil, liquid, and light gel. They can also add volume to the paint. Linseed oil gives the paint a nice gloss and slows down drying so you have more time to blend. It also makes the paint feel smoother and adds volume. Liquid is faster drying, but it still adds gloss and helps the paint flow. It's perfect if you want the layers quickly without waiting for each layer to dry. And light shell thickens the paint, adds body, and keeps the colors vibrant and glossy. It's great for building textures while keeping that smooth, glossy finish. All three mediums help you control the paints look and feel, giving more flexibility depending on the effect that you're going for. However, guys, it doesn't mean that you need to buy them at the beginning. Oil paint doesn't need all the liquids and solvents. You can start practicing without them. So don't try to spend so much money at the very beginning. You can get only one of them, maybe linseed oil. If your oil paint is quite old and you need some liquid to make sure that it's not dry and liquidity enough. Also, I did show you turpentine to fin the paint, sand cedar, and white spirit. Also solvents that give us similar results. These museums are widely available from different brands and use them to alter the paint and create various effects, as I mentioned. In this course, we don't need many mediums, so don't worry. We will mainly use turpentine or white spirit as their purpose is to thin the paint and reduce its stiffness. Also, linseed oil is one of my favorite ones. We may also need brush cleaners. My recommendation is either turpentine or sansdr. It really depends on your personal taste because well, not personal taste. You might need to buy one that it has smell and one doesn't. So now, as you can see, there are different types of linseed oil that comes in various thickness and consistency, but they all work similarly, helping to delay the drying time and increase the gloss. We will explore this as we use them. When you use linseed oil, you might need more time when it comes to oil painting. So you don't want it to dry fast. You just want to delay the process, the drying time process. Another use of linseed oil is to smooth out brush strokes, making them less visible in the final piece, which is great for portrait drawings, any kind of hyperrealistic drying, oil painting drying. It can also be used when working on fine ditails as I mentioned, making them shinier and more noticeable. Also, I would like to give you a tip. If we mix linseed oil with Turpantin, we can create a medium that speeds up drawing process. So I hope you enjoyed that tip. That's it for this lesson and thank you for watching. I'll see you in the next tutorial. Bye bye now. 4. Choosing the Right Papers for Your Work: Hi, everyone. Welcome to another Tutorial. Well we will explore the different types of canvases, paper suitable for oil painting. Yes, you did hear me write papers as well. There are various types of papers and canvas that can be used. Some have textures similar to cardboard and are thicker than regular papers. We have also canvases with a fabric like texture, which are obviously thinner than the cardboard like ones. As you can see on the screen, this is what we will be using in this lesson. And it's great for practice. So you don't have to spend a lot of money and it feels like canvas texture is form of a notebook and we can tear out a sheet to start working on it. Great for beginners or great when it comes to professional you want to practice. These are the ones similar to the cardboard texture I mentioned earlier. The size is also suitable, providing enough space to work and the number of sheets allows us to plenty of papers to practice on. It's better to practice on paper canvas like this one rather than those fabric like textures at the very beginning. These are easier to handle. We can take one sheet and position it where we want to work. This is not a simple with fabric canvases. We require preparation before. So as you can see, this is what we're going to use this time. When it comes to canvases for oil painting, there are a few more few types you should know about as well. Stretch canvas is the most common. It's fabric, usually cotton or linen, stretched over a wooden frame. You can find it in different textures depending on the eve. Of the fabric. Canvas boards are another option. These are pieces of canvas glued to a rigid board, making them more affordable and portable. But in this course, we're going to use canvas paper, which is great for practice. It mimics the texture of canvas, but it sheets form, often sold in pads. Each type serves a different purpose with the stretched canvas being ideal for finish works and canvas paper or boards being better for studies and practice. Let's move to the next Tio, and I see you soon. Bye bye. 5. Exploring Palette Knife Techniques: Hi, Brivon. Welcome back to another tutorial in this lesson. We are going to get familiar with this tool, which is a painting knife and very useful. We will be using the knife as the main tool for painting, actually using it instead of brush. The knife we will be using, as you can see, as an angle tip, and it's small in size. We do have smaller sizes as well, smaller than this, but we have bigger sizes. Make it easy for us to control and handle. It can be used to mix colors, to apply different colors onto the canvas or paper. The shape of this painting knife makes it the best choice as the main tool that we will be using later on. In this course, we won't be using brushes. We'll be using knife to emphasize how colors are mixed and applied to the canvas. Also, we will focus entirely on the color application and textures created with a knife across different parts of the painting. A painting knife is great for adding texture to your work. It's ideal for applying thick paint and blending colors right on the canvas. You can use it to drag and mix colors without fully blending them or for sharp, crisp lines with the knife's pointed tip. It's also useful for scrapping back layers to reveal textures beneath, adding depth to your painting. By adjusting the angles and pressure, you can achieve a variety of effects, making it versatile for bold texture strokes. And we're going to use it in the next few tutorials and you will learn how to do all these things. Thanks for watching and see you in the next lesson. Bye bye. 6. Using a Paper Palette for Mixing: Hi, everyone, and welcome to a new tutorial where we will get familiar with another tool in our course, the palette. The traditional painting palette is commonly made of wood. However, with frequent use, it darkens. We also have alternative, such as paper palettes like the ones you can see here. These usually come in packs and we can tear off a sheet to use. They are designed to resist absorption, meaning the colors and mediums won't soak into them, so don't worry about that. However, for this course, we are going to use a different type of palette. Why? Because wooden or paper palettes can slightly alter the colors and affect how we perceive them. This is the palette we will be using in this lesson. It's made from gray cardboard, which we have placed inside an ascolt sheet. You might be wondering why we are doing this. The gray color helps us distinguish the colors on the palette from the surrounding environment, making them easier to see. This is because gray is neutral color which allows us to see and understand the colors more accurately. The gray tone we are using is called grey, a blend of gray and beige. This is the color of the cardboard we are using. Again, as I mentioned, I place an Aslet sheet on top to prevent the cardboard from absorbing the paint and to make it easier to clean the palette. Keeping the palette clean is very important for properly mixing colors during a painting process. This sheet should be the same size as the palette to fully cover it and provide a workable surface. When the paint accumulates on this sheet, we can easily remove it using the painting knife. So for now, thank you for watching, and I hope you found it helpful. I'll see you in the next sterial and for now, bye bye. 7. How to Arrange Colors on Your Palette: Hi, everyone, and welcome to another tutorial. In this lesson, which is quite an easy lesson, we're going to learn how we need to add colors on the palette and the what way to do it. The only reason we are doing this lesson is for beginners. And if you feel like how I should put the colors on my palette to be organized, that's the only reason. So if you are not beginner level, I suggest you move on to the next tutorial, and this is going to be quite a beginner lesson for you guys. So as you can see, this is our palette. As you can see again, we talked about this palette in the previous lesson. I made of gray cardboard and acetate sheets. However, if you're not sure what use and how to use it, you can send me messages directly and ask me about what you have in hand at home to better use our palette and add the colors to it is the best way to follow my hand wn. We need to have an order as we add the colors on the palette. In the next lesson, I'm going to create the color wheel that you have seen in the previous lesson. And show you how we're going to combine all the colors that I'm going to use here today. We have already added the first color, Alizarin Chrisman Hue. The next one would be cadmium red hue. Look at my hand movements, I'm adding them from left to right. Have the colors I introduced in the previous lesson ready beside you, so you can add them in order. The next one, as you can see, cadmium orange hue. You can stop the video and read all the information that I have put on the screen for you guys. So you have a bit more information on each color. So we have done cadmium yellow, the lighter version, and then Viridian hue, any kind of green that is closer to that brand is fine. And then cobalt blue. After that, we're going to add the last color which is ultramarine. The darkest blue that we have. So so far we have added all the colors, and then the last one would be our white. You can see a bit more. Always, you will need white color more than others. So as you can see, this is the right way to arrange your colors and put them on your palette. We have added other colors almost vertically like this on the palette that we can easily take the amount that we need from the lower parts of it without damaging the rest. There are other tools apart from colors and the knife that we need to start working on this lesson and we can make these tools ourselves. One of them can be made with a piece of paper, the same gray cardboard like this, and all we need to do is adding a small hole on it. This piece that I have made already is five to 10 centimeters and I have added the circular hole in 25 millimeters from the top part on the top part. And as we start working on this lesson, we use this tool and the small hole on it to specifically look at the color our subject that we're going to work on. This will help us sit and differentiate the different tones, the colors that we have in different parts of our work, and we will talk about it more as we go on. We have the subject to work on the Apple. Going to use this tool, see the colors specifically on this part that I'm just mentioning right now. Using this tool like I'm demonstrating right now, you will do it later, can separate the colors from one another, and I will do even more later on different subjects in future lessons. So follow along Anything surrounding the world and the lights and shadows, they all can affect the way we see the colors. But when we use a simple tool like this, we can train our eyes to see the colors correctly. Try to do this and send me your thoughts. How do you feel? Did you find it useful? This is a tool we will be using to see better and understand the colors even better. So we can make them on separate parrots in a correct way. Another tool we need, and we can easily create ourselves is what we can call a color box. A simple box made out of a few cardboards in different colors where we can put the objects we are going to work on. The one we are going to make and use for this lesson has a surface and two walls, each different colors. As you can see, I have used these two cardboards in this way to create two walls, and we are going to put it in front of us where our model is kind of standing position. We can put it like this in front of us, even though you cannot see it, I just put it like this. And underneath it, we can add another cupboard as a surface in a different color. As you can see, I'm using primary colors using yellow, red, green to create a simple box inside, which will create the subject later and I will show you how to do this. For now, bird is in mind, and in the next few tutorials, we're going to go through this example. For now, let's move on to the next materials you need to know about. So as I mentioned, among the materials we need to start work is a suitable desk, and any kind of desk is fine. You dining table, your computer table that you're comfortable enough wear suitable clothes. Go for the ones that are comfortable and also a piece of fabric that you just saw using to remove the colors from knife or just use a kitchen towel or tissue would be fine as well. Now I'm going to show you how you need to use the painting knife and how you can mix the colors. You can use both sides. Look at the way I'm holding knife to take some colors from the palette. I'm using the sharp tip of the knife, and then that's how I clean it. Just if you don't want to use lots of tissues, a piece of fabric that you don't use at all is perfect. And when we are sure that we have made the knife completely clean, we can use it to take the next color and then mix it like this. Any kind of blue and red you have is fine for now. You don't have to do ultramarine or zarine red, or you can use cobalt blue or cadmium red and mix them to get some results. In the next uterial, I'm going to go through all color wheel and how to create them correctly. This is just for you to understand how to use the knife and how to mix colors. Just handling the knife and moving it across the palette is very important to mix it correctly because the most important part is for you to understand the beginner levels, how to mix colors, how to hold brush or the knife palette, and then use those on your main subject. We need to make sure that two colors that we have added are mixed perfectly. This is how we make colors ready, and we will have it on tip of our knife like this, and then we can apply the side, the sides of the knife with the color on it to add the needed color layer on our canvas like this. Just pick it up. So when I say, usually in the next few theaters pick the color up, this is how I mean. I just clean it with the fabric. Look, we still have some more this is how we remove the mix's colors, and then we can clear the knife with our piece of fabric. These remaining colours and palette which also soft in, they will immediately dry. So it's better if you act quickly and remove them with a piece of tissue or fabric that you have. The remaining layers will be easily remove like this, and what remains will dry sooner. Why am I saying these things because the same thing apply on your canvas. So bear that in mind, please, and it can affect your work. As you can see colors will remain on the fabric. We need to be careful about them as well. But if you use tissue, we can easily throw it away. It's just a matter of your preference. All right. Now we are ready to move on onto our next Deterial. You learn how to use the tools, how to put colors on your palette, and how to mix them. Now we're going to create different color all the colors on color vial that we have seen and move forward. See you in the next TterielPoeye. 8. Brush Techniques: Hi, everyone, and welcome back. Let's continue with the topic of color observation. This time, I want to use different tools and materials. After we have created a variety of colors on our palette with a palette knife and brought them to the canvas, essentially, strengthening our vision and practicing our color observation more and better. Now we intend to explain a few simple topics about the materials used in the oil painting. Now let's talk about flat brushes. They're suitable for oil painting. Generally, they come into two models rough and soft versions. For example, these are quite soft head. We do have rough heads as well. Each of these brushes has their own specific applications as well. Let me show it to you while I'm touching them. When you go to the store and you ask for brushes, try to touch the Bristols part. See if they're suitable, you like them, especially the model. For instance, these ones, the angle heads, the angle brushes also have a specific place and application and are only used for some specific area of drawing. Mainly, we use the non angled one. These brushes, also, they come in various sizes. You can see from small to large. They vary, which are used for work for larger scales when they are larger, they have larger bristles. As I mentioned earlier, we use different mediums in oil painting, mediums such as linseed oil, which is actually an oil that helps to make the paint thin and make it more transparent. We also use other mediums such as original liquid, you can see here, which when added to the paint increases the volume of the paint. There are we have many other different mediums as well, guys, to help your paint dry slower, help dry faster with more control. Here I intend to first teach you how to work with an oil painting brush that you just saw, and a model I choose is a very simple one like a glass. A cop that I showed you right now. Here we are no longer going into topic of color theory, so don't worry about that and we intend to teach how to create strokes, how to move the brush easily on the desired surface, how to move your hand. In fact, our topic is a topic of working with just this material, you'll see and learn about them in this lesson. You can work with brush in different ways. For example, you can work with the brush very thickly and apply the colors quickly with your brush or in a thin way, I'll show to you all of them. Here I want to use the fin painting method, which is actually to put some linseed oil on my palette here. And then I choose a color like orange or kind of orangy red and mix it with linseed oil. See how I'm doing it. Gradually, I'm mixing it. So if it's too much, you have to add more color paint onto it. If it's less, you can add more linseed oil on it. Now here you can see that I'm using the color. This is the fin state. For example, if I want to paint an object using only one color, I can work with this color for a long time. When combining this medium and fin paint with this movement, you can see it gives me a color tonality. In fact, the volume of paint decreases. I can create a color tonality, different tones from dark to light version with this color concentration without having to add white to this tonality. So bear that in mind, please. In fact, working with thin paint is like not having a thick and dense paint for your work, and it's like working with watercolor, while as even though it's oil painting medium. With the difference that the paint you're working dry either the first part does not dry quickly, but the end part dries quite quickly. Now we want to apply thicker paint here. Look, I add less linseed oil to the paint. And as you can see, the paint is completely opaque. It's quite dry, isn't it? Sometimes we use a brush with much stiffer bristle or a brush with much softer bristle. For example, now I want to use a brush with softer bristle. So let's see how I'm using the brush on here. This is a brush good for different textures, not for skin texture. So each brush, depending on its bristles, can be suitable for a certain area. Now just added linseed oil on it. Follow my hand movements and try to practice at the same time using figure paint with the same brush, creating fin lines when you go further. Try to practice this brush paint here, please. Now continue the line as you go. But in case our brush has a stiffer or kind of really not good or bristles, I have to say, like the brush that you can see here. Fin lines can be drawn with the edges, the angle part of the brush. But overall, the bristles of this brush are such in such a way that create a rough texture for us. We may not be able to draw fin lines as well with this one as I did. Below version. Look, I'm trying. But the brush with soft bristles draws fin lines much better like here. I can do fine artworks with it. Easier way. Doing such a thing with a brush with a stiff and bristles is more difficult because they mainly draw textures and rough lines with less fineness and delicacy. So please bear that in mind. Each of these brushes is chosen depending on what style I actually want to work, what kind of desire style, and kind of you get your personal style as well after you practice these courses with me. Like what kind of brush you want to use. You wanted to have angled bristles or I have to say rough or non rough ones, soft versions. Now, let's use this one. Here we have an angled brush has multiple applications for drawing and generally fin lines can be drawn with an angled brush. For example, if you want to work in space to create expressionism or romantic space, every details impact your work, what kind of brush you use. With this angle brush, I can easily teach you how to draw certain textures here now, please follow along. Very useful for facial features and portrait works, and I can easily change the angle. With an angled brush, I have to say, and change it to draw the desired form of different forms in a very easy way. You can see the way I change my hand direction is quite important as well. It's an important practice. As you can see, I keep changing my hand direction here. Let me show you to different versions. These two. Now I'm going to show you the way we should apply. Look at how steep it's a steeper angle. Each of these brushes they have different use. For example, when the head of the angled brush has a steeper angle, it will also have a wider width you can see, and also the line is going to be thinner. The way you can move your hands is much easier, but the control of it might be a bit harder, so you need a bit more practice. Look here, very beautiful way. You can create different versions. Hm creating, moving, I have to say, my hand here. It all depends on the shape you want to draw. Using oil more like watercolor, adding linseed oil to the paint, making it thinner. Just bear in mind, I'm not using thick and dense paint here. We may be able to apply easier with angle brush for our base model, for the base of the model, I have to say. Now, let's use our palette knife, how we can use and work with it easily take the paint and apply it here. I just want you to observe and compare it. It's much thicker, isn't it? See how I'm using the edge of the palette knife knife to create that line as well. Please try to move your hand along, use different versions, right to left, left to right, try different direction, practice, guys, do experience. Not just what I'm showing it to you. Try to practice a lot more. You will get comfortable. It's like driving a car. The more you practice, the better you get, the more confident and confident you will be. Working with a palette knife has its own difficulties as well. The control is a bit more difficult than brush. It's less controllable, I have to say, comparing to brush. As you can see here, now let's compare it with this angle brush that we're going to create the forms. Previously, my goal was to only teach color theory and color recognition. But here, our goal is to create forms correctly. Just bear in mind, if you want to create lots of details in your drawings and creating desired form, again, using a brush like an angle brush is much more efficient and more suitable than a palette knife. The difference is the ease of the execution of the forms. For example, when working with fk paints, palette knife, we can draw a series of surfaces, but we will face difficulties. Although the use of palette knife has its own beauty, certain textures while working with fin paint or using brushes such as angle brush, more delicate. And easier. Now change the brush here for you to see, create their own texture here, beautiful hard texture for us. It helps us to control the amount of color and the concentration because the size is different and has a different bristle. We call this short flat bristle, which is easier to control. It's quite dry the way we are painting over it again. Just follow my hand here. We create certain textures using different strokes. I can create textures in my painting with stiff brush as well. This is quite a stiff. Look at it. The Bristol is not really good. So please do not use this for a portrait drawing for soft surfaces. Now I'm going to create the textures that I told you, whereas with soft bristles soft bristles brush, the textures you won't create textures with it. You still can, but it's much harder. As you can see, the tip of your brush is split in few sections, but here they are not. Sometimes artists use these textures to their advantage. In fact, some artists they use certain textures for different personal styles. You can choose your styles. For instance, we're going to go through different examples in this course, and you will see and practice different brush strokes that are visible on our form and actually used consciously. Sometimes we see the textures are not very clear and are actually used very softly and carefully. Each of these textures has been used different has been created with different brushes. Each of them has their own characteristics and artists, you are the artist here, you decide which of these brushes and textures to use. We'll go through many examples. So you will figure out your personal preference as well in this course. However, during our training, we should perform and practice with all kind of tools that you have and the techniques that you have learned, practice, practice, and send me your assignments, please. And you will decide later which brush, soft or, like, non soft Bristol's brushes are useful for you or not. For now, I hope you enjoyed this tutorial. Please, again, send me all your practices, and I see you in the next tutorial. Bye bye. 9. Introduction to the Colour Wheel: Hello, everyone, and welcome to another lesson. Today we are going to become familiar with this color wheel, which you can see here. This is the best reference for discussing primary and secondary colors as well as wide range of colors will be eventually used. Here we have three main colors in the center of the color wheel, yellow, blue and red. They form a triangle in the middle. The combination of yellow and red creates the color orange, which you can see again here and it is secondary color. So in the middle triangle shows the three primary colors and surrounding triangles represent the secondary colors. Secondary colors are created by mixing primary colors. For example, mixing red and yellow gives us orange tone, as you can see here, the combination of yellow and blue gives us green, which you can see here as well. Finally, the combination of red and blue gives us purple. So we have three primary colors and three secondary colors, all visible in the center of the color wheel. Next, in the outer rings, we have a range of colors. For instance, between yellow and green, there is a lighter green in the middle. Between yellow and orange, we have darker yellow tone, as you can see here. Between red and orange, we have darker orange tone, also known as red orange, it continues like this with the two neighboring colors mixing to create the next shade in between. Keep in mind that the percentage of each color in this mixing is not necessarily equal and may vary. Later we will experiment with these colors combination on our palette and canvas, and you will get to practice at the same time with me. But the key point about this color wheel is how complimentary colors are shown. For example, blue has orange directly opposite it, which is complimentary color. And what does it mean? It means that when we mix blue and orange together, we get brown tone. So we need to understand these things, but it will come to you with practicing as well, so you don't have to memorize them. Complimentary colors are those which when mixed with their opposite primary colors, gives us a brown tone, as you can see. Just look at my hand where I'm showing it. In fact, when all three primary colors are mixed together in equal amounts, we get a brown tone, which is here you can see. You can easily find the complimentary colors for each primary colors on this color wheel. For example, blues, complimentary color is a mix of other two primaries, yellow and red, which combine to form orange. Similarly, the color for red is a mixture of blue and yellow, create green. The same goes for yellow. Color is mix of red and blue forming purple. So once again, the complimentary color for blue is orange, for red is green, and for yellow is purple. Look at my hand and I'm showing it to you where they are. If you want to reduce a color's intensity, we simply add more of its complimentary color to it. That's the rule. For example, if you add enough orange to blue, the blue becomes less vibrant and moves toward a more neutral tone. But remember, this is a gradual process. As we add the complimentary colors little by little, not all at once, the color's clarity decreases, becomes more neutral. So it all depends, especially for now, don't try to add any white colors as well. This creates a gradient that shows how a color's intensity decreases and it becomes more neutral. We will see this range of tones in colors combination of yellow and green, which you can observe here depending on the amount of yellow or green. We can create a variety of green tones between these two colors. This is why we see so many variations of color in nature. For instance, when you imagine a red tone, there are millions of shades of red. I'm not even exaggerating, each slightly different from the other. These variations are the results of red being mixed with yellow, orange or purple, creating a wide range of tones. The color circle can expand to include even more variations and shades. Have a look at here. This is why so different to accurately identify a color as there are many subtle variations of the same tone. And that's it for this lesson. Thank you for watching. I'll see you in the next serial, and we will explore the word of colors even more on our color palette for now. Bye bye and take care. 10. Creating Your Own Colour Wheel: Hi, everyone, and welcome back to another tutorial. Now we want to recreate the colors we saw on the color ville tutorial using our palette. We'll be focusing on six primary colors, red, orange, yellow, green, blue, and violet, along with the intermediate colors in between them, such as red orange, yellow orange, yellow green, and blue green. First, we will create the primary red on the palette. I'm starting by placing some cadmium red, as you can see again on the palette. Next, I'll clean my palette knife thoroughly and add a bit of sarin Chrisman to the palette, then mix them together. Make sure you have a kitchen towel or tissues next to you, that's very important to keep cleaning your either brush or knife palette. See how I'm combining it here. Please try to repeat after me and practice at the same time. Combining cadmium red and Alzaan Chrisman, I've created my main red color. The amount of color that I use and take, like, if it's a bit or a bit more, is quite important as well. And it all depends on practice and experience. And also, you guys experiment as well. Please have a look how I'm creating it. How use the knife palette. I'm cleaning it now. Cleaning my palette knife, I will mix to create red orange, which is very close to cadmium red light. Let's try to follow my hand movements here and have your colours ready on the It's either on the paper or any kind of palette that you have or add a small amount of orange to the cadmium red light. Moving my hand. The way I move my hand and use the knife pal is very important as well. See that I'm not just using the back of it, sometimes the front part as well. By increasing the amount of red, the color starts shifting towards red orange. In fact, cadmium red light already has a slight orange tone. So bear that in mind. Don't worry about the names if they feel like scary and you have never heard of them. You guys might be professional and you have used this color before. But if you have never heard of them, they're not scary. It's a matter of knowing them and practicing and keep hearing them, which you will hear them a lot from in this course. Cadmium orange is actually the pure orange seen on the color wheel and does not need any mixing to achieve right shade. The one that you can see now. Yellow orange is created by combining orange and yellow. Here I'm using cadmium yellow as the base yellow. In this mix, we should increase the amount of yellow to bring out the yellow orange tone. See, I just added a bit more. Keep circling the color. Use booths and back and front side of the knife knife palette knife painting that we have here. Let's add a bit more yellow to it. It's helpful to keep the color wheel in front of you while working to better identify and differentiate the colors. If you don't have to memorize either. I don't even memorize. I just from habit. Cadmium yellow represent the yellow on the color wheel. And So let's add a bit more. Just take your time as I'm taking my time, play with color, fill the texture, apply it more and a bit less. So you could experiment like if you apply a bit more or if you apply a bit less, what's going to be the result what's the result? Now, I'm adding a combining yellow and green with green here, using more yellow in the mix to achieve yellow green shade. Yellow is a commonly used color, and you will find that it runs out quickly in your palette. I'm going to take my time mixing them. I'm combining the colors. Please try not to rush it. This part is very important when it comes to practice. It's a very important Tutterial because you're experimenting the mixing the colors together and achieving new colors. Now we want to achieve another shade of green. It's actually called VidianGreen. It's the green seen on the color wheel and can be used without further mixing. Now we're going to use a bit more green. Vidiant green with lighter blue that we have on the screen. Let's see if we combine them. What's going to happen? We just created the color blue green tone. We will mix viridian green with our lighter blue color. It doesn't need to be a light blue, cobalt blue, or just whatever you have is fine. Let's add a bit of white and see how it's going to turn out. I lost its shininess a bit, but now we have a quite new tone here, a lighter one. You will need these for different part of a painting. Also, I suggest to try and experiment mixing white color with different colors that you can see, for instance, with red, orange and yellow and see the results. You can experiment with white a bit as well. Now I'm going to use ultramarine blue to get closer to the main blue color. We need to add some white onto it. I'm going to add a bit of too much white color and try to adjust it later. So if this happened to you guys, so you won't panic. Now here, let's imagine we have added a bit too much and we need to adjust it. Now we're going to go through how the adjustment color adjustments should be like. Clean your knife palette, clean your knife, and then add a bit more. So try to add little by little, not all at once. A bit more. Now you can see this blue right now closely resembles the primary blue on the color wheel. Keep mixing it. Use both sides of the knife. The more you mix, the better pigments will look like. Now, clean it with your kitchen towel or tissue that you have on hand. Always make sure you clean your knife, especially after you're done painting, try to clean it so it doesn't stay on it and dries, it will be harder to get it off. Now, you can see we are creating a blue purple by mixing ultramarine blue, which already has slight purple tint with some sarin rismonGives us a beautiful dark navy blue, more towards black. So this is a really great color if you wanted to use it instead of black. After cleaning the palette knife, again, I will add some white onto the mix. Make sure your white color stays clean. Now look at that beautiful purplish color, or we have to violet. Colors that lean towards blue are usually quite dark, so they often need white to lighten them up. Try to mix it as much as possible. Take your time. As you can see, I'm not really rushing my work, mixing the colors, taking my time. I'm going to add a bit more blue to this mix because we are aiming for a blue purple tone. Onto this, let's see. After cleaning our knife, we will add the blue onto it. Just a bit, not too much. I'm going to go a bit faster here so you can see how long it takes to mix a color perfectly. The purple color is made by combining ultramarine blue, a darker blue that you have, a laser in Crispin, which is quite a dark red that you have a bit of white. Try to add yellow onto it as well. I'm not going to do this, but for you and experience it, try to do that as well. When we compare our color mixers to the color wheel, we'll notice the proportions needed to achieve these shades. These proportions are rarely equal and they're based on the colors involved. With practice and experiences, we can create colors that closely resemble those on the color wheel. As you can see, we have added a bit more ultramarine blue to our palette to the current mix to deepen the colors. Now we can add onto this one more time to create the main purple color. We need to use more blue than red in the mix. See, you need to change direction of your hand movement and your wrist sometimes. The purple is a primary purple color and the last color we will create is red purple. Now for red purple, I'm using a laserin Chrisman, a little ultramarine blue, not a lot, just a bit and some white. Look at the proportion each time, like the previous time, how much red we use, and this time, let's compare them together. I begin by mixing these colors now with the tip of the palette knife. Clean the your knife before using it on white. Now let's mix them perfectly together. Then by pressing the palette knife onto the palette, I blend the colors from both sides. Continue mixing using the edges of the palette knife, blending from different directions. At this one, I have more white than I need, so I will add more red onto it to balance the colors. Look at my hand. We just added the red that I mentioned earlier. It's a beautiful color. This is what I meant by experimenting. Even though I'm going to use a bit more blue, a bit more white, sometimes you would need this beautiful pink color and sometimes you need to actually achieve what's on the color wheel. So it's really depends on your subject matter and what you want to achieve. I will be great, you guys could submit all your assignments. Or message me. You can take a picture of your practices and send me ask me questions like this color we mix it like this, and this is how it looks like. You can message me about the brands that you are using. Also, I mentioned this earlier only through experience. We can accurately recreate the colors on the color wheel. Look at all the beautiful colors we have created so far. By following this process, we have successfully created 12 colors from the color wheel, red, red orange and onto red purple. So I really hope you enjoy this tuerial and I'll see you in the next one. For now, Bye bye and take care. 11. Exploring Colour Charts: First Steps: Hy ribon will come back to another tutorial. In this lesson, I want to create colors and apply them to my canvas that you can see here. This is a paper canvas that I introduced to you in the previous tutorials. Also, you have learned how to create color wheels, but this time we're going to create colors onto these squares. The best way is to follow my hand movements. These are the colors seen on the color wheel. I'll start with the primary colors. We can start with primary blue color by mixing ultramarin blue with a small amount of white. Also in the previous lesson, I did go through all the colors, their history, more details about them. I hope you did go through those information. Now we have our primary blue and also white. Here, have a look. I'm going to go through this. The proportions of the colors are not always equal, guys. Bear that in mind, please. You need to practice to be able to distinguish and mix these colors correctly. I'm certain that you have learned how to use palette knife and mix colors. In the next course, you will learn about more portrait drawings and how to use colors with brush. So the best way is to completely understand the colors, how to mix them, how to use these. And then in the next course, you will take one step forward and learn how to do more advanced subject matters. Just hand movement from right to left. I dip the palette knife into the paint, and here I'll show you the primary blue colors that I have mixed with a bit of white. Remove the excess paint from the palette knife, place it back on the palette and clean the tip of the knife. Now I'm going to the next one is red color. I'm not going to name the colors in this one as it is okay any colors that you have. I create this by combining darker red. If you want to know which one cadmium red with Alizarin Chrisman. But as I mentioned, it's okay. Any kind of red color that you have so far, you don't have to have exactly this brand and also this color name. Now I'm going to from right to left, again, try to practice this. You might think, like, maybe this is not like this is very beginner, but it is a very important practice, especially when you combine the colors and you meet in the middle. The next one would be a combination from mixing blue and red, which results in the secondary color purple. I'm going to place it here. As we know from color we, we start with the primary colors. After that, we have the secondary or complimentary colors, and then we move on to the colors of spectrum. Now, make sure you clean your palette knife, and I'm going to combine these two. Look how I pick the color. Gonna place it here. Now we're going to combine them after you cleaned it. You can see every time I clean it, even though I'm using the same colors when it comes to mixing them. The result of this combination is a dark purple. Beautifully done. Now, in order to lighten it up to lighten it a bit, we need to add a little white paint onto it. Try to mix it perfectly. I'm using tissue here, but you can use fabric as well as you have seen in the previous tuterials. Clean it again, and then mix it perfectly. If you don't mix it perfectly, you will see some part of the color is brighter, some part of it is darker. Here is the purple color that comes from mixing blue and red, making it a secondary color. And that's it for the Part one. Let's move on quickly to part two. And I hope to see you in the next tutorial. 12. Exploring Colour Charts: Moving Forward: Well come back right away. Let's dive onto part number two. Our next color is red again. This time we want to combine red with primary yellow, cadmium yellow light is actually very close to primary yellow. Combining color yellow and red is going to give us color orange, as you know, because we have been through these colors and combining them. This is a great practice when it comes to color combination. I promise you, after you have gone through all these squares, you will learn how to look at the colors differently, how to analyze them and mix them. Picking the right colors is very important when it comes to your subject matter. It's not about just analyzing it. It's analyzing and applying it correctly. So please go through these practices with me at the same time. You will memorize them this way. That's why I'm trying to make sure that you practice these color combinations. I did go through this lesson quite quickly, but take your time when you're doing this. Now, let's dive into the next part, part number three. 13. Exploring Colours: Developing Your Range: Now we start part number three of this tutorial. The next combination involves the two color yellow and blue. Quickly, let's put them on the first square. The color yellow. Make sure every time, especially when you're using a lighter color, you clean your pale and knife or brush. That's quite essential, guys. This is a practice because it's about muscle memory. Now we're going to place blue color and then we're going to combine them. I'm sure you can guess the combination of them would be green. You can see I'm using a bit of blue, not a lot. Try to make your hands get used to amount of color that you need to use, not a lot of blue and yellow, it should be a bit more of yellow and just a hint of blue. You can see the green color here. Blue and green are a great color combination to experiment with, especially in landscape and nature scenes. Since both are cool colors, they work really great together, guys. They create calm harmonious effects. When you mix them, you can get a variety of shades from soft blues and greens to rich tones. These colors are ideal for capturing water skies and greenery because they sit next to each other, as you can see here, that's why I'm putting them next to each other so you can see on the color wheel, they naturally blend well without clashing, making them perfect for creating balance and harmony in your paintings. Experimenting with different ratios will help you explore both soft and vibrant mixes. Also, you can see I'm creating a separate green with white, and I'm going to place it next to it. This is how it looks like. Don't forget to send me your practices and assignments. Looking forward to receiving them. Also, don't forget to look at my hand waves and how I'm holding the knife and playing with the paint. The amount you bring over, that's quite important as well. So we are done with part number three. I'll see you in the next part, part number four. Let's go. 14. Exploring Colours: Going Deeper: Welcome back to part number four. We have warmed up our hand and colors put all the necessary colors here. Our next step is to add complimentary colors to the secondary colors. This means that where we have purple, we add a little yellow to it, and then we shade it, blend it together. Here we take the purple and put it on the palette and mix it with cadmium yellow. This is for the first row. In this way, the purity, transparency of the colors has taken away. What is important here that these colors or combination of these addition compliment them. They have become impure, I have to say, gives us a neutral color. Sometimes this color is quite important because if you have noticed, some of the artists they prefer to put some neutral colors on the canvas, the surface on the canvas before they start the actual painting. We will go through those elements one by one. For now, let's learn how to mix these colors. So again, we combine purple with yellow, but I use a larger amount of yellow here, which impacts the balance of the mixture. When we combine purple with yellow, the ratio of each color plays a big role in the final results. In this case, I use a larger amount of yellow. Or I can use less color yellow, which affects the balance of the mixture. Since yellow is a dominant color, it lightens and softens the purple, making the mixture lean more towards a warm muted tone rather than an even blend. The more yellow you add, the more it shifts away from the intensity of the purple, giving you a softer, warmer color. Adjusting the balance between the two allows you to create different variations from soft pastels to richer deeper shades. Ideally mixture, our main mixture should have a bit less yellow as the goal is a fine middle ground between purple and yellow. Now it's more towards brown. It is quite important the amount of purple and yellow you use. Now for the next step, let's add another color onto it, which is blue. We're going to create a new variation now, and then a bit of red, and then let's combine it and the previous tone that we had the shade that we had. Maybe try to have the equal amounts when it comes to blue and red when you add here. But Now that we have mixed it perfectly, I'll take small amount of this purple, place it on the palette, mix it with blue to create a new variation. What we are doing so far, what we have done so far here, combining secondary colors purple with its complimentary colors yellow in equal amounts. Hopefully, the mixture plays in the center section. So let's follow my hand movements and complete this part. Mixing purple with blue creates a very rich cooler shade of purple, often leaning towards a violet or deep indigo, depends the amount of colors that you use. This color is more subdued than pure purple. So what we have done in this room, combination of secondary colors, purple with its complimentary colors yellow in equal amount. Then we mix it with neutral color with additional yellow and blue to create range of purple, yellow tones, as you can see here. Now we can experiment by mixing these colors in pairs. For example, we can combine a yellow blue mixture with purple mixtures and so on. Is the amount of different colors we can create with just a few simple colors is just amazing. Or we could combine yellow with a blue, yellow mixture or with a yellow blue mix. I'm getting confused myself as well. So that's why we need this kind of color palette for ourselves as well. I would suggest you write down all the names. For instance, here's a red, write down, you just put pure red or this one was a combination of, like, was it purple? Was it blue? Was it yellow? And what is this combination? So you can memorize the combination. That's quite important that you write about them. For the mix, for instance, if I add that yellow, I will we down and write it down or equal mix of purple, write down everything. I'm starting with a little more orange here. Just let's have a bit more. Remember the color shoul mix carefully. One thing I wanted to talk while I'm mixing this about the previous color, it's the previous color was great for painting shadows and night skies or creating depth in floral arrangements and landscape. You can also use it for adding richness to darker areas for painting or for creating dramatic contrast when paired with lighter, warmer tones. The previous cool purple is versatile and can be used to bring sense of calm or intrigue to your artwork. Now we're going to combine this orange and blue that we are doing hint of white. Let's see the next result now as we are going through this combination. So again, combine it orange with a specific amount of blue to achieve a right balance. Added a touch of white to add blue to lighten it up a bit. Now I'm going to mix a small amount of blue with some orange. Look at the colors. Let's compare it with the previous one underneath it. Look at the tone, try to experiment the tone at the same time I'm doing this. While I'm mixing this, let's talk about blue and orange. We have created a neutral tone. Complementary colors when mixed together cancel each other out, resulting in a muted grayish brown tone. This kind of mix is useful for creating subtle shadows, earthy tones or for balancing out more vibrant colors in a painting. It's great for adding depth and realism to your work. These are really important colors guys that I'm teaching you here, especially when it comes to the backgrounds, muted landscapes or neutral areas. When you know these colors, the combination, your painting is going to look so different. The focus, the elements, you will achieve a much better results, I promise you when you mix these colors together. Now the previous color that we created, let's add more orange to it. This will create a more neutral mix, guys. The tone will warm up shifting towards muted, irvy, orange or brown. Let's look at it. It's more brown than the one next to it, on the right side. The added orange brings warmth and vibrancy back into the mix and quite lighter. But because it's still blended with blue, it remains somewhat neutral. This warmer tone is perfect for creating natural air free elements like soil, rocks or often leaves, or for adding subtle worms to shadowed area without making them too vibrant. The more orange you add, the more noticeable the warmth will be, giving your painting a richer, more balanced contrast. Now let's look at the next one. The same color that we just used, the previous one and the lighter blue that we created way before. Let's combine them together. Almost the same color, but different tone. Now for next color, we create a new combination using the light green that we created, which was green and white with red. When you combine light green, which is a mix of green and white with red, you're mixing complimentary colors. Again, that looks like the previous one, the neutral tones that we have done, previous rows. You're mixing colors generally results in neutral or muted tone, since the green is lightened with white. Adding red will create a warm color often leaning toward a soft brown or peachy tone depending on how much red you use on it. I added a lot more red, so it leans towards a reddish brown or trachota color. The red becomes dominant, but the light green soften by the white neutralize slightly creating more muted shade. This makes it perfect for creating realistic natural tones like rust brick for landscapes. Now, let's add a lighter green on it. I look at the tone, please. I'll place the result color at the end of here. It's more brownish. Make sure that you clean your knife every time so you don't mix them. This is very important when it comes to portrait drawing as well. Imagine if it's hair drawing or eyes, eyelashes, all those things. We will use for all those things, we will use these color tones, these shades. Now, in between, that's why I left this part empty. I wanted to show it to you when you have just the reddish color, how it's going to be. Let's compare it from green to the brownish tone that we have in between. Again, please write down all these things that you have done so you don't forget, for instance, I combine green that was a combination of green and white. I combine these. All these scenes are very important. You can see we have primary colors, secondary colors, and kind impure version of them lined up. We have now created the primary secondary altogether. The purpose of creating this color combination is to see the transition from the purest colors to the most neutral or impure colors. We can also create gradient between these colors with the most neutral colors being those mixed in equal proportions. For example, the purple and yellow mix in equal amounts or orange and blue or green and red in equal amounts. All these color combination, you can even create more combination just combining these ones. Afterward, we adjust the ratio by increasing the amount of each color. For instance, here, we increase the amount of blue and mix making resulting color slightly more vibrant than its neighboring colors. In this row, we have created the most neutral versions of the secondary colors from the color wheel. And with that, we have completed the study of color chart part four, and I see you in the next part number five. Bye bye now. 15. Exploring Colours: Neutral Colours.: We'll come back to part number five. Let's dive in in the same way we can combine complimentary colors such as blue and orange to create more neutral colors. Similarly, combining red and green or yellow and purple will result in other neutral colors. When we mix primary colors, which you have seen in the previous two serials, with their complimentary counterparts, we reduce the purity and vibrancy of the colors, moving them towards more muted shades, often creating gray or gray brown tones. Another important factor to consider is how much white is mixed into these color combinations and how much you want to mix it with. Now I will demonstrate how to mix purple with white to create a range of lighter shades. I will begin by creating a fresh batch of purple using the same method as before by combining blue, zain, Crispin, and white. The previous layer, they have dried out, so don't worry about it. Just mix it perfectly. Now that I've created the original purple color, I will replicate the process. Once I have the purple color, as you can see on the screen, I will take a portion of it and mix it with specific amount of white to lighten it up. Look how much we have to take. Just do it a bit little by little. By doing this, I have significantly increased the lightness of the color. I use almost equal amount of purple and white to achieve this lighter shade. The combination of purple and white results in a lighter pastelly version. So vibrancy is gone, but we have a beautiful pastel purple color here. Follow my hand movements. You have learned so much so far, really proud of everything you have learned. Now I will blend this lighter shade, original purple to create gradual transition. The pastel version of purple created by mixing purple with white is ideal for adding softness and lightness to your artwork. You can use this lighter Shade in areas where you want a calm, gentle feel, such as skies during sunrise or sunset, soft flora petals or subtle shading in portraits. Now, this one is a bit darker shade. Paso purple is also great for creating highlights or adding depth to shadows in a more delicate way. It's perfect for painting soft dreamy scenes or for adding a touch of elegance or serenity to your work without the intensity of darker purple. It's a very beautiful color, one of my favorites. Now, let's mix it with more white. This I'm combining it with previous purple. I'm adding even more white to lighten it. Fade if you add more white to the pastel purple, the color will become even lighter and softer, resulting in a very pale, almost lavender like hue. This extremely light version of purple has a delicate, airy quality, making it ideal for painting, subtle highlights, soft atmospheric effects like mist or clouds or light reflections. It's often used for creating gentle areas in painting, as I mentioned in the previous one, but even more even gentler. Great for floor guys or backgrounds that are any scenes where you want to evoke peaceful calming mood. The more white you add, the more muted and pastel the color becomes offering a refined, understated effect. Also, for those highlights, for instance, let's imagine sky, the clouds. You want to add that highlight effect instead of just pure white, you will add this depending on the scene, of course. Adding larger amounts of white to this mix. We created original purple color, then we mix it with nearly equal parts white. However, the ratio of white to purple wasn't exactly equal, there was a slightly less white because white tends to overpower other colors in mixture, so be careful. Even a small amount can have a strong impact. Now we have created this color combination. Let me talk about three key aspects of color mixing that we will focus. Or we have already focused in this lesson, Hue, purity and brightness. Hue the specific color or shade, purity is the intensity or saturation of a color, which decreases as we mix more white or complimentary colors. For instance, let's see the differentiate between these ones that I'm showing on the screen and the brightness. The brightness is the lightness or darkness of color determined by how much white or black is added. Take some orange and place a small amount of it on the palette. I'm going to show you a different mixture here. Let's add a bit of white onto it. To lighten this orange slightly, be careful how much white you use, as I mentioned before. I'm adjusting the brightness for this mixture to create a medium shade of orange. Place the resulting mixture in the middle square on the palette. Look at the difference. We're going to do different variations now. I will mix this medium shade with some original orange to create another variation. Let's mix a bit more. Make sure that is perfectly done, and then let's place it here. Why we see a different color on the palette and different on our canvas is the light as well. So be careful when you're painting something. The light around you is going to affect your painting and your eyes as well. So maybe sometimes try to paint with the same light. However, look at your painting with different lights as well. Next, I'll take the medium orange white mixture and blend it with more white. This means I'm mixing the medium orange white shade with additional white to complete the lightest color in this spectrum. In this way, we have completed the study of this color range, focusing on how complimentary colors interact with one another. Hope you enjoy this part. Right away, let's dive to part number six, and that is the last part of these tutorials. See you soon. 16. Exploring Colours: Final Touches: Welcome back to the last part of these two terios. Now we are working with green color combination. First, I will clean any remaining impurities from the palette to ensure clean color mixing. Make sure your knife is clean. Next, I will create the main green colour, which was green and yellow. Let's mix them together. And then clean the knife again. I'm just going to take these dark remaining colors away from it to make it as pure as possible or as clean as possible. Let's play some green color from our main color wheel onto this. And then I'm going to begin working with it. Let's add a bit of white onto it. When you mix green, yellow and white, the result is a soft light greenish yellow hue, often referred to as a pastel or pale lime color. The white helps tone down the intensity. So try to add some yellow to it as well. This is just green and white. But as I mentioned, the white helps tone down the intensity of the green and yellow, creating a fresh light and soft version of the original mix. This color is ideal for painting spring or summer scenes, especially when it comes to new leaves or grass in the sunlight, not just the grass normal, because they are quite dark. So when you want to add that highlight onto them, this is perfect. Let's add a bit more white. It can use for adding highlights to plant soft lighting effects or creating fresh vibrant backgrounds. The added white makes the color feel like airy perfect for cheerful, natural and bright areas in your painting. But here we added a bit more white, a lot more white. But when you add more white to the mixture of green and yellow, the color becomes even paler. Let's have a look. Now this is a mid tone combination. Therefore, you have a softer version, essentially a very light pasta greenish, very delicate, almost creamy or mint like shade. These kind of colors can be used in areas where you want to evoke a sense of freshness or softness, such as in the sunlight, grass, the first hint of spring leaves or subtle highlights on plants. After this mix, we're going to move on to the next color range. We're almost done. Please send me all your assignments and practices in the meantime. I need more blue here to create purple again. I will mix ultramarine blue with sarin Chrisman and a small amount of cadmium red. The resulting mixture is too dark. But we can play with it a bit. And let's see how we're going to mix it now. You have already done this mixture in the previous lessons, tutorials, the beginning lessons. Quite a dark blue. So now it's time to add a bit of white onto these kind of dark purple color on the palette a bit. Then clean the knife, and then let's mix it thoroughly. Keep mixing it. Take your time when you're doing this. Even if you feel like you need to clean your knife, do it, please. Now you have seen it. Let's add some white on the side, and then gradually add onto this. When you mix these colors, you get a soft mutel purple or violet color. The small amount of white lightens the mix slightly. You can use this color for creating shadows in florals, sky during twilight or for areas that need a touch of cool, moody shading. The hint of white gives it a more delicate and approachable feeling. Now we have created that color, let's go through a bit of blue and white. Now, from the previous color, I'm going to add that one onto this. Make sure that you mix it perfectly here. Now, let's add a bit of previous color onto here. Now that we have created a muted purple by mixing blue, red and a little white, we can create a second color by separately mixing blue and white to make a light soft blue as well. Once we mix these two colors together, they muted purple and light blue, we will end up with cooler more version of purple leaning towards a blue violet or lavender hue. This new color is perfect for creating subtle transition in skies atmospheric effects or cool shadows, especially useful when you want to evoke a calm tranquil mood. This mix is great for blending smooth gradients or adding depth to areas that require a cooler, subdued touch. Now we have this purple created from previous versions. I know it's getting a bit confusing. That's why we had to do it one by one. Now, let's add a bit of orange to the mixture of this muted purple and light blue. We are blending complimentary colors purple and orange. This results is more neutral muted tone, often leaning towards a grayish brown or airy hue, depending on the amount of orange added. The orange will warm up the cool mixture of blue and purple, softening the coolness while still creating balanced color. This tone can be excellent for painting natural elements such as rocks, shadows for different backgrounds or make kind of bana painting guys. It's a very good color. Really idea for subtle warmth to areas that need less intensity and add more balance. Now with darker purple, let's see. When you add dark purple to existing mix, the result is a deeper, more complex neutral tone. The dark purple will darken the overall color, giving a richer, more intense quality. The combination of the darker purple with the previously created muted tones will result in a slightly warmer brownish shade thanks to the interaction with the orange. Look at this beautiful mix. It's a new mix perfect for adding depth or shadows to your painting. It can be used for darker, more subtle areas. For landscape is perfect. Even for evening skies guys, for the darker areas of natural objects or even architectural elements. The richness of the dark purple will provide a sense of weight and contrast, making it excellent color for adding kind of dimension and mood to your artwork. Let's see, when you add even more orange, how it feels like, how it looks like, I have to say, all painting or pigments, they have feelings. That's why. Now, you're slowly adding it to our canvas. Look at this brownish color and how many color we mix to reach to this color. The result is visible here. In this process, we have combined blue purple with complimentary colors, orange, yellow, then mix it further. Now, if you want to make it darker, follow my hand movements. I look forward to all your assignments and practices. Don't forget to send me. It's very important you create them and write down underneath or above them or next to it into it before sending it to me. What colors did you use? What brand you're using? If you're happy with your brand, how's your mixing going? You don't need to have this knife. You can even do it with brush, but make sure that if you're using brush, you clean it afterwards. Look at this beautiful orange now. It's kind of brownish orange, the lighter version of the bonds below. Look at in between. Now you can see the color combinations, which one we use, which one we combine and mix in order to achieve these results. All these combinations are important. That's why I wanted to do it one by one, some of the dozens, even though they were one or 2 minutes. It was good for you guys to do it step by step and not rush it in order to achieve this column. This last bit of colors we created throughout this process represents a range of muted, desaturated tones, both warm and cool undertones. So I really hope you enjoyed this process, and I see you in the next tutorial. Take care and Be bye now. 17. Painting the Apple: Laying the Foundation: Hi, everyone, and welcome to another tutorial. This is a five part tutorials and we are going to start with part number one. Here we have our model, which is an apple. We don't call it an apple. It's an object with colors for now. And then I'm going to show you how we could draw it on cupboards filling in different colours of yellow, green, red. We have a set here, and as you can see, as a picture, you can find this picture on your downloadable resources as well. As always have your colors, pencil and your canvas paper canvas filling in front of you. Please follow my hand movements, just dividing the surface, and then drawing the apple right now in the center. The reason I chose these three colors is because you get more familiar with the primary colors and how to use them next to each other. As you can see, I'm using pencil here, HB pencil. Make sure that your pencil traces are not really hard. You can see that I'm barely putting any pressure on my hand and on my pencil. When the outlines and the grids are done and ready for you, then we're going to start drawing and painting it. So make sure you have practiced your drawing. You don't rush going onto your painting and use all your colors until you're ready until you made sure that all your colors they are good enough. Your outlines are meant, my apology. The best way to practice is to follow my hand movements. You can stop the video at any moment, watch it a few times and practice it. In this video, in this tutorial, we are not going to use brush. We are going to practice our palette knife. I'm just making sure all the outlines are correct around this area. We are going to complete this work in three steps. Not for three steps, so it's going to be quite easy. We can do the observing the model carefully. Again, the first is drawing the outlines correctly. The next step, we make it smaller inf step. The colors are dry when we work on the details to show the difference in color tones, darkness and brights, brightness in each part. I will explain more in each step so you can understand the process better. Now, what we have here is a basic drawing of the model. After drawing the sample picture, we apply with a card. Do you remember this guys that I told you about? So whatever sample that you have, you can use this device as you can see here in front of it. And then the way I'm showing it to you, if you're right handed, hold it with your right or left hand. Hold your hand totally straight forward to where the model is and then look at the model, through the hole that you have done on your paper here. It doesn't matter if your model is a fruit or any other object. First, focus on the object through this small circular hole that you have done. Try to guess the colors you see and understand how pure the color is, the hue and the brightness of the color. Then use this to combine and mix colors on the color palette. After we have done, we put the same colors on the palette, hold it like this to see if you have done it correctly, don't forget to hold your hand totally straight. Then we put this knife, look at here behind the tool. We made it in a way that we can see both model and colors on the knife palette. After that, we look through the circular hole here again to see if they have similar colors, if you have made correct chose the color as properly. We want to see if we understood the saturation, the brightness, all of those terms correctly. We didn't use green or red yet. We need to check how bright they are. We need to check the purity of the color. Whatever I'm saying, it means the color that you see, try to mix it and bring it onto your palette knife and then just have it next to your fruit. If it's red, the mixing colors, all those stuff that I'm mentioning, they need to be the same color. And this one, this piece of paper is going to help you to achieve that. Okay, now let's start. Let's see how it goes. First, we add the colors on the palette, follow my hand movements, and try to use the colors as close as possible. You can see. Now I'm going to do exactly what I taught you, but I'm going to actually do it on this model. So let's try to get the correct color because I've already saw it through the device that I just made. Now we are just going through the color combination here that we have already figured out. The color obviously needs to be darker. So let's see how we're going to do this. Look at my handbooks. I'm taking my time guys. I'm rushing it. I have seen many of my students sometimes you rush going through all the color combinations. I just added a bit of linseed oil, not a lot a bit and do it gradually. Maybe you will need more. Even if you know you will need a bit more. The best way is to add gradually, either from color point of view or oil point of view. Is it dns in oil or dry oil? All of them, you need to do it gradually. Now, I know you cannot sit underneath the here, but I'm just keep having them next to each other to make sure if the colors are similar or not. Do I need to add darker colors? Do I need to change the color here? This is what I'm just analyzing, taking my time to do this. I hope you do the same thing as well. Very easy to do. Try to recognize, try to analyze. Don't worry. It's a very interesting process. So it needs to be a bit lighter. That's why I added a bit of white here to make it brighter. The hue of the color is brighter, which means that the color is closer to orange or yellow. So follow along at the same time. Do we need to add more? You need to analyze all those steps. So if you have, for instance, a lighter orange or red, try to combine it onto colors. And even if you feel like it's not a correct one, don't use it on your model. Try to do a bit a little at the beginning, and then create more later. See how many minutes I took my time taking it easy, making sure my colors are correct before applying it on the model. We need to modify the purity of the color as well. It means that you need to figure out if you need to add a little complimentary colors onto it. Pay attention to how much green I add to the color combination. I change both purity and also the brightness of the color now. Sometimes you feel like, Oh, adding green to red, that's not a good idea. I'm not adding a lot. It's just a bit of it. That's why I'm adding you ask you if we could add all the colors gradually. Now, let's compare it one more time, see if it's closer. First, I thought is a red color in orange tone, but then I saw more colors on those areas considering the light. Now, there's a start. Look at my hand movements. I'm taking the color and spread it around. Don't worry that how it goes at the beginning. Just try to follow my hand movements and feel free to ask your questions anytime. I will guide you through your learning, especially if you're beginning level. Try to ask me as many questions as you want. Also, in your downloadable resources, I put all the information you need for more practice. So make sure that you check them out. Look at the direction of my hand movements, how I change the direction on my hands. The way I'm applying the colors one by one on the canvas, this is behind the apple. Observe my hands movement so you better understand how to control yours. I'm sure the video is not fast right now because I'm taking my time. But if at any point you fill the videos, they're fast for you, try to stop the video, catch up, and then resume so you won't be overwhelmed. Trying to add a bit more on the left side. It's very important also, guys, to have clean tools. You know that as I mentioned this on your when it comes to the first tuterials in this course, I mentioned to you have a kitchen towel or tissue next to your hand. And every time you change the color, make sure that you clean it. Now we are done, complete with this part. Let's clean up. Now it's time to clean up because we're going to add another color. We have analyzed it already. Make sure you use the tool that I taught you before. Look through the whole and make sure how red or darker red you need to use. See how I take my time here. Excellent. Now it's completely clean. I'm going to take the device that I have invented, I have to say, now I'm just joking. A lot of famous artists they do this. I'm not saying, like, this is a famous course, but I'm hoping that you guys can try and use this method as well. So now if we want to add a bit of darker red, I added the red, a bit of orange. Taking my time completely mixing them. Guys, you need to be patient also when you're trying to mix everything up. Step by step, get used to seeing things and observing them in the right way. Continue working on the darker part. The process is exactly the same. Now, look at the way I'm going to go through from this angle from here. Create the shadow. That's why it needs to be darker. So we need to add create a bit brownness, darker red. So how we do this, how we analyze it, we are not going to use black guys at all. I taught you how to create darker tones. Let's say it's forbidden to use black here right now. I'm not saying that at all, don't we will use black maybe in future courses, but now in this course, I don't want you to use black. I want you to create the correct colors. Now, a bit of green. Depending on the color that you have analyzed and realized, you can add a bit of blue as well, depending. But green is good enough here. See how much I'm actually taking my time to making sure I'm making sure that the color we have here, we mix it thoroughly. Again, try to see if they're quite close. Now the colors are match, let's apply them on our canvas paper, follow my hand movements. Don't worry. I ever you made mistakes, you can easily correct them when it comes to oil painting. All you need is practice to learn the process faster, and you will become professional in no time. You can also add some turpentine to your color and then apply it onto the surface. Follow my hand movements, please, so you can practice at the same time and also how to control your hands. Always remember that your work is in progress. So this means at the beginning, you might not like your work. You feel like, Oh, you're not doing something right, then you will give up. I have seen so many times that at the beginning of any journey that this happens, please don't think like that. Try to make sure that at the beginning, you're just doing layers, the first layers. So take your time, try to finish up, and then you'll see that at the end of the process, you have achieved something very beautiful and great. Go. How many times I have analyzed it? Let's realize if we need to make it darker or not. Do we need to add darker red? I'm not just calling it Alzaran Chrisman Hue number 003. I just I'm going to call it darker red or red. And then again, the process is to add a bit of green onto it. All right, guys, we're almost done with part number one. I just wanted you to do a lots of practice for the background, the color mixing, and you won't get overwhelmed by this kind of practice. So since you have started it, if you are ready, let's move to the part number two straight away, and we can complete the background before moving on to the Apple area. Just doing the last part of the mixing and then we're going to continue after this. Also, don't forget to do the last, analyze, and then we are done. Alright, have some rest, and I'll see you in the next part. 18. Painting the Apple: Adding Details: Hi, everyone. Welcome back to part number two. You remember we have done our background. After doing some rest, I decided instead of the yellow part of the background, we should start doing the apple. Right away, let's start using the purple and work on this part. We're creating a darker color here, a bit of purple, mixing it together, mix the colors completely. Kind of reddish and purplish tone next to each other here. Don't completely mix it. Just make sure the mix are next to each other. We're changing the hue of the color. Sometimes we think a color is darker, but the point is that the hue of the color they change. Analyze to make sure they are correct. Look at my hand movements, how I start going through it. If you need to decrease the purity of the color, this is how you should do. So we add a bit of this color, the combination of the id and hue, 696 and cadmium yellow, pale hue 119. Kind of turned brown, guys. It's not purplish anymore. I'm quite satisfied with the color, quite similar to the one we have in front of us. Let's check each step, make sure they are right. Use both sides of the night palette when you're trying to mix it. Again, check one more time. Are they correct? Similar? A bit of darker red. It can be Asarian Chrisman, number 003, follow my hand movements. Well, it's not just following. It's mixing mainly now. You can see how many times I apply modification on the colors. I take my time. This practice is not just mixing color, it's patients as well. I'm trying to make you understand that you really need to take your time. This is a great practice when it comes to portrait drawing. Because when you are doing the skin portraits and skin color combinations, you really need to take your time to apply this. This is a great method for hyperrealism as well. Since we are doing abstract, it's still okay if it's not totally okay, they are not totally matched, but still. Sometimes maybe with brush, it might be easier. You might ask me, do we need to start with lighter colors or darker colors? So here you have the answer. I started with a darker tone, and then I'm going to apply the lighter colors where this means here, the brownish color that we created with a bit of red, darker red, green and purple. This color we created. So it's a darker tone. And then we're going to apply the lighter color, which means that kind of pure red that we have on the left side. Just make sure you have a look and follow along changing my hands, making sure that I understand the hand pressure, the knife palette pressure that I'm bringing onto the canvas here. Especially if you're doing on a real canvas that is in front of you is much easier than on a table. And it's usually how you get used to it, so you don't need to have an easel. Since we are going through this area, I'm going to explain and analyze what we have done so far and what we are doing. We're continuing this still life demonstration here, focusing on how to block in colors and establish a composition. Now I'm going to go through the breakdown of what you have learned so far. So we have done setting the palette on the left side with arrange colors, including a wide variety of primary and secondary colors. Whatever you have is fine, like red, yellow, green, blues, and white. I'm showing it to you how to organize the colors. It's really great to be organized. And the first thing I did was to block the background. The right side shows what I've done so far that on a paper canvas, I've already blocked in a vibrant red background. This is a very important first step guys to establish the overall color scheme and contrast between the background and the object, which can be a fruit object similar to an apple or pearl or whatever you want to paint here. So so far, this is the angle that I have done. Now we're going to go through this part, introducing you the form. Since we have worked on the lower portion of the composition, let's work on the upper portion. We use darker, rich, reddish brown paint and a palette knife to create the basic shape of the object. Now we are working on the lighter tone, how to create the form here instead of using pencils. Mine asked me why I'm using palette knife here rather than brush. This technique emphasizes textures, clean edges, and control over the paints thickness. I'm teaching you how to blend smoothly and create deliberate texture by pressing or lifting the knife at different angles and how to mix it like this. It's very important taking your time when you're doing underpainting, we call it underpainting or blocking in shadows by using dark color to mark the lower part of the shape. And now we are doing the upper part. It just to establish how to establish a tonal balance early in the painting, guys. Please avoid over detailing too early at the process. You need to take your time to establish the foundational composition and color contrast, everyone. The knife technique that you are learning is a great lesson how to control pressure when it comes to mixing right now here to either smooth pans or create textures. Now I'm doing one more time, the analyze to see the upper part color is correct or not. We're still doing the underlayer. Just bear that in mind, please. I'm going to give you an idea of what colors I'm going to use a bit further. When I move towards the upper part, I'm going to use cadmium yellow, pale hue, cadmium yellow, which is called 119 and Viridian hue and maybe a titanium white as well. But for now, we are not using them. We're just going to mix these colors until we reach that point. So on this step, we are refining the form guys. Still, we are just on the actual form and the coloring. We're just going through the shape of the object. As we apply darker tone, now I'm just introducing the highlight to guys here. So it means we have to define the light source and the light and shadows on the object. But now we are going through the blending and transitions here, the contrast between the lower part and the upper part, which means the darker red and the lighter interacts with the object. And how they blend together, which we call it, of course, blending techniques to transition to show the transition between the light and shadow areas. You need to smooth the edges where the light meets the shadows. I just give you a bit of more information when you want to add depth is by darkening the area and also adding white to the highlights if you need to. Or you can add yellow. This way, you're adding more depth and dimension to the object, making it appear more three dimensional. Very important step when you're doing the model, the form and create a sense of volume using light and shadow while maintaining the background. So the red background guys should remain untouched. A Make sure if you want to make any further adjustment, let me know. Also, let's understand the highlights, the strong contrast between the background and the object. We have already established the light source where the light and shadows are. Gradually, we are building the form without rushing into details. Make sure that you don't rush. So now, this is the time I mentioned to you that we're going to use the yellow. Does follow my hand moments here? This practice needs lots of patience. Put time and effort pleased into learning the steps and the process. So in the future, you will be able to create beautiful and artistic words and use various colors on your palette. I'm sure you have realized this is a great practice for you to recognize the colors correctly and how this practice will change your drawings and artworks. Use a bit of titanium white, follow the way I'm mixing the colors. Doing the analyze one more time, making sure the colors are done correctly. I would like to emphasize one more time the darker tones on the lower right side of the object have become more prominent. We're establishing a solid shadow underneath. These kind of shadows, which is the first layer, makes the object feel grounded and gives it, as I mentioned, a free dimensional presence on the canvas. So you can see we have three layers so far, the darker one, the midterm ones, now the highlights one that we are going through right now. We're establishing the light area. The larger unpainted white area for now is where we have our highlight, the lighter value color. We have left it blank so far it's intentional, guys to avoid modeling the colors while focusing on going through each layer one by one, the darker one, the mid term ones, and the highlights. Okay. Mm. Contrast with background. You can see him adding a bit of more lighter color, either yellow and white mixing it to create that Highlights. It's a new word, Highlightish. ColorTo enhance the form of the subject. Let's analyze one more time. You can see the general shape of the color, the object, the apple is now clear. Okay. With kind of smooth, well, not that smooth, but almost curve that suggests the rounded nature of the apple. So please make sure that you go through this one, the darker tones is on the bottom. Crease that roundness. That's how you create the form of illusion of depth. See how brighter the color is now after mixing all those colors together, please follow along. For now, place fall on my hand movens as I'm going to place the lighter colors on this area. Look at how I mix the colors. After this, we're going to start mixing soft colors, as we call them soft yellow lighter yellow or even if you have yellow oche This suggests we are preparing to add highlights or mid tones to the object, which is our apple here on the canvas. How to create the right tone by blending colors directly on the palette is very important, everyone. And how to achieve a lighter value we need here. It's very important we pay attention how I apply the colors with the knife palette. When the color is less pure, as you can see here, it gets darker and you get the point when you think you need to make the color brighter and change the hue. It shows that you have done it maybe incorrectly or maybe we didn't mix it in the right way. So when we don't have options to bring back the pit, you can make the colors from the beginning. So don't keep using the same color if that happened to you. Or you can add a bit of white. On this color now, let's see the highlight that we are creating here. So we are not creating a direct highlight, which means our white. And Follow my hand movements again as I'm checking the colors and mixing it, making sure again one more time, if the brightness is similar to the color we have on the apple in front of us, adding more yellow here or as the actual color is called cadmium yellow pale hue, number 119. Then we check the colors again. Look how mix the color thoroughly. You also need to add a bit of cadmium orange hue, number 090. Let's mix the color perfectly this area. Feel free to ask your questions at any time, everyone. I look forward to receiving your comments and also assignments. So whenever it comes to creating highlights and mid tones, you need to make sure that you understand the lightening areas of the object itself. We keep using palette knife for mixing. Keep the process clean and efficient. And also, let's bear in mind that when our palette is organized, figuring out the colors around it and how to blend them would be much easier. We are achieving the right tone here gradually blending the colors. And build up to the right highlight in certain stages, starting with mid tone, as I mentioned to you, gradually moving to lighter areas, which give our apple more dimension. I keep cleaning the knife palette here, palette knife, I have to say. So the knife control is quite important as we keep mixing it. How to control the palette knives pressure for both mixing and applying the paint here. Please have a look like, Oh, please notice how many times I analyze and change the color and mix it to achieve the correct color tone here. One more time. Let's continue. So even we have a very small painting and we want to achieve a good result, we really need to take our time. Let's be patient, practice more and more, and don't try to finish as soon as possible. Let's clean the knife palate one more time, and then I'm going to apply it. As it is very important to see how I hold it here and control it. In this area that you see the top part. The color when they change around, we need to make sure that we apply it correctly. Wherever I'm applying it, please try to follow exactly what you see and how I'm doing it right now. H take the color from the palette and then how I apply it here and then place it. The color around these areas, they are not completely dried. So sometimes you really have to let it dry the first layer and then work on it later. Also, as you know, the cover, the background on the right side is yellow. So we're going to use cadmium yellow, pale hue, number 119. So I added more colors on the palette. We have a bit more cadmium yellow, pale hue, 119, and vary thean hue 696. So we could mix them. This way, and I'm having guest somewhere that we don't have other colors, so we could mix it here and apply it in this area. As the surface below the apple is green, so we can see the reflection of this color on the yellow surface. The only way to recognize the color is using this tool. This piece of paper, as I call it tool that we made aeriala here without this piece of paper. We might just feel like, Okay, the surface is yellow. But after you use it, you're like, Okay, there's a shadow here. There is this color here. So you realize and you could see the colors like separately. It's a great muscle training for your eyes, guys. Also applying a bit of titanium white and mix it here. Please observe my hand movements so you could have a better understanding how to uncontrol your hand and also the pressure. Mix the colors carefully and patiently, guys. You can change the speed of playing the video later. If you felt like it's too slow is fine, but I advise you to really take your time and even sometimes stop the video and try to finish the part that you have seen and then resume. Now we get closer to the edge. We could have a bit of green as well. We need to check the color one more time. Et's add a bit more titanium white. Mix them. Now, I'm going to apply it on the canvas. See how first of all, mixing it now it's ready to apply. As we move forward, this first phase that you are watching right now and practicing after that, we got to move towards in the next few tutorials. Step by step, we got to move to the second and third phase. First, we're refining the form either as background or the apple. We need to talk about the Apple has been largely blocked with a range of tones that define the shape and the curviness. We call it curvature. Darker shades are used on the lower right side to represent the shadow, while lighter tones likely mixed from the yellow, white visa a are applied to the left side. Mainly top part, but you did see how many colors I applied to create that highlight. Also, we need to talk about highlights and shadow balance. The central part of the apple is transitioning smoothly from dark to light, giving the appearance of a round three dimensional form. So the reason I keep applying and repeating this is for you to understand that you need to create these different tools, these three different versions. While I'm applying the green onto this area and a bit more yellow, let's talk about the balance of light and shadow that will help the apple look realistic. The brighter, whiter area near the top indicates where the strongest light is hitting the surface. Since we are working with palette knife, it's very important to mention the texture. So we're using the palette knife effectively to blend and apply paints in a way that creates subtle texture. So it's very different from brushes using brush. It kind of mimics the uneven surfaces of the apple's skin as well. The blending of colors is smooth, but with enough texture to suggest the natural look of this fruit. Now considering the background, this area, make sure that you are careful when you go around the apple. It's very important. You don't go onto the apple, especially with this color, but if it happens, it really is fine. We're just completing the initial blocking of both red background and the yellow background. It's going to create harmony. Since we continue blending the yellow background, Once the apple's form is mostly finalized, we will work on it a bit more. So it's not just one layer. This is just the beginning. We need to let it just the pains to breathe and stay dry a bit, so we could adjust and apply more colors onto it. Later on, we will adjust even minor details or I have not just say adjusting, if we will add more subtle highlights, and we will refine the shadows and polish it a bit more. So these are step by steps. So far, we learned a lot. So I'm gonna move a bit faster. Going around the apple. Please have a look how I'm holding the knife here, the palette knife, knife palette. Keep mixing the name. So now it's time to create another yellow color here is because the top part of the background, the apple due to the light that I have in the studio is different. So sometimes you have to make a decision. Are you going to paint according to what you see exactly like still life? This is what painters old times they used to do according to what they saw, they would paint or just according to the actual piece without certain light reflects around it. Keep mixing these colors now, creating the right tone. So far, I have just mixed cadmium yellow, pale, titanium white, and a piece a bit of orange mixing these areas together. Let's add a bit more titanium white here. Mix again. It really doesn't matter how many times you do this until you're satisfied with the color that you have mixed and made. So I'm just combining these two a bit together. Not just applying it on the top area, the top part of the surface for the background. You just have to make sure that you don't have any in line between them. So it means you have to mix them perfectly when it comes to this area that you are seeing. Be very patient at this stage of the work. Please follow my hand movement. We're almost done with this tutorial. In the next one, we're going to go through the next step. Making sure I get rid of that red. Even this happens, it's fine, make sure you clean it. One more time, clean your palette, take some yellow, and that's how you can mix it. It's very important to have clean palette. Great job so far, and I see you in the next tutorial. For now, bye bye. 19. Painting the Apple: Building Layers: For this part, we have moved on working on the background and establishing more context for the apple within its environment. We're going to work on the color blocking and also, I'm going to teach you when you create a color that is not suitable, how to create another one, use the tool that I mentioned to you. To analyze the color first, we have already decided that we're going to go three different colors for background. We have divided the background into three distinct color areas, a red section on the top left, a yellow section on the right, and a green section on the bottom. Which acts as a surface on which the apple rests. This technique of color blocking simplifies the composition and creates a strong vibrant contrast that allows the apple to pop out against these bold colors. That's why we chose these primary colors for this tutorial. For now, you have seen that I added green and then titanium white, comparing it to the other colors we have around here. I'm going to add a bit of more navy darker blue and white, and we're going to have it a bit on the side of the edge between the yellow part and the green area. And then we have to create another one that is more vibrant. The green is more green, I have to say, which I will show it to you in a minute after I have completed this part. Please have a look how I'm just mixing the colors. Let's add a bit more titanium white here. After this, I'm going to take you through perspective and shadow. We will talk about it more when I've started applying it and creating those areas. But the shadow beneath the apple has begun to blend into green area and it should blend into the green area. I will teach you how to do that. For now we are almost done with the first color green tone. Please mix as much as you can. Try to have fun when it comes to mixing colors, try to experience different mixing different colors, add a bit more blue, add a bit more white, not just what you see here. However, please do follow my hand movements and the color mixing. But it's great that if you could apply from your side as well, Great job so far. Please don't forget to go to your downloadable resources and your assignments and download them so you could practice from those. I have added more examples for you guys. So that I added a bit red here as well. Now we can apply it a bit on the side, and then I'm going to create another green. So make sure your knife palette or palette knife is clean. Now, the green we had, which was untouched, we added lighter one, but a bit of white, not too much. And we will see the difference. Let's add a bit more from our tube, green tube. It's still okay if you are not using the same oil paint brands that I'm using. Whatever brand that you have is sufficient is good enough. You can send me the names, or if you want to buy a new set, please send me names so I can guide you better. Let's do the analyze one more time, see if you're happy to start applying it. Making sure that the green the few colors that I just mix, they're perfectly harmonized, Mxthoroughly. Just added a bit more titanium white on it. You can see that I keep mixing a bit, like, at a bit and white little by little, not all at once. This is a great practice for you guys. First of all, for your patients. And second, you have to realize the color just gradually. Look how I'm taking more green and then how holding it to go around the apple. Especially if your apple is not dry enough, you really have to be careful. Left to right. You can see I'm doing right and left and up and down at this area. The green is a bit watery. That's why you will see some whiteness beneath, but we're going to add more layers, especially in the next uterial h. See, here, because it's not dry. So we are taking it from the red part and bringing it onto the green. So we have to be careful or amend that area. Even though when something like this happened, you can always utilize it because we do have a certain perspective and shadow, right? So the shadow beneath the apple, we need to do correct blending into the green area. Shadows help our apple. An objects that you have appear more realistic. So we should make sure that we always consider where they are and add them correctly to our drawing. This is for the shadow one, shadow area that I'm doing. So we're just adding more layers and building that dimension. You can feel like the background layers. This is the second layer, the shadow part, starting to add more complexity to the composition. These kind of background colors play an integral role in highlighting the apple. So we have a lighter version here as well. Then I'm going to add it to this color. You can see it's darker, quite similar to the first color that we just created. Going to clean the color from it, and then now I'll add a bit yellow and red onto this area. Taking my time to make sure that the first of all the knife is clean, and then I'm going to analyze the next color, added a bit of yellow to blue to create another version of green. You will get the hang of it really soon. Just try to mix the colors, and I use the tool that I introduced to you, this one. So it's okay if you're really not creating the same at the same time, the same colors that I'm doing. Try to be as close as possible, please. Now the shadow area, very important. And this is only the first layer of the shadow. We're going to go a few more times on it in the next few tutorials and complete this area. The way I'm handling the palette knife is very important. And the way I'm holding it. One more time. Let's analyze. Now adding more details on the apple. Did you see holding it and creating this part? Adding the details. It's like a very narrow line. In the introduction section of this course, you learn how to do this kind of details. Now we are just applying it on an object. In the next part, we're going to go through more areas and we're going to add more layers. Alright, for now, let's move to the next part and see you in the next tutorial. 20. Painting the Apple: Refining the Form: Hybribon vol come back to another tutorial. This is Tutorial part number four. Hybribon vol come back to another tutorial. This is Tutorial part number four. Continuing, we will work on the apple. Again, in this step, we're going to use all these colors that I'm going to show it to you and then I'm going to mix them. Once again, we're going to use this tool to identify the actual color on this part. I'm just making sure if the highlights are all done correctly. And we have to al better highlights now. Second layer. The best way is to follow my hand movements, have everything ready. I'm sure you have been through the previous tu orios mixing cadmium yellow pale hue, number 119. And maybe you could add some Viridian hue, number 696 on the palette and mix them together. Make sure you clean your knife palette as well. A bit of titanium white. We don't need a lot of white for this part. So don't forget add a bit. So you can control the colors. Nabita cadmium orange hue, number 090. As you can see, we are adding warm highlights using the palette knife to apply lighter and warmer tones like if you have any kind of yellow, orange and a bit of white to the apple, particularly in the area where the light source hit. So please do use that tool that we have and understand where the highlights are. For instance, here, I'm looking where the highlights should be, and I like zing it, taking my time and making sure the colors, the highlights here. They're correct. It's quite crucial guys to bring out the highlight and to find the volume of the apple. Evil makes such a difference. You will see at the end of this tutorial, the difference from now and then after we have applied the highlights, how to create a light reflecting surface on the apple, taking this away with my fingers because we still need it, but we didn't need it that way. Emphasizing the textures in these areas by using our palette knife instead of brush, of course, adding more texture layers more towards like dots and little textures, which makes the apples surface feel more lifelike. This is a great way, guys, practicing how to use a palette knife to build up paint and create dynamic texture that can represent an object's natural look, such as the uneven skin of an apple. Let's try to create another version of the highlight. Again, with the yellow and titanium white, we are refining the shadows the highlights and also after this the shadows here. For now, we are just building volume with highlights. This time, I added a bit of cadmium orange, highlighting the parts of the apple that catch the most light using brighter and warmer colors. So don't forget that. At the same time, we are creating textures we using palette knife. Bit of this as well, just a little. Not too much, please. Taking it with the tip of the The knife here palette knife to make sure you had good control on it. After we check the color, then we're going to apply it on the work. Make sure every time if you need to, and if the color is not correct, you clean your palette knife. Just adding a bit of blue as well. We're just modifying this color with adding. It's not just blue. It's called cobalt blue hue 179 to modify the saturation. You can see how I take my time when it comes to mixing colors. It is very important. Just imagine you're doing the skin tones or when it comes to portraits, painting, these are really important practices that you have acquired in this part. Because we have already added a bit of green and cobalt blue, then we add the green to the mixture. Not just mixing colors, but you're improving your vision, how to see the colors correctly. Now titanium white a bit. Again, after you have done, you're done with it. Just clear the palette knife. Look at my hand as we want to check the color with the model, hold your hand straight and look at the colors through the hole on the piece of paper. The color first I made was not the right one. So now let's look at the difference between the colors that we made second batch. Quite different. You're using the tip of the palette knife to work on this part of the apple. How, look how slowly I applied the colors on the surface. Again, take a bit more. Keep applying it. The technique we are looking using a palette knife is for building textures and forms a highly expressive and versatile approach in both abstract painting, or we call it representational paintings as well. I can say, the most prominent feature of palette knife painting is the texture that you can see here. Using cadmium red hue, 095 to the mixture, follow my hand movement. Unlike brushes, which tend to create smooth transitions and fine details, a palette knife allows for fickre, more textured layers as you can see here, the raised surfaces created through heavy impasto application at a tangible, I can say kind of sculptural quality to the painting. Also, I have to say, you can see the way we are adding the light, this technique allows light to interact with the surface differently, giving our object here, for instance, Apple, depth and interest. Let's ale one more time. Follow my hand movements, not just when it comes to the mixing, but when I clean the palette knife, when I add this titanium white, a bit of small small amount. Again, let's check the colors while you are following my hand movements. Let's talk about the expressive strokes that we have. Kind of expressive style. So any kind of strokes you have with your palette knife can vary in thickness and width. You can also create fine lines, but you can also non fine lines with it. As you can see here. For instance, background, we had some fine areas, but on the Apple, we are having different effect, kind of dynamic, I have to say. A creating intric details around this part. One of the key advantages of using a palette knife is the ability to layer paint without muddying the color because knife scrapes or places the paint on top of the existing layers. There is less blending compared to brush work. This allows you guys to work with vibrant, clean color contrast, especially when creating highlights or shadows as we are doing now. Add radian hue 696 and also ultramarine blue 660. Make sure you add a really small amount. Clean it before you apply that color. Make sure even you bring a bit of small amount, it feels a lot. So make sure you have control and you keep analyzing it. Keep your hand straight. It requires a great deal of control. I really looking forward receiving all your practice assignments. Don't forget to go to your downloadable resources and get more info. Also, when you have this course, whenever you feel like you want more examples, you can reach out to me. And if we vote, I can create more lessons and tterios for you guys on specific objects or examples. We are managing the pressure here. The angle of the blade and the movement plays a role in shaping the texture and the result of this apple. It kind of a balance between looseness and precision around this part, especially, making decisions about which areas requires heavier, more texture touch, and which should remain smooth or blended. Also, we should talk about the range of the colors used for working on this apple have similar hues, but we see them in different lights and angles. When we have color and it's correct one, which is used mainly in the work, we can apply it in different parts of the work. Then we can modify this saturation based on what we see. We can also change the brightness and modify it when it's needed. When I get to a color which is used more in work, I keep it for other parts as well, and again, modify the saturation and brightness of the colors and apply it on other parts as well. By using this technique, I speed up the process of completing the artwork. Add a bit of titanium white to the mixture, then mix the colors. Try to mix it as perfectly as possible. Feels like we are controlled. We have to learn how to control a chaos here. As I mentioned, it requires a great deal of control, which you're learning to do that. I'm confident after this, you will be very experienced when it comes to mixing colors, creating new colors, control your hand pressure. And also when it comes to apply correct color, correct places. But you really have to promise me to practice and don't rush when you apply any of these parts, especially the way you handle the palette knife and how you hold it. Also, let's bear in mind, it doesn't matter if you don't apply the colors right now accurately on the canvas as we are using this palette knife, it's normal to happen. We're not focusing on the exact form, but we are creating the form. You're just working on the colors, the lights on the apple. Work closely as I'm mixing the colors. Let's check the color one more time. Look how I plow on the left part, the edge, especially the edge area. All these second, third layers, additional layers, I have to say, because some of them is maybe fifth layer. It's very important how you apply it, and I really want to ask you guys to follow my hand movements exactly how you see right now because it's the correct placement for now. And when it comes to the last part, which is part number five next to Terre and when we complete it, you'll see everything we have done so far, it had risen. Keep following my hand movements here. But when we're working with different colors, we can understand better which color has more effect on the artwork. We need to be very careful when we want to add white as it's very influential color. So we need to add it bit by bit. Even though maybe you know that you need to apply a certain amount. It's much more than little by little. But still, I advise you to follow and don't rush it. Very important, guys. I promise it pays off your patient I mean. Basically, you have to note that lighter colors are way more influential because you can correct the darker color. But when you apply lighter color, it will be a bit. It's more hassle. I have to say when you want to correct them and apply more colors on them. Follow this another mixing colors again. We kind of control learning how to control as well and create that balance that I talked about it a few minutes ago. And also, we have to make decisions about which areas requires heavier, more texture touch, and which areas need to be smooth remain smooth or blended, as I mentioned. This is a great example of what I meant. I Since the knife doesn't require fine delicate strokes like brush compared to brush, it frees you guys. It kind of gives you that free movement from being too focused on minor details, but it requires attention and precision. Well, less precision, I have to say in some areas, but mostly encourage more creative expression. I love this practice for you guys because you're going to practice color relationships, form, and movement rather than getting bogged down by tiny details. You will have way more fun when it comes to practicing with palette knife. Comparing when it comes to practicing brush, I mean, we just made that brown color tone earlier. Mix red and green to use it for the tip of the stem on the apple. Please focus how I'm holding the palette knife for this part. Clean your palette knife again. Try to mix darker red with lighter one together. Make sure it's perfectly mixed. At a bit of green. Other subject that benefit from texture would be landscapes or still life. A lot of old masters use this technique when it comes to still life. When you go to museums, try to pay attention to the lights. For instance, if you're looking at some not just nature landscape, when it comes to ocean, seas, waves, waves, as I mentioned, and also the light when it's coming from the sunset or the sunrise, all those effects, you can see a lot of it's coming from this technique. Quite important techniques that you are learning. As you have demonstrated, palette knives are excellent for defining areas of light and shadows with sharp, decisive strokes. So for instance, for the apple part, just compare it with a few minutes ago. When thick or light paint is laid on top of the darker layers, it catches the light more effectively and gives the illusion of natural highlights. If I want to express it a bit more artistic, the bold strokes created by this knife around this area can evoke a sense of motion and energy, making it ideal for expressive or impressionistic work where emotional impact is as important as realism. I know it's a bit too artistic to talk about it like this, but it's true. Also, it is a quick and spontaneous effecto. For instance, if an artist needs to cover a large area quickly or create spontaneous different effects, the palette knife is an excellent tool, everyone. It's perfect for creating dynamic background broad strokes and clean edges or kind of messy edges dg. It really depends on your style. Right now, please make sure that you follow my hand movements exactly these areas. For instance, if I'm adding a certain color just in one area, please try to imitate it. And create that texture, color, and bold expression on that area. We're creating the relationship between layers of paint and how the light interact with those certain areas. It's interesting how palette knives has freedom, but also is very controlled. In here, apply the color spots in smaller parts, smaller area. We can continue working on the saturation and the brightness of the colors. Going to add a bit of titanium white onto here after we analyze if we needed more or not. It's been quite a while. We have been working on this part. We will have a break. After this, we also give it some time to dry. So when we apply another layer is much easier, and it sits on the previous layer much better. So you don't want to create a muddiness. So you need to give your canvas to breathe. Almost done. Let's add a bit of more titanium white on it. Follow my hand movement at this part. The reason you see sometimes my head is just because you need to have more control on it. So you need to make sure that you look at it and precisely add that color to that part. Make sure you're mixing it forughly here, analyze it one more time. Just a bit in the middle part. Look, I just created more highlight. It's quite a bold highlight, both in the middle and on the edge area. And also darker one to repair that area. So for now, let's have a rest, and let's move on to the next part very soon. For now, bye bye. 21. Painting the Apple: Final Touches: Hi, Vyvon. Welcome back to another tutorial. In this part, which is our last part, we're going to focus on creating shadows, cast shadows, and also we're going to do the last layer, last bit of details on the apple. So we're going to start as always to analyze the colors, and we're going to move step by step. First, we have to emphasize the importance to observe colors accurately, which you have learned in the previous tutorials how to do this rather than just relying on our minds idea of what color should be. This is a perfect practice for color observation and color mixing. This is crucial because mastering color is fundamental to achieving realism, death, and atmosphere in a painting. So now we're just focusing on color observation and matching. How are we going to mix it, please follow my hand movements and follow as you see and repeat after me. If you had any questions, please send me your questions. I always online to answer them. This self made tool that I have created, which has a hole cut into the paper helps you to isolate specific colors on the object on the subject that you have, allowing you to compare them directly with the paint on your palette. This technique you have learned so far prevents you from being misled, I have to say, by the surrounding colors and make sure the hues that you mix are accurate. Now we're going to start by casting the shadow here. Please follow my hand movements and repeat after me. Have a look how I'm holding the palette knife and also the direction of my hand, how I move it. All these details are very important. You can use complimentary colors like red gleans to darken areas in the painting, especially for this area, you add a bit of, like, green, yellow and white and mix them to create kind of neutral tones. As I mixing this and then analyze one more time, the core shadow on the apple located on the right side is where the apple transitions form light into shadow. We have to darken the side of the apple using complimentary colors. You can use what I have created. Also, you can use maybe experience with red and green and try it, which deepen the shadows without taking away the vibrancy of the apple's natural color. This shadow is not a solid block of darkness. That one we have to understand and how to apply it. So instead, it has subtle variations in tone. With these colors that we have mixed already together, and we have to be really careful when it comes to cooler tones toward the edges of the apple. These shifts in tone make the shadows feel more realistic and give the apple a rounded three dimensional form. I need to emphasize how the use of complimentary colors adds richness to the shadow as well. So try to create different complimentary colors. Maybe you have different apple, a different color. So all those factors going to affect your painting. Shadows are not just dark versions of the objects color. They are affected by light, the surrounding environment, and even the surface the object is sitting on. For now, I'm just demonstrating how to build shadows gradually, not just all at once, mixing colors in layers to get the depth just right. Follow my hand movements, I'm mixing this. We kind of have green tones here. Now we're going to go ahead and start to work on this part. I have to say almost we're getting close to cast shadow on the surface. The cast shadow under the apple is one of the most important elements that anchor the apple to the surface, making sure it doesn't appear to be floating. We have to use darken mix of green. You can add a bit of red as well to make it darker, feels more muddier, more natural tone. It will create natural shadows. That's what I mean. The cast shadow gradually fades as it moves away from the apple, which helps create the illusion of light diffusion. The area closest to the apple is darkest. And this darkness softens as the shadow moves outward, mimicking how light interacts with objects in real life. So please bear that in mind. It's very important to understand the transition from the darkest part of the shadow, which is near the apple to the softer lighter area areas, which it's quite essential for grounding the apple on the surface, as I mentioned. The blending of shadow into the green floor creates a seamless look. Look how taking the color for this area. Sometimes trying to avoid hard edges makes the shadow feel realistic. I have to say I really love that color against the yellow wall. One of the one of the significant details in this piece, I have to say, is cast the shadow cast by the apple onto the yellow background. It feels like a key aspect because it adds that dimension I was talking about to the space around the apple. Without this cast shadow, the apple would feel disconnected from its environment. Now, while we are mixing these colors, since this is the last tutorial, I would like to go through some of the conclusions. I have to say, some of the talking points that we went through. Number one would be building color gradually. The fine result shows how important it is to layer colors slowly, guys and carefully. Like, for instance, here, when I go around the cast shadow, first, I did the first layer, and then now this color, the green color on it. Each step involved checking and refining the colors until they were perfect and matched what we wanted, what we saw. This careful observation that we had in this tutorial and we learned how to do an adjustment, many times, I have to say, many analysis, many adjustments are key to achieving a realistic look. The power of texture is a second point I would like to talk to you guys. But before that, I have to say, don't forget to clean your palette knife. That's maybe one of the very important points. But again, the power of texture. The palette knife technique, everyone, adds texture to the painting. So you have to be very careful how to control the pressure when it comes to rough textures on the apple surface. So you could mimic a natural skin. While emphasizing the Apple's form as well. Another point that we learned, and I would like to talk about it again using complimentary colors for depth. The shadows beneath the apple that we just did kind of demonstrated how complimentary colors like red, green, a bit of titanium white, mixture of, like, blue and green can be used to create rich dynamic shadows. The depth and complexity of shadow make the apple feel more grounded and realistic. I'm just brightening the the green color. So it's a good match when it comes to all the colors that we had here. And also, when you have so many different colors on your palette, you have to be extremely careful when you're mixing certain colors. So pay attention to that, as well. Um taking more green from this area. Look how I'm holding the palette knife. Let's mix the colors a bit faster. Again, use the tool. Going to apply it all around the green background. Now you can see it's easier because the background is dry, it was easier for us to apply a second layer, a lighter layer without muddying it. It feels like an independent color without interference from surrounding tones. Throughout all these tutorials, guys, we mix many colors, gradually adjusting them to match what we have seen on the sample on the apple. Also we learn how every color is a combination of influences from light, surrounding objects and reflections. Also, we learn how every color is very important, how we should mix them. Every mix is different and they have their uniqueness. They are not the same. It's very hard to create the same color. So you have to take your time step by step creating. Use that tool that I taught you how to hold your hand straight and realize the colors. So step by step, learn all those details. The apple isn't just red and the background isn't just yellow and red green. So each area is influenced by subtle certain colors. The process of mixing these colors in palettes is kind of special. Each one is special. Adjusting them until we get it right is very important. It's the critical skill that we learned. So don't rush it when you're applying the first color and the second colors. And also, please follow my hand movement step by step. Make sure when you're applying the certain highlights, to apply them. For instance here, I applied a bit too much, so you learn when you're applying it, especially when the background has dried, it's much easier to get to take off that color and correct it right away, whereas if it was kind of wet, the first layer, and second layer, first of all, it would have created a muddy feeling, and it would have been harder to take to get rid of the extra color we had on it. It's all about gradual adjustment instead of expecting the first layer of colors to be perfect or the first color mixing to be perfect. Layering colors and revisiting them is essential for achieving this technique to achieving this skill and depth. In real life, colors are rarely flat. They are built up from layers of light bouncing of different surfaces, and this layering technique mirrors that complexity. Sometimes you need to go over an area multiple times. You have seen how many times, for instance, for this one. I created the color different colors, mixed them thoroughly mixed more, created more, and then applied it many times bit by bit. So not just all at once. When you're beginner level, you might feel the temptation to get things right on the first try. But this tutorial shows that even experienced artists go back and forth until everything comes together harmoniously. Also, we learned this color checking tool is simple but highly effective. Let me know in the comment section or message me directly if you could create one and how you feel about it and if you could use it. We're almost done. These are last steps. We have completed the work by adding proper many details, I have to say, apply the colors step by step, analyze it many times. Check the colors, making sure we are doing mixing them correctly. So as we are almost done, congratulations for, like, going through all five tutorials, all the parts. We learned how to observe carefully, mix colors correctly, use texture purposefully. This is just not about an apple. Creating painting an apple is about training your eye to see colors in new ways, learning how to balance complimentary colors and understanding the value of layering and adjusting as you go. The end result is not just a realistic apple, but a vibrant textural piece of art that demonstrates control over color, light, and composition. I can say this practice is a testament to the value of patients and careful observation guys. I expect to see lots of beautiful, amazing artworks, please send me your assignments and it's okay if it's not exactly your practices practice doesn't exactly look like this, send them to me so we could analyze your works. For now, we're done. Let's have a rest and we will start with another example soon I see you in the next tutorial Bye bye. 22. Exploring Mug Textures and Shading Techniques: Hi Evon, and welcome back to another tutorials. In this lesson, we are going to work with brush that is kind of slightly used brush that has rough teeth. You can see, let me show it to you by touching the this part of the brush, you will understand if it's soft or rough. This is called bristle part of the brush. Of course, working with these brushes that have uneven and kind of quite difficult bristles, the results not going to be clean, but they will give us some very interesting results. You will see at the end of this tutorial what results we have. We're going to work on different colors, very neutral, different tones than previous tutorials. I hope you really enjoy this one. Look at this color that I have here. First, I use white paint. Our brush was slightly dipped in white paint causing our orange paint to turn pitchy. I'm going to use this color. I need to show you how to clean the brush properly so that it's completely clean. So we could use it again. We have a bit of white color here and also green. Well, I have to say pinky color. We got to mix them together. You have learned how to mix with palette knife. Now, this time it's time to work with brush. Please have a look I'm mixing them, creating very bright green color. My aim here is to create a form, not a specific color. So what I mean by this, I want to use this brush to draw the shape of the glass. I don't mean to actually color it for now. This is only for the base, the base layer. So sometimes some of the artists, you can see, they do some base layer on their canvas, some neutral tone. They use OCa colors. Now we are using this color for the background, but we are not going to do the whole background, just a part for the cup. I'm not going to use pencil to sketch it right the way we dip in. This way, you will develop your skills in still live drawing and also color theory. We're going to combine many skills here. So I hope you enjoy your follow along. Pause the video at anytime if you have any questions. Make sure you get the forms right simultaneously. I'm going to teach you how to work with light and shadows at the same time. Using my paint that is dry here, the tip is quite rough, as I mentioned before. Completing this part of the cup. Notice the texture around this area. Now we're going to go through the body part of the rest of the cup. Please follow along this sketch and take your time. I'm a bit working on it faster than I should, but it's good experience for you guys. See how artists they work on the when it comes to their sketches. When I work on this part, the paint dries faster. I can apply colors quicker. For some light areas, we work lightly with light colors, meaning I use underlying colors to draw the desired form. Here you can see using diluted color. In fact, despite the thinness of the paint and the roughness of the brush, our work is coming out properly. Look at the Form, it's really, really important that you understand the light, the highlights that I'm working on, for instance, around the top part of the cup where we use more colors and where we left the parts we left out. The whiteness of the canvas is extremely important. Those areas going to show the main form of our Of the whole area, this part that I'm just showing it to you. I'm still working on the form. Please follow along. If if you feel as fast for you guys, just stop at this moment, complete these areas. Make sure which part you are leaving out, the whiteness of the canvas is very important. We leave it out for now, so the form is correctly done. The way I cover the edges is very important. We're going to work different colors. So it's not just practice in different colors because we're going to work similar three different cops all similar in different colors. First of all, is a great practice for you guys when it comes to form and the sketching part, holding the brush part and also color fury. All of these in one lesson is a great practice for you guys. So please follow along. You can see that where the lighter parts, which I use less pressure on the brush. Try to utilize the whiteness of your canvas. Now, this one, the bristol is different, is softer. We have done the primarily the sketch. Now I'm using paper towel, clean everything. We have everything ready. Your brush should be very clean as well, so there is no paint on it. Now the green paint. Let's add a bit of red paint on it. Combining these colors, you have learned in our color theory, previous tutorials. It will give us some neutral, dark complimentary color for us. Kind of drawing hatched lines on this area. I don't want it to be smooth and we are doing this deliberately. On purpose, we are going through this part. Please hold the brush the way I'm doing, create the texture of the work. It's really up to your taste and choice how you want to draw and paint this area. You can do it in a soft way as well. But for now, I prefer you follow along and decide this style and work on it with these techniques that you are learning right now. So for instance, on the left side, I added the colors a bit in the middle part and left to right. Again, really important that we practice together at the same time. We just finished the second layer on the side of the cup. Now we're going around these areas, please notice where I'm applying it. It's not all over it. Very important. Try to make sure that you place the paint exactly where you see right now. So paying close attention to how I apply the paint and move the brush and follow along is extremely important. First, I use you can use darker colors, and then you bring lighter colors. We have so many different techniques that we're going to learn step by step here. So far, we have learned how to create first of all, how to mix colors for the base layer, to create the base layer, to make sure the form is correct, and we didn't rush it. We were patient. And then we added the second layer with different brush. Now with this brush, which is softer brush, we're going to add a bit of white. You can use titanium white, adding a bit of brightness to our color. Actually, now I'm going to cover the whiteness of the canvas here. The way I move my hand, the way I go on it in this area is very important, and I'm not applying it everywhere. Please make sure that you just applying it in this part. You don't go too much to the ref, you don't go too much to the right. Make sure you bring enough color from your palette to the canvas. And also the way you use the tip of the brush is very important, guys. When working with a palette knife, we learn how to do this. Now we are using brush, especially when the brush hairs are splitted or softer, they're all different. But right now, how you blend in between is very important. Now I'm blending in between first left and right, and then up and down, then you mix the colors together. You create the form, you give dimension to this part. So you have seen already our materials and steps. It's already greens, earthly browns, and we are creating off whites. It's really not white, it's off whites. The subtle variations in these colors will help bring out the natural texture and reflectivity of these. I have to say ceramic material here. The cup that it has so look at the basic palette, how many colors I'm using? Bits of white, green and red, and that's it. You don't need more to create beautiful artworks. You're just working on still life. Also, let's use the white around this area. Create more square filling, but round version. Also, I have to mention to you that our brush bristle is flat. This is linseed oil. Look at the difference that is creating here. Either you're using linseed oil or you're not using it, make sure you clean your brush regularly using paper towel because the colors have blended together. Especially when using lighter colors, clean your brush every time you use it, prevent the colors from becoming muddy. Now again dip the brush in linseed oil, apply more layers in these areas. Makes your work more uniform and also create more highlights. Because when you're adding it, you create that shadow filling. Also you can create highlights with it as well depending how you utilize the linseed oil and mix it with your brush, and the hand movements of the brush is very important. I'm asking you guys to repeat exactly what you see, Blend the edges. So we could have our desired form. We're going to bring the previous brush, dip it into the darker color. Blend these areas. You're also creating textures lines as well at the same time. Look at these areas that I just with one stroke, you created that shadow feeling. These details are extremely important, guys. With every details, if you don't apply it, you are not going to get these results. So having brushes, these colors, well, it's kind of not even brushes. Some of these brushes, they're not even good quality, as you can see, but they are perfect for blocking y tones and creating smooth or sometimes very dry filling ligers. So we have already established the basic form, adding more neutral colors. All of these are same colors. But the way we add darker tone, lighter ones, just add a bit of white on it is how important they are. We're defining the cops volume without committing too much paint at any stage. That's the results we are getting here. So I just added a bit to make the form better, correct the form. At any point, if you feel that you need to correct it, please do so. Our aim here is not to worry about details, but rather to focus on the overall form and the structure. It's really essential to capture the perspective and proportions of the cop before refining the textures and highlights, everyone. We have learned so far, build a painting from the ground up, starting with light, transparent, neutral tones, first layer, And I would like to mention to keep the brush strokes loose and not get too caught up in perfection at this moment. Just make sure that you are precise in what you're seeing. The initial layers, or, for instance, the highlight right now I'm adding on this area, not bring it too much light, it just a bit of paint on the brush. So you don't even have to you don't even need to have free brushes. You can have maybe one of them, that's sufficient. But this means just having free brushes, you can complete any work. A brush, I apply darker colors, a brush with another brush, I apply lighter colors, and another one, I apply medium colors so that I don't have to clean the brush constantly. But for instance, if you have one only brush, that's enough as well. While we are moving on, I would like to mention something if you use figure paint with the same brushes that have this kind of bristles to paint this form and you will notice that your work is no longer blurred and it's actually very like smooth fair, I have to say, prominent. Now I would like to paint another model with more concentrated color scheme. We started from the beginning, increasing the concentration of my paint. For example, I put a lot more paint here, white color, just combine it with green and red. As you can see, there are a lot more paint on the brush. Look here and just go back 20 minutes and compare it with the previous example that we have on the canvas. Of course, the colors must be well blended mix, and our color scheme should not have too much like in between colors. So what I mean, you should mix it forughly in a perfect way. Now start drawing the same model here next to it. Look at my hand movements. I'm holding the brush. A lot more color, isn't it? So at this moment, again, I know I've mentioned it a few times, but please pay close attention to the movement of my hand and the movement of the brush and try to follow along. Now, up and down, I'm going to try and create the same cup that we have on the left side, even when it comes to sizes. So you can practice this at home and practice the structure, the forms, the underpainting, the first layers. Key techniques here that we are focusing on when we are learning, we're establishing a clear light source, which is essential in any still live painting. You have begun to learn how the light affects both the interior and exterior of the cup with soft shadows inside and darker ones beneath the handle. So for now, let's focus on the first layer and we will learn again, go through all of these. I'm going to go a bit to Digi. Previous cup because we want to have very three different cubs next to each other. Still, we are working on the structure and the form, building a painting from the ground up, as I mentioned, using lighter white here. The previous one we created like kind of grayish color with white, green and red. Now we have added the same titanium white on the previous color, but we are not going to mix it, so we still have lighter version. Look at the brushes strokes. They are so loose. They are not perfect. The initial layer serves as the foundation, so we can refine it later. So don't worry about it. Just make sure the form is perfect. And then we have to define shadows on the lower right side of the cub. These are the light sources that you can see. Look how just change my hand movements and then from left to right, and then up and down. And please try to make sure that you're using it in the same exact place area that I'm using it. This area is catching lights and highlighted with lighter, more neutral, whiter tones. Between the comparison between highlights and shadows, amtons, shadows are what create the illusion of free dimensional feeling. I would like to mention the key shadows areas, the inside of the cup, under the handle, and on the cups base. We also have highlights on these areas that currently I'm applying them, conveying the objects volume here. We're working with soft transitions between light and shadows. The gradual blending of tones that we are doing here creates the soft reflective nature of ceramic, which doesn't have harsh lines, but rather gentle gradations of light and dark. The smooth texture of the cup here, comparing to the left one. What we can learn from it has more subtle blending. You can see I'm more careful with my brush strokes, taking more time, comparing to the cup on the left side. So it's kind of your personal taste. If you want to be more realistic, using more paint, try to do more blending, you use this technique. But if you want to use more like I don't want to say harsher technique, but more rapid I have to use it with harsher bristles. You used the previous technique that you have learned. As I mentioned, we are maintaining a soft focus on the overall cup with no harsh lines, which we had a lot of harsh lines in the previous cup. Kind of helps emphasize the material quality of the ceramic. So we have two different materials here. Try to put more the placement of the shadows around these areas, delicate controlled strokes to mimic the smoothness and glossiness of the materials. Ceramics have a polished reflective surface. That's why we are going through these parts right now. My hand movements here, again, is very important. I have to highlight the importance of layering. Look, for instance, I'm going around this part one more time. This is called light layering. So it helps us to build depth and realism gradually. And then also it allows us the correction and refinement that we are doing here, especially the colors not dry yet. So that's why we can refine the form, refine the layers around this part. In both examples, you saw how we did the handles. We ensured it follows the perspective and curvature of the cob. The handle is very important feature here, everyone because it breaks the simple cylindrical form of the cop and adds complexity. So we have already placed the initial shadows under around the handle indicating how it cast a shadow onto the body of the cob Creates a perspective and structure which are crucial when painting objects with more complex forms like handles. These features can often distort the overall form if not handled correctly. So we have to understand the importance of observing how light hits these areas differently and how shadows connect the handle to the rest of the object. All of these elements, please bear in mind. If we go through them again, my first cup had thin and hazy feeling. But the second form that we are painting here in such a way the brush strokes are clearly visible. Look how visible they are. Very different techniques, painting techniques. I intentionally create these strokes here. In fact, if you refer to the history of art and works of the masters, you will notice that especially in contemporary art, these brushes strokes and the way of folding harshly, having them harshly here, for example, in the works of Van Gogh, we have unique characteristics that he has used, these characteristics that you are learning here, and this unique points that you just learn, all these characteristics are evident in the works of the artist, and it's kind of unique techniques that they use. You must learn and train ourselves with all the working models, different paint and brushes. Then later stages. When you have learned practice, you will choose your own, working style from among those exercises, and then you can even implement maybe a new technique. You can see some of the areas I place random brush strokes. They might feel like random, but we are doing them purpose on purpose. While we are working in this area, I suggest you study the works of famous artists in art history, search them, search their technique. And I have mentioned in some of the tutorials, when you go to museums or galleries, try to look at the brushes strokes, the techniques that they have used, different artists they have used. Now, we are working on the cast shadow here, painted the handle and the shadow this form for you to add kind visible and high concentration brushes strokes to this form. Even sometimes painters put all the paints in the paint tube directly on the work, which of course, depends on the method and unique working style of each painter. And we do not discuss the right or wrong this issue here, but it just really depends on the after you have learned all the techniques, depends on your style. So far, we have built really good layers, painted them gradually, starting with lighter washes and moving towards more opaque layers for the darker areas. This approach prevents overworking the paint too soon and allows to correction and adjustment, and also adding more layers, for instance, on these areas. Correct blending is key, but placing right colors in right spots is more important. Look at different brush types that I'm using and how I use them, how I use each one differently. The contrasts and details here are very important. Before we move to the third example, right now, we have progress significantly in refining these areas, the form and adding more structured details, especially focusing on the lights and reflective quality of the ceramic surface. Let's summarize what we have done. You go back and practice all of these steps again one by one. What we have noticed is a feature in this stage is a sharpness of the highlights. I would like you guys to practice on that. For instance, right now, where I added it in this direction is very important. I add a bit in the middle but not too much. You have really to understand the placement, which layers have brighter tones, particularly white and light grays onto the surface of the cup, emphasizing its reflective nature. And also the inside of the cup is now more developed with darkened shadows that give depth to the hollow space. So the subtle gradation of grays inside contrasts nicely with brighter highlights on the rim, helping to emphasize the cops three dimensional form. While we are going through this summary, I'm just cleaning all the brushes, which this is something you have to do. And also look at this brush. We have learned about this brush before. So if you remember, recall, this brush is called angled brush. I put my white paint on the corner of the palette and add some linseed oil on it. So with this new brush and this white paint, I'm going to introduce to you an additional object next to this cup a fired ceramic. We're going to go just for decomposition, the form for now, because in the next tutorial, we're going to complete this one as we need some time for it to dry. Our focus for now is to be blocking the overall form on this new cup and working out the light and shadow structure before adding details. But so first, go to create the mix the color, create the color again. You have learned in the previous with the two previous examples how to do it with white titanium, a bit of green, and a bit of white, much more white, you can see here, and then more green. Let's mix them thoroughly. As we are going through color combination here, we have to start sketching out the general shape of this dude object. Using this color again? So just make sure that we are happy with the base color. This initial step is all about capturing the volume and the correct proportions before moving on to the details. So look how we're using the same colors guys. And please notice how different each tone is. They're all neutral. First one more towards greenish, grayish, the second one, it's gray red tones in it, and this one is more towards red tone. We are adding more linseid oil to make it more smooth. Now again, we're going to start sketching it out with the tip of this angle brush, very different form. This time, the way I'm creating the sketch is very different. It feels like I'm holding a pencil. Using this angle brush, we're using it for drawing sharp edges now, achieving control, we're having more control over the lines. And then keep adding linseed oil to make sure that your paint is easier to move. Then especially for delicate forms like the edges of the cub and the handles, you can compare this form to the previous one. Look at how smooth it is that when I'm moving it left or right, and comparing it to the first and second one. Sometimes it's so enjoyable, guys to move the brush like this. You have to experience it, and I'm hoping you're experiencing at the same time while you're watching this theaterial.Epect you guys to practice at the same time. Also, if you have any questions regarding the paints, the brushes, or any materials that you have, please send them to me or even about your assignments. Now again, we are having the same color. We're adding it here. It's a very bold one piece block of color. Keep rotating the brush, easily adjusting the thickness of the lines. I have to mention again, angle brush is great for control or precision. I would like to encourage you guys to experiment with different angles of brushes to see how it affects your strokes or brush strokes. So you gain confidence when defining edges or adding lines to more structured objects like Cops handle now compare these three cops together. This technique is demonstrated on the initial layer of the form where the undercoat is applied to block the shape, and then we add figure paint with the same brush can result in more visible brush strokes, guys. I'm still using the same colors, even though I'm having darker colors here, pay attention to the difference between the forms and the color combination that I have done. As you can see, I added darker color combination to my form, and I added it to this part of the cup, and then we could add it to the handle, easily design the handle of the cup at the same time with the same brush. Then after this, we're going to use lighter colors for the edges of the cup and some parts of the body and then I will mix more colors and then it's very important that you focus on the movement on my hand and how I apply the paints when we move forward in this tutorial and the way I use the brush. Especially in this area, some of the lines need to be straight. With this movement, I draw straight lines in different directions with the brush. Different brushes, using different brushes helps you guys to draw desired form very easily. We have already we got acquainted with three different models of different brushes. So they had different brush bristles, some of them were soft, some of them very tough. So for now, let's talk about what we are doing here. We are refining the object, work more on layers, sharpening the edges, adding more contrast between the light and shadow areas, making the object more solid and defined. You also want to pay attention to how this object interacts with the cub with the cups next to it, I mean, elements in composition and also the layers, different layers that we have applied so far. And then after this, we have to start adding details. For instance, now more green and more red, way more than before. And we had darker red for the details around. As I mentioned, in the next detail, we will go on this and we will alo more details on all of it. But mainly we'll work on this cup. So this is the shadow that we have here. The background and shadow, something we really need to consider and analyze before we start any painting where they are, how we should apply them. If we want to apply them, how to use our brush and create those we might need to work on the cast shadow a bit more later on. They are aligned with light sources that we have already established for the cup. You can see I use move my hands much slower. Look at the way, left to right, and in a more curvy way, in a more subtle way. Very important guys. Now again, for this part, let's compare it how we applied lighter colors for these areas. In the previous example. Now we are applying darker colors, very different. Even though some of the hand movements, they are similar, but the way we go left or right is very different. Now I'm just making sure the form is correct. I'm just going to create these lines for you so you understand the form. I don't want to have them on here, but it's good for you guys to visually understand why I'm drawing it like this. Look where the main points. Or I meant the main lines here. So we understand the perspective. For now we are done with this part. I would like you guys to have a rest and then we go back to the next part and how to continue. Let's let this part dry. And if you're not tired right away, we can move on to the next tutorial and complete these areas. I'm going to work more on the form and also the the colors and how to add more colors onto all these areas. We will definitely work on the highlights and shadows a bit more. So I really hope you enjoyed this tutorial. If you had any questions, let me know. I look forward to your assignments to see your progress. Again, if you had any questions, let me know for now Bee, and I see you in the next tutorial. 23. Creating Depth with Palette Knife and Brush Strokes: Hi, again, everyone, and we'll come back to the second tutorial of this lesson. We're going to continue go ahead and paint. On this area, the third cup, as you can see, the paint has dried a bit. Now I'm going to add lighter parts. On these areas, please pay attention to my hand movements, the way I hold the brush, and also brush pressure. Adding a bit of linseed oil, the edges of this brush, you have to see how handling it on the canvas, easily drawn, we can easily draw the edges of the cup with an angled brush. Let's add a bit here. And also, you can see with just a bit of touch. I add the highlights on this part and then move it towards the right side. This oil painting requires a lot of patience. We need to be able to proceed with great concentration. And then after each stage, after the paint has dried, we go back to the work and continue adding more paint on it. We need to be able to add more color on it, and that is achievable when the first layer has dried. This way, we can kind of achieve the richness of the color and create the form. Otherwise, we will have just muddiness all around, and you need to redo it so many times without any correction. So please follow each step as you have seen so far. For instance, difference between oil paint and medial such as watercolor is that oil paint can be corrected. Watercolor can be corrected as well, but it has a different method, but oil paint has a complete different story. It's much easier to be corrected. We're moving our hands quite softly, taking our time. We don't have any harsh brushes strokes anywhere. And you can keep adding on here. Let's experience a variety of different techniques with our brush, combining the colors. In these final stages of the cup, we have progressed a lot, adding more light and structure. We can see that the cup has more clear defined, more reflective qualities. I would like to mention about light and shadow. The shadows inside and around the cup have been deepened with the amount of paint we have added, and the cops structure is now clearer. The darker shadows on the inside near the bottom and along the side give the cup a more solid three dimensional form. This step highlights kind of highlights the importance of using shadows to define volume and space. The light source is evident from the top left with the lighter areas carefully blended into the darker sides. We are kind of emphasizing gradually building shadows to give the form more depth. This is illusion of three dimensionality, especially in hollow forms like the inside of the carp and around the handle. So we have to understand where we need strong contrast, where we need highlights. For instance, in this area, I keep adding more highlights to create that strong contrast comparing to the inside the cob. So we're just refining the edges and the angles. So they feel a bit sharper. Kind of, it's like soft transition between light and shadow areas. So we're sure we ensure the cop retains its ceramic quality. The handle of Cup has been connected more clearly to the body with shadows underneath it, adding depth. Kind I have to mention the handle's placement and connection to the body of the cop make the object feel more realistic and integrated. Please pay attention to the highlights, edges and angles are crucial for defining the form of this object. We should focus on sharpening the edges where the object needs clarity and softening transitions where light naturally fades. Also, this muted purple and brown tone have been further refined in this stage. So again, combination of red, green, white, all those colors that we had at the beginning of previous lesson. Now it's blended seamlessly to create a more natural look. We are almost done. I would like to teach you a few more tips and points here. So we have focused on the form and structure in the past two lessons, layering for depth and handling reflections. We also learn how to blend with purpose. And our cops, they all have achieved its final form with soft realistic, especially third one, shadows and reflection and a strong sense of volume. In this step, the final step completes the tutorial by showing you guys how to refine your work, adding final touches, and you should know when to stop when it comes to the ending. Now, I would like to take you through the next step and teach you something else. What we are going to go through right now, let me go here with different objects in the same way with the same colors that we have. I'm going to ask you to practice your forms, form drawing, free hand movements with your brush. Please just follow my hands. I know some of you might think this is fast for us or we need more we kind of need slower tutorials, but I promise you that this is a good way for you guys to dive in and not just learn oil painting, but learn how to draw free hand style. And right away to color, this is old Masters techniques of structure, form drying and color painting. After you have practiced this form, for instance, right now, the way I have done it with one color, you will get much better. So so far, we have layered down the basic structure of the object using thin, transparent washes of paint. The lines are loose and general defining the basic form and proportions without us worrying too much about the details. The brush strokes, you can see, are primarily focused on outlining the silhouette, capturing the overall shape of the object. There are some indications of shadow with slightly darker washes, especially near the bottom of the object and inside, but these are still very rough. So let's focus on the proportions here. Our goal is to capture the correct shape and proportions, guys. Let's remember the accuracy here is key, and we should concentrate on getting the object size and shape correct before moving on to details. That's what I'm expecting you guys here. Try to understand loose brush strokes and how fluid it should be. Allow yourself to adjust the form easily. It's very important not to get caught up in perfection at this stage. Everything is still open to change. Look at my hand movements, how moving how I moved it already, and went through all the process for the first one, we're going to go through a few more examples. Again, I didn't use a lot of colors here. We just wanted to go through the brush strokes. The principles of color theory is very important here. Being able to create colors and be familiar with the basic principles. So we could implement forms using color and brush. Now I'm going to draw with rougher, a different brush that has rougher bristols. You can see that it has different texture. You need to get acquainted with different brushes guys. Understand also maybe historical periods, different artists, what kind of brush they use, what kind of brushes strokes they have and you could practice those as well to understand different methods. So as I have introduced you to a rougher brush, more texture, compared to the Smifer initial sketch, these brush strokes right now helps to define the shadow areas more strongly, giving the object sense of volume while also adding an interesting texture to the surface, as you can see, let's compare it to the one next door, on the left side. Very important techniques, guys, very different, and you need to learn all of them and practice a few times. Please send me your assignment so I can see how you're progressing. Now we're going to move to the third one with different with a different technique. This technique that I'm showing it to you here and teaching you, we have shadows that have deepened and the light areas are more defined. I'm going to add very different highlights on it in a bit, especially around the top rim and base of the object. The object looks more solid with a clear distinction between light and shadows. That's why what we are learning here. And also, you will understand there's definite difference between mid tones, the shadows and the highlights. Continue adding these parts, forming the whole structure. Make sure all the edges of the objects are being sharpened. Please follow my hand movements here. I know sometimes in some of my lessons, I say, it's okay that you don't exactly paint the way you see. But here I'm really trying to ask you if you could follow the brush strokes and the way I move my hands. Now we have started adding the highlights that I mentioned to you with lighter color. Focusing on areas where the light is hitting the object more directly. These highlights help define our objects material and give it more presence on the canvas. Refining the edges. Kind of the lines should become more deliberate, helping to clearly define the boundaries between light, shadow, and the objects background. And look precisely, I added the highlights in in the exact place that I wanted to. So we're going to leave the linseed oil on the side, and I'm going to use my palette knife here, which creates a completely different textures and finish. We have learned a lot about palette knife in the previous tu terial, so I'm sure that you're familiar with it, how to use it, hold it, and bring the paints onto your canvas. But please pay attention I'm doing all these factors again. The use of palette knife, is for us to create thicker paints, resulting in kind of strong bold strokes and a much more textured surface. Let's compare it to the ones next door. Well, on the left side, the edges of the objects are sharper and the strokes are more angular and kind of more deliberate. They have very strong characteristics guys. Let's see how spreading the colors, the paint around. The paint is laid on some areas, especially along the edges and where the light catches the object, giving it a more sculpture. It's kind of feel like it's like a sculpture, three dimensional look. The contrast between the lighter and darker areas kind of enhance the object's volume. Now, the way we added the highlight is very different comparing to the number example, the first example, kind of more pronounced paint, we're creating a raised textured surface. As you can see, with palette knife, it might be easier to some of us to layer a paint without mudding the color beneath. This is particularly useful for highlights and shadows by applying a lighter color over a lighter base easily with just our palette knife. Make sure that you clean it with your towel, adding more light source, emphasizing the light source and reflective qualities to the object. And you can also scrape away areas of paint to reveal the layers underneath or to create harder edges where shadows meet light. Why this matters, guys, is because when it comes to textural contrast, it's really important to be able to use this knife correctly, which provides different textures than the previous objects. K showcase how the same form can be painted in multiple ways. Also it's much more expressive. Gives us freedom to be expressive and bold with our strokes. For instance, right now at a bit of darker color, but please have a look I'm adding it. It feels like a gesture. Adding a bit here. Practicing our textures, kind of bold strokes and gentle scraping. They kind of meet in the middle. We're creating very interesting textures right now. This should give us a sense of how different tools can dramatically alter the final look of a painting. That's why we learned so many different techniques here. It was a very important lesson, guys. I suggest you watch this a few times, practice your brush strokes, and the paint techniques that you have learned. Each object is very important to be practiced a few times. Couldn't emphasize anymore. Again, in this exercise, we learn to move from soft blended brush strokes in the friggi objects to bold textures strokes with our palette knife in the fourth. For instance, again, I'm going to add the same thing we did for the first one and add it with the technique that we use on the third object. We're refining the form, adding more shadows. Try to experiment with your brushes. Now adding a bit more here, you can see, I'm not just holding the brush all over, trying to add a bit here on the left side and on the right side, some dots, some lines in the middle, still using the same color. So in these models, we can see from left to right, the first model is completely made with oil. The second model is executed in a drier and thinner way. And the first model has more coverage and the colors are thicker, but it's still smooth. And also, we talked a lot about palette knife, and we know how we did it and how we handle the palette knife when it comes to textures. See how soft it is and how much we're using. Oil. Also in this lesson, we experience the issue of seeing colors and also the textures of the different types of brushes that we use. Different small and larger brush, the rough and soft brushes, please touch the bristle so you could understand the form of each brush. Make sure every time you use this and clean your brush. Let me know if your brushes are rough or soft bristles. So I could guide you better, for instance, look at here. When I touch it, you can feel the softness or it's rough. And also don't forget using correct oil, either linseed oil for making it smooth or another oil to make it dry faster. In fact, oil paint is heavy and has high density. You have to make sure you understand the bristles of your brush, how to work with them, and also how to wash them. Make sure that you wash it with water and soap after washing the paint with thinner or turpentine. For instance, look at my hand. I'm going to explain to you just imagine this is your sink or you have it. This is the way you have to brush your so you don't destroy the bristles because brushes are very expensive. So you have to make sure you don't just tap it straight this way. Very important that you practice this a few times, pour some liquid soap and foam into the palm of the hand, and then we completely combine the brush with luces soup and and in circular motion, this is what I wanted to say. Completely bend the bristles of the brush so that the colors that you have used completely comes out of the end of the bristle, the handles. So again, I repeat we dip the brush in liquid soap and use it like this in order to clean it, actually remove the colors completely from it. That was it for this tuorial. I know we had a lot to talk about how to go through each technique. Please go ahead and watch this tutorial a few times, practice it and come back to me with any questions that you have. Even if you have questions about how to wash the brushes again, if it's angle rushes or how to dip them into different liquid, come back to me and ask me any questions that you have. I'm more than happy to go through all those elements, all those questions that you have, and we could answer them together. Again, thank you for watching, hope you enjoyed it, and I see you in the next Corals which we have a lot to learn. Bye bye now. 24. Creating Still Life: First Stage: Hi, everyone. Welcome back to another tuorial. This is the first part of this lesson, and we are going to dive in and start right away. In this tuorial, we would like to paint a clay vase. With some main colors, as you're familiar with this object that we have here, we are going to analyze the color. It means we have a cardboard that we have made a circular hole on it, and we could look at the colors, distinguish what's there, and realize analyze what kind color we need to create to mix here on our palette. Right away, we're going to start self made the color, look through it carefully. This color going to help us. This piece of cardboard that I just used going to help us to distinguish any color that you have in front of you, recognize it correctly. Now we have started using green and red orange, diluting the color, make it less pure, add a bit more green. After this, we're going to add a bit of titanium white, just a bit. Have a look at my hand movements, how much paint color I brought in. The amount of color that you bring in is very important. Did you notice even a bit of white color mixed with the previous, how much it changed? We are creating a kind of neutral color, neutral tone, a lighter version. Mix it forghy, see how many times I'm mixing it and how I'm doing it with our palette knife. So now let's compare this one more time. See if you're satisfied with the mixed color. If not, for instance, let's add a bit more green. It might take several minutes until you're ready with the color. Do it a few times. While we are mixing the colors, let's go through the materials that we have a palette knife for applying paints, oil paints, we have green, red, white, rsi tone, I have to say, as always, a palette to mix colors, and you also could have fin paints or linseed liquids if you need that you have learned in the previous tutorials how to use it. Step by step, I'm going to break down the all the process first is blocking in shapes, which after I have mixed the colors forughly, I will show you how to do that. Then after that, we're going to add shadows and basic highlights. That's step number two that we're going to go through. While I'm mixing, I would like to emphasize that please pay attention how you use the palette knife, broad strokes for blocking. The first step is all about creating overall shape and silhouette with broad strokes. The palette knife excels at covering large areas with single motion. We can call it scraping for definition. For instance, in your second stage of your work, you can start using the edge of the palette knife to add sharper details or scrape back some paints to reveal layers beneath, giving your object phase as we have a vase object here, more structure. And also so far, we have mixed some colors here, which is kind of neutron green as the base color for the bottle, for the vase, on the palette mixing green with white and a bit of red. Helps us create different values needed to define the light and shadows. So right now we are going through different tones with the same color palette that we have. Please have a look how I analyze and when I need to take more colors in the second stage, you can start using the edge of the palette knife, like for instance, here. I'm using the edge turn around. We can see that the palette knife excels at covering large areas with a single move. Still the color is not correct. That's why we will add more green. When it comes to mixing colors on palette, again, we have used neutral green as a base color for the vase. Try to add a bit of red as well, mixing it with green and red for the shadows helps create different values needed to define light and shadows. Now that we are applying it, try, I would like to encourage you guys to experiment with pressure. Different pressure and also different hand movements applied with a palette knife can make a significant difference. More pressure will result in finner layers of paint, while a lighter touch will leave thicker textures. You can see this fax the results here right now. Forming this structure. So far, you're doing that. We also have to embrace the imperfections. Using a palette knife means that the painting will have more expressive and textured look, and that's the results we want. Otherwise, we would have used brush. We have to remember that the goal is not perfection, but rather capturing the sense of the object in a bold, painterly way. Now, lighter color for the highlight, begin blocking more areas. Be careful with your strokes if they are broad or not. Adding shadows and highlights as a form become more defined. We need to think about the light source as well. Look, I'm adding more green here. Just having fun with the paint, experiment with textures by layering paint. Now, this is the last time I'm going to check. I think we're happy to go, and then we can apply it here. Please follow my hand movements. And also, every time you feel like it's too fast for you guys, please stop the video. Make sure that you have applied all the colors and create the form, the structure exactly as you see, and then continue. We added a bit of yellow. Kind of shiny surfaces are easier to distinguish and create colors for those rather than a non shining area. Because the object reflect the light. You can see their color separately as if they are separated by lines, adding more yellow to it. Have a look at mixing the colors at a bit of a little red. Mix the colors forgly. Now we're going to add it to the If we are happy, we're going to add it to the structure, the form to complete it. So most we began with the basic shape. You're using the flat side of the palette knife to cover the top areas. We have to bear in mind which one is larger area, which one is more detailed and you follow my hand movements. This you've realized erg and how you have to use the palette knife. Move it in broader strokes for this area. Look at my hand movements, I'm going to go on it. But we need more paint as well. We have to start by identifying the overall proportions of the object and block in basic form. With certain lines and bold strokes. Let's for now, focus on getting the sila head of the aye, this bottle, right? Added a bit more ultramarine blue and green. Let's mix them together now. We need a bit of darker color for the next area. Let's load the palette knife with more paints by spreading it across here. Add a bit of white. Let's have consistent pressure. Keep the knife as flat as possible to cover more space and mix it better, turn it around when needed. Okay, if you're happy with it, we can start using it. On the bottle. Look at the difference. When I added a bit of yellow, you really need to try your best to mix as much as possible to try to get the right color. Don't rush it, take your time. We want to make it a bit darker, so that's why we add a red. So we could create that brownish neutral tone. It's a very beautiful color green, red, a bit of blue, and a little yellow. Now, right away with consistent pressure, as I mentioned, let's focus on the direction that I'm moving my palette knife. If you're using vertical strokes for tall objects and curved or angled strokes where the object curves. After this, in the next tutorial, after we establish basic shape, we begin to layer figure paint to build the form. The beauty of working with palette knife is that you can create layered textures. You can do that with brush, but it's going to be a very different feeling. That gives the object more depth when you're doing with palette knife, and we do have very different strokes. Why mention that? Because you use different parts of the palette knife. We can create a variety of different effects. For example, you can use as you can see the edge of the knife for sharper, more defined lines such as the edge of the bottle, near the lines, or the flat part for smooth broad applications. Look here, I'm adding it. Take your time when you're near the line the edge. Use lighter strokes in the areas that recede into shadows. You can see that I keep changing my hand direction vertical or horizontal to fill in the gaps. The spaces really have to be careful when you're near the edges. Apply lighter pressure here. It's okay you even have some areas that they are soft or blurry. It goes out of the line. That's a beauty of palette knife. Now, this darker one that we are having here you're establishing where is the light and shadow. That's why we are using red. Because we're adding depth with darker tones. Darker shades where shadows fall, the sides and the bottom of the bottle. To keep the shadow soft and natural, blend the edge slightly by skimming the knife lightly over the paint. We are creating a transition between light and dark, especially here, as you can see that I'm pointing, and these areas, use the edge of the palette knife, as I mentioned. Turn the palette knife because sometimes you have more paint on the front side. Now, here we are doing more form. The top part of the bottle. Now, again, one more time analyze. If you have any questions about the actual color of the vase, the bottle that we have in front of me, please message me so we can discuss the colors. Maybe you have a different bottle that you would like to analyze the colors and apply it so I can help you with creating the color palette and tell you what colors you need to add. However, in this course, you learn how to mix colors, how to create different neutral tones. As well, we went through it quite extensively. Add more white here. We're almost done with part number one. We could have a rest and be back for part number two and dive in right away. See where I'm adding the highlights now, adding a bit here, and the way I'm holding the palette knife is very important. All these details are very important, guys. I'm just fixing my hand direction, adding more to the structure. And there we go. Just add a bit more here. Sometimes I hold my hand more angled wise. Great job, everyone. We are done with part number one, and I see you in the next part. For now, take care and have a rest, and let's go back to part number two. Bye bye now. 25. Creating Still Life: Adding Complexity: Okay, on. Welcome back. Let's continue with this part. Please follow my hand movements as always. Let's start mixing the colors. Gonna pay attention what kind of colors we are mixing right now. Use more lazarin red. Red is more dominant here because I want this dark color to be brownish. That's why we add more green onto it. Let's every now and then check your colors correctly and analyze it with that cardboard that you had. Add a bit more green on your palette. Whenever you have, just add a bit so you don't waste your colors a lot, your paint tubes. You're mixing the colors here, take your time. Now we're going to dive in right away at the darkest here. Exactly the places that I'm adding, please follow along and you add them those areas as well. We want the color to be dull and dark and impure and dark, I have to say. That's why we added the green, even though it has a bit of red reflections. Every now and then check the vase that you have in front of you. If you wanted some interesting more highlight areas, you can add white as well. Now, we are going to go through these areas for cast to cast shadows here underneath the ways. This work to create such a work requires lots of precision and patience. Sometimes it's better you leave it when you're tired, lets it dry, and then you go back onto it. That's why I sometimes split one lesson into different parts, so you don't get really tired or lose focus. When it comes to round and symmetrical form of a vase, you need to understand how to hold the palette knife where you add the color on the top or exactly on the bottom part that I'm adding. Sometimes while you're working on it, you may realize that the hue needs more or less red, yellow or green greenish here, so you will refine it. It's okay. You go back to your color palette and correct the colors that you have. We shouldn't expect to get the colors with just one move, with one try. Asking you, I have asked you many times in the previous lessons that keep trying, at it, analyze it as much as I do. And then when you're happy with the color with the end results, then add it. Take your time. Sometimes mixing the colors takes more time than actually creating the form and the structure. But the form is as important as the colors. So I want you to practice, and when you're happy with the form, then apply the colors. But the most important thing is for you to recognize and distinguish the colors correctly. Excellent work so far. So as you can see so far, let's summarize what we have done. We have refined the neck and the top part of the vast. We have added darker values around the neck and top of the bottle. Or vase, I have to say, to create contrast, which helps separate these features from the body of the bottle. I keep saying bottle or vase is okay. Let's stick to one of them. The top rim is clearly defined now. With shadows giving it more three dimensional form, I'm happy with it. That's why I'm adding white highlights, light reflection on the top part of it, which is very important, such as a circular shape and shows where light hits the bottle. I would like to encourage each one of you to focus on small, well placed highlights. It is very important. Don't take it for granted that the exact place you leave it on very important for the neck and top of the bottle, especially. A light touch with the edge of the palette, as you can see, is key. Adding those reflective surfaces while the shadows should be applied with thicker more texture strokes We're enhancing the body. This body with more highlights and shadow. Look at here. Look at the highlights that we can see here. You will have different highlights when it comes to different areas, for instance, look when I'm moving. Look at it. The colors, do they change? Please analyze them, see what you have, and where are the dark tones, where are the highlights, especially when you place it behind in front of primary colors such as red and yellow. That's very important for you guys to understand. As you can see, this is a reflective vase that has picked up some colors from our environment due to the reflection phenomenon. In this painting that the colors are applied to the paper using a palette knife without much concern for maintaining the vase, real form, shape, or symmetry for now. The reason a palette knife was chosen is that it allows for quick application and blending of colors, as well as easy cleaning of both the tool and the palette. A results, I can always achieve the exact colors I want, I have to say, because even a small amount of paint in the brush bristles can alter the new colors. The goal of this tutorial is to practice seeing and recognizing colors on this was that you just saw. The as this object I'm using as my subject is this vase. We did observe various reflection of different lights which I have above my head and colors on it. So when you have a vase or any kind of reflective shape, when you hold your subject close to different colors, it picks up a hint of those colors guys and reflects them. You need to bear that in mind. You need carefully to observe and recognize the colors on it and also around it. That is why I place some colored papers behind my reflective object to kind of enhance the visibility of the reflections and various colors on it. As we know, the color of the vase is neutral as we are creating. It's not kind of a pure color. It has many impurities. We need to kind of some of the areas lighten it with white. Look how I'm mixing it, I take my time to mix it. Try to mix it more here. We kind of start to create the mid tones on the body, analyze it, making sure we're happy with it. Especially if we have to start adding colors around the center and left side. Added a bit of titanium white. Keep mixing it. See how many times I'm doing this mixing. Now I'm going to start applying it on our subject. We're happy with it. Please pay attention. I'm holding it. Try to repeat after me right away. Great job so far, guys. If you have any questions, please let me know. Don't forget to go to your downloadable resources. And also assignments, we have assignments for each one, and I have explained more how to hold a palette knife there. Even in more examples, don't forget to go to your downloadable resources, okay? Adding more details around the right side. I really love these textures that we can create with palette knife very different front brush. Sometimes it might feel random, but they are not. They all have a reason where we apply it. That's why I would like you to repeat after me. Don't forget to clean your palette knives every time. Now let's start creating the next color, darker red, a bit darker green and a bit of red. Let's put them next to each other and then combine mixing it. We have darker brownish tone. The base of the bottle has more dark tones. And also shadows here are kind of deeper, particularly around the bottom. Part clean it, add more green to make sure you're happy with the dark tone. Right now, we're going to work on the middle part, apply darker tones, and then we're going to work on our highlights since they have to become more pronounced, especially on the upper left side and center. I kind of have to create strong sense of light hitting the surface and how we can do it. First, we have to create the right dark highlights and then apply the dark tones and then apply the highlights on it. So we could create our object, which is slightly more glossy, reflective quality. You're going to layer all these parts carefully. Make sure that you're happy with the color that you're mixing. We're going to add a bit of kind of purplish. If you don't have purple, it's so fine, don't worry about it. Just add a bit of red and blue on it. So you don't have to have a lot of colors. For this course, you can have a handful of colors like only primary would be enough, I promise you. So don't try to buy really expensive paint brushes, or even one palette knife is enough. For this course, we use two palette knife, two different sizes, but you can even have one medium size, but make sure that the tip part is kind of sharp because we have different palette knife that they have kind of think round the tips, the tip part. I prefer not to use those especially for beginners. We're happy with this glossy color. We're going to apply it on the body part. Look at this beautiful green that we have here. Blend it carefully, create a smooth transition. We would like to create a smooth transition from highlight to tons. Gentle scraping and smudging motions to create soft reflection without losing the sharpness of the highlight here. Look, I'm holding the palette knife. Excellent work, everyone. Don't forget to send me your assignments again. Precisely, I'm adding it in these areas. Right now, the best way to learn is to follow my hand movements while I'm deepening the shadows with darker tone, please have a look where I added it in the middle and some of the edges areas. We need sometimes to make sure we avoid overblending, with the knife palette, it's tempting to overblend shadows and highlights. We have to be careful. For instance, now, I'm adding the highlights, but if we add too much and work on it too many times, you go to smudge it all over. Please don't be tempted, so take your time, relax, try to avoid the points that I mentioned and maintain a clear distinction Between the light and shadow sight. So we could preserve the form. Every time analyze the color to make sure that the highlights, everything you see in front of you, you're happy with it while you're applying. Look at the way I'm holding the palette knife here. In these areas we had darker tone. So maybe let's see if we want to work on it more. Again, the same process. Tiny bit. I don't use a lot of paint guys. You can see that take tiny tiny bit of colors to mix them to get the colors right. Again, from the beginning, we start mixing it perfectly, left or right, up and down much lighter because we had more white in it. The bottles, the overall shape become more solid now. The curvature of the object is more evident. Mainly along the sides where the highlights transition into shadows. We can feel that the form now appears more three dimensional. So that more titanium white. We could have that lovely greenish highlight. Now, after you added it on the edge, a bit good towards the right. Don't overdo it, please again. Avoid overblending. Let's have the clear distinction that I mentioned to you. Your time while you're adding the line, you need to make sure you have enough paint on it. If you don't have, for instance, on this area, let's compare it to the left side. Here, you have more color, whereas the right side, you have the texture of it. Anywhere that I added, please add a darker color. We haven't added it in the top part, the middle area yet. Let's clean one more time, as we want to avoid over blending. Almost done with the mixing. Bring it over, analyze, make sure you're happy. I just didn't want to clean it. That's why I use another palette knife. Take your time again. The reason I'm trying to take my time and mix it as much as possible is for you guys to practice this version as well, because it's a very important factor in your progress. We're almost done with this part as well. I would like you guys to have a rest after this and right away. Let's leave it some fresh time so it dries so we can apply another layer on it. In the next two parts, we can finish this case. And we can add more details such as the background. For the background, I'm just going to add, I'm not going to add the yellow, I'm going to add the red and green background, so we have a different feeling than the previous example which we had yellow background. You will see how backgrounds affect the colors. That's why we are not adding yellow background here. See that I added a bit of red tone on the left side. Look at the difference between right and left. Added a bit of yellow on it. Because we have different reflection. Let's work on the edge control, apply sharp lines. Since we need to emphasize the form, please try to observe the form carefully. Really take your time when you're going around the roundness of the bottle. The form should always be respected when applying highlights and shadows. This creates more realism, I have to say, in the final piece. Okay, guys, we are done right now and I see you in the next tutorial. 26. Creating Still Life: Bringing It to Life: Hi, Ebone. Welcome back to another part of this lesson. Let's continue with mixing the colors. And in this part, I plan to continue adding more layers on the waste, and also we're going to apply the first layers for the background, which is going to be red and green, and we're going to apply more shadows cast shadows around the waste in the right place. So the top part, we're going to add the red and the bottom part, we're going to add green. Please follow my hand movements. The first thing to do, as I'm sure you know, is to mix colors, and we're going to take our time to go through mixing the colors. Let's continue. Keep trying to mix them. You can take your time as much as you want. When it comes to mixing, don't forget to clean your palette knife. Now, let's start the background, follow my hand movements. We're going to make significant progress on both bottle and the background here. We're going to achieve more definition, depth, and clear sense of light and shadows in this tutorial. So please follow along. Really careful when you go around the way you hold your hand. Look how I go around the edges. The painting is becoming more dynamic and you should care about the balance between the object and your wrist hand, how you place the colors. If you feel like you cannot do it right away, please practice on a separate paper or canvas and then bring it onto your main cavas next to your main motto. We're building the layers now. So I have mentioned we're going to go with a two tone background, which helps to frame the bottle and create more contrast. Choice of red and green Chris is striking contrast, guys again. I chose them because it makes the bottle stand out and adds vibrancy to the composition. For now, we're going to focus on the red background. The top portion of the background is painted in vivid red, and we're going to continue. They I'm putting down the paint in this area is going to dry much faster because we are not adding a lot of layers, but the strokes, some of them, they are quite vivid and that's on purpose, so we will keep the texture. As you know, red and green are complimentary colors. So this contrast naturally makes the bottle pop out. We got the difference between now or even this part and the lower part. We're going to keep mixing the colors here, add a bit of green. So we're going to have that textural balance. Look at my hand movements. I'm adding it there. It's a bit darker on the right side here because of the light that I have. So we have to create the shadows here and please pay attention the way I'm moving the palette. Just went onto the bottle a bit here to make the line more straight. Even though I did go onto the bottle a bit, but make sure that you're careful so you don't distract the bottle with going onto it. So we have some bread on the bottle. It's okay. I'm going to teach you how to correct it when the same thing happens to you don't panic when this happened. This is the line that we divide between this color and the next color we're going to have lighter green. Does Fornas continue this one. This way, I just added more onto it, and we have fixed it very easily. Just clean the pale knife, and I'm going to create the color to go through the lower area, the green surface, the lower portion of the painting, where our bottle rests. We're going to create kind of rich green, very different green from the one that we have. So we could establish a sense of depth and perspective, grounding the bottle and giving the illusion of sitting on a surface. That's what we are trying to achieve here. Try to mix the color, as you can see on the screen. If you felt it's quite fast for you, again, please pause the video. Clean it again. If you're creating more adding more color, make sure even though it's the same color that you want to add, just clean your palette. That's kind of teaching one oh one to everyone. Either it's brush or palette knife or when it comes to watercolor, you are painting, make sure that you have clean tools. Since you keep using them and you don't want to buy more, so that way, you have a really good result and you have kept your tools quite clean, and you don't need to get more of it later. As we were talking about the adding color in this area, I would like to say adding a surface for the bottle to rest on the painting feels more realistic. So that's why it's always good to have background, even in simple practices that you're doing. Always think about how the object interacts with the environment, guys. Look around yourself, look at the color tones. When, for instance, you're sitting on a chair, look at the background, like the wall color, and how they all interact with each other. Those are quite important like muscle practice for your eyes practice. And then after this, we're going to add the shadows on the surface, which helps to ground the object in the scene. You can see that I left it for now, left it alone. We have the whiteness of the canvas, and you will see in a bit why we are doing it. First of all, if you want to completely color that area, you need to wait to dry. Otherwise, it's going to become muddy and you're not going to have the color that you preferred. But now that I have left that area empty and we still have a unusual white color, it's quite easier for me to create that shadow to cast shadow those areas. So we are creating the suitable color to cast on the background, shadow cast on the background. Let's add a bit more yellow because we need it for this color. Now, let's compare it if it's okay because you can see the shadow there. Now look at my hand movements. Very subtle shadow cast behind the bottle onto the green background. This shadow helps separate the bottle from the background, emphasizing its three dimensional form. The direction of the shadow also confirms the position of the light source. Always bear in mind, shadows can help define the space and gives our object a sense of presence. You should pay attention to how shadows are cast based on the position of the light source. Now, we're adding on the left side. Also, you can feel the texture that I'm creating both on the background and the shadows, kind of broad and smooth at the same time. You're having a textured highlight at some areas. Although if you compare the background and the bottle, you can see the bottle has more sense of textual presence. Please do experiment different side of shadows. Make sure you don't just stick to what you're seeing. You go one step forward and experiment more, adding more colors. I'm going to add a bit more red to make sure they're all aligned. We need to have clear balanced line on the sides. There we go. After this, I'm going to add a bit of highlights, and then we let our drawing to rest a bit to dry a bit, and I will see you after this next part, which is going to be our final part. So you have to let all of this to dry a bit, and then we could add our final details. But after we completed the red background, I would like to add a bit of white highlights. Look with the tip of the palette, how you could create very nice line and also separate the two from each other. So really practice your line drawings with palette knife and practice. Just hint of white is enough. Don't overdo it, please, guys. Don't go on it so many times. Just maybe two or three times is enough. And on the left side, add a bit more, look at my hand, how many times I change direction to make sure that I'm happy and comfortable with the direction of my hand before applying the white highlights. Just a hint of verythin line at the end of the first highlight, which we have already applied it. So why I'm doing this, we want to have less bright highlights so we can apply it here. We didn't want to have really bright white. All right, everyone, hope you enjoyed this part as well. Let's have a rest and then let your painting to dry for a few minutes and we're going to dive into the last part of this tutorial for now bye bye, and I'll see you in the last part. 27. Creating Still Life: Enhancing the Details: Hi, Vyvon. Welcome back to the last part of this tutorial. We're going to continue adding more shadows and going to work on the bottle a bit, and then we're going to do a recap of what we have done so far. We are going through additional layers and also highlights. Please pay attention to my hand. I placing the darker color. We have to be careful where we understand where the light hits, especially upper part of the bottle. The goal is to create a stronger sense of reflection and gloss. Let's apply with the edge, the tip part of the palette knife using light touch. This will keep the reflections clean and sharp. Also the additional layers that we are adding without blending too much into the surrounding areas. When it comes to final layers, really take your time, make sure you move your hands quite slowly so you don't add too much on it. You have analyze where you add that hint of color. So we lightly blend to create more natural flow of light across the surface of the bottle while maintaining the texture, especially around this area, making sure that transitions between light and dark are smooth where necessary. This will make the reflection on the bottle appear more realistic. Let's see the last. For this last area, what color are we gonna add? Really careful when you're adding. We don't want to overdo, add a bit more paint, just a bit. You're just focusing on deepening the shadows where the bottle meets the surface to look more anchored. And some of the areas maybe soften the edges of the shadow on the background and on the bottle to make it appear more natural. But please follow where I'm adding those. Right now, is all about repetition. These are just a bit of more texture on it. So it feels very advanced when it comes to your skill. So whenever someone sees you, you have created many textures, and it looks great. Et's go through the final adjustment. Still, we are adding more layers. Look at the way I just change my hand direction here. Applied on the edge. Very careful when you're doing this, when you go around. Creating dark hair color for the shadows now. Just follow along, please. So these are kind of final adjustment to the shadow. Kind of softening the cast shadow. You really have to focus and your hand needs to be more straight to have more control on your canvas. Sometimes that's why my hip sometimes shows. So apology for that. The shadow beneath and behind the bottle is very important on the ground, but also the additional details on the top of the bottle is very important, as well. Adding darker green a bit to it. And the previous color that we just created. Make sure you're happy with the transition and clean your palette before going on it one more time. Have a bit of titanium white. Very careful to bring just a bit onto the mix. Focus on deepening the color, mixing it thoroughly. Add a bit of yellow. So now it's much brighter than previous a few seconds ago, previous version. Creating right color takes time. So please be patient when you're mixing colors. Darker red tone. Just a bit. Clean it before go onto it so you don't bring too much. Great job so far, guys. I really look forward to receiving all the assignments that you have done. Don't forget you have assignments, outlines, eBook, all the information that you need to have and go through and learn from them. So now I'm going to add the color we created here on this part. Look at my hand movements. I'm creating it. Lightly apply it, please. This shadow, the same color that we had for the shadow. We're going to have it a bit here. It's a reflection. You need to have a bit of that reflection on it. Otherwise it's not going to look right. We're almost done with the coloring and the whole painting. Really hope you have enjoyed it. Again, I know I've repeated this a few times, but please send me your assignments, all your practices, even when it comes to your color palette. Just send me so I can see how you're mixing your colors if you could do anything better. Now I would like to wrap up the course and go through the materials that we have used so far that they were essential. Of course, we had oil paints, palette knife, two palette knives for applying paint in this lesson. Which was our main tool for applying paint in this course. We also use a few brushes as well. It was particularly useful for creating reflective qualities. We use this titanium white as well. Very important one for the highlights that we have used so far for the textures. So this oil painting that we have used so far, this titanium white, we mix it with green and other colors for highlights or with yellow a bit for reflective areas. We use lots of cadmium red, and viridian green and also red. Make sure that this is what I wanted to tell you. When you have your paints open, get the oil out of it. This is the way you have to maintain it and also make sure that you put the caps back on. Otherwise, your color is going to dry. These are just last points that I would like to mention for maintaining your materials. You really have to take care of these paints because they are quite expensive. They might get dry. So that's why I wanted you to clean it. So when they get dry, the paint around the top part, the lid part, it would be hard for you to clean it. And also, when it comes to linseed oil, make sure they're it's completely closed, especially the lead area. You have to clean it because you use colors on it and go around it, clean all of those, maintaining your materials in the correct very, very important guys. And I have already taught you how to clean your brushes. If you still have questions about brushes or your color palette, please send me your messages. I'm always online to answer you. Palette for mixing was used to mix colors before applying them with a palette knife. Really this was very helpful to put them all in order, so you know where is where and which one you have to use. Now, the next point that I talked a lot about it was about the tissues. You always have a kitchen towel, a kind of tissues next to you, so you could clean your brushes, your palette knife, everything, either a piece of fabric, if you don't want to use tissues, get sustainable materials, so you can always make sure that you reuse them. And make sure that everything's clean so you can keep using them. So this is what we have created. You can see with a few materials and a few colors how we created a beautiful painting. Hope you have enjoyed it, guys. Let me know if you had questions, and I see you in the next course that we go through many different examples, as well as portrait drawings. So again, take care and bye bye.