Paint Like Cezanne

1. Cezanne, Introduction: Hello bonjour. Welcome to my new painting course called paint like Van Gogh. My name is Isabella urgency chronic cough ski, and I'm the artist painter from Edmonton, Alberta in Canada. It is my pleasure to introduce you to an exciting project that will help you to comprehend the painting technique of the great post-impressionist French painter Paul Cezanne. For our convenience, we will use a reference image as our still-life. Why I paint? I would like you to watch my step-by-step instructions to guide you in the process of acquiring this painting technique. Why I plan? I will have you watch my step by step instructions to help guide you through the process before starting your own. In the matter of seconds, depending, we'll come to life in front of your eyes. All while discussing Cezanne's color palette, mark-making, composition. And of course, all of those tips and tricks that help make his painting style so unique. By the end of the scores, you should be able to create your own masterpiece in the same grade style that's designed it. Using still-life as your reference. If a photograph of it or the objects placed in front of you. For your convenience. I have included the supply list for both acrylics and oils. Please feel free to use any color available to you. The more experiment, the batter. This course is divided into sections, each providing queue with a specific set of information to follow. Please don't worry, they are simple and easy to follow. So without further ado, let us begin this artistic journey. Have fun. 2. Cezanne, P 1, Primer & Sketch: We will begin with application of one color on the entire surface of our canvas or support that we will be painting on. We will do it by using acrylic paint diluted with water. And we apply the color on the cell surface. A white brush. Acrylic paint, dry very fast. So in about ten minutes, we will be able to work on the sketch. Now, this can be done already in oil paints or acrylics, whatever you prefer to use. In my case, I use oil paints. I don't need to be super precise. I E, for the purpose of my own composition, I have decided that they will move the bottle into the opposite direction. I'm looking at this all of my objects without really presenting them super, super precise. It's not that I'm measuring here. I just want to give approximately an impression of what I see on my reference image. If you set up your own still-life, definitely what you will see in front of you. Remember, we are not looking here for precision. Instead, we want to get interesting, exciting composition. 3. Cezanne, P 2, Background & Bottle: Time to apply colors. We'll start with yellow color. Notice I use a brush that is flat. It could be also filbert shape, approximately one quarter of an inch. Depending of course, of the proportions and scale of your Canvas. You will use a little bit wider, a little bit narrower. Brush. The way how I apply the strokes, you can see I group them like a number of vertical strokes. There could be also Slightly diagonal if you want to, one next to another, not covering the entire surface of the background with a yellow color. I still want that this blue color of the primer will be visible. Since I have yellow color, I can mix it with some white and added to the pumpkin. I have a nice interaction in the pump king of some of those groupings are patches of yellow, Naples light mixed with some white and tiny bit of cadmium yellow color on the pumpkin. Some of the blue color of the primer, and the lines created with ultramarine blue. Since the bottle is blue, I'm also going on top or inside of the bottle and bring the same kind of purchase of brushstrokes of the blue and purplish color on top of the bottle without covering it completely. Notice are not working with covering, complete the surface that I'm painting on with one color. I rather want to see separate strokes visible in it and the color of the primer still be present there. I like to call this method jigsaw puzzle painting. When you put those patches here and there, indifferent whenever the color is feasible without covering the entire surface are working section by section. Rather, we go by the colors and go with the colors there where we see it without completely covering with the color palette class section. 4. Cezanne, P 3, Fabrics: This lovely yellow color in the background now helps us to see better how to develop the other parts or objects in our painting with a couple of blue lines, we can still outline our faults in the background as well as some of the objects like the apples, for example. This way, we'll have this nice interaction of colors, especially when you use colors such as bluish, purplish combination, ultramarine blue, and dioxazine purple next to the yellow. Those colors will allow the painting in general shine because they are complimentary pair of colors. Folds are very important and we need to make them quite angular. This is another trademark off Mr. Cezanne painting technique. Very much like the faults created in Northern Renaissance paintings. We definitely will use colors such as purple and blue. Now, time to go to the development of our fabric on the surface of, I guess the table, we will use a different blue, which will be different than ultramarine blue. We can use here blue color such as cerulean blue. If you have cobalt blue will be fine too. Or even Prussian blue. 5. Cezanne, P 4, Pumpkin & Background: Time to move to our fruits and veggies. Our fabric on the desk is developed enough on the stage. And it's necessary to follow the same development in case of other objects. So we will use a little bit of the same blue that we used on the fabric in our pumpkin. Notice, patching is the key to follow the technique of Cezanne. Grouping of number of brushstrokes of the same color, sometimes overlapping, the color that is underneath, that sometimes place separately the angle of this group, brush strokes is also important. In some places, the grouping will follow the vertical line. Sometimes they are gone now. So depending on the object, depending on which section would paint, we will create a particular direction of our strokes. The combination of colors on the pumpkin is grouping of yellow colors, including Naples. That will be mixture of yellow ocher or oxide ClO with wide little bit of cadmium yellow. Often you can get this color as separate one among the different colors in art supply store. Make sure to choose Naples light. And now there are very important characteristics of Cezanne painting style is the use of outlines. So as you'll notice, I'm using them extensively around the objects and there where I see the faults. Now I'm enriching the colors of the background and pumpkin with addition of orangey, light brown colors. To make a nicer contrast with the color of the primer, which is the light blue. Also, by adding orangey, light brown colors to the fabric and pumpkin, we made the combination of the colors more interesting. 6. Cezanne, P 5, Apples, Fabric & Pumpkin: Time. To paint our pulse, we rely on the heavy alkaline created by colors such as blue, in this case, ultramarine blue. You can also use cobalt, blue, and purple. When it comes to the fruits, we want to make sure that we don't use flat application of colors. Our goal is to see patches of strokes grouped together of particular color applied on the surface of the fruits. With changing of colors, we will indicate the different planes of the apple. So for example, the top of it will have slightly different color combination applied. The site. Also, we want to work on the shadows, so-called cast shadows of the objects. In our case, we will talk about the cast shadow of the bulk flow. We don't want to have too heavy. And we want this to follow the folds of the fabric in the background. There has to be interaction of the colors of the fabric with the color of the shadow. By the blue part polish bottle. At the same time, when you have the right color, we'll move to other sections of our painting where this particular color combination can be used. Here in case of pumpkin, we can create an interesting cast shadow on its right side. Remember that outlines need to stay there. We can change the color combinations, but the outlets are integral part of the CISM painting technique style. The rpoS will have variety of colors, including yellow, different reds such as cadmium red and alizarin, crimson, orange, Naples, in some places white. Notice that orange and blue are complimentary pair of colors. We will also want to pay attention to creation of contrast. So from time to time, I'm using the opportunity of having particular color on my brush and move to the other section of the painting to enhance them and create either tonal contrast. That means to use darker colors versus lighter colors. To gray pen pitcher. Contrast. That means applying cool colors. Next to the warm colors. The apples now have more of the yellow color placed on their tops. Then on the sides, particularly on the right side, they are slightly darker, representing the section of them not hit by the light source. Again, couple of patches here and there. To enhance our painting using the same patchy technique. I like to describe this technique now Jeff Apache technique, but also as a technique in which your brushes dancing on the entire surface of the canvas, moving from one section to another, the painting, which color is available? This way, having the jigsaw puzzle, you put the pieces in different location to gather, and then the whole image emerges, creating a beautiful image altogether. 7. Cezanne, P 6, Blue Fabric & Fruits: Our painting is already quite advanced. What you have to do is continue working with patches of colors or grouping of certain colors while making sure that the direction of our strokes changes. We also can't forget that the color of the primer, the light blue color, should be not completely covered. Instead, the primer color should be an integral part of our color composition. As you can see, we don't use a lot of colors. We distribute them in different parts of our painting to create balance. In the fabric on the table, we use blow. But the blue that we apply convert, It's not the same one that you use on our bottle. Instead, the dominant color of the fabric is the cool blue, calming different tones. I would suggest cobalt blue, also cerulean blue as the best options. If you want to have a fabric more on the cool side, then Prussian blue would be a good choice. Notice that in the bottom part of the fabric, following this vertical plane, There's a number of colors working together side-by-side. Again, grouping of brushstrokes. One of the cool blue color, medium, dark. Then on the top we have the same color, but with more white and tiny bit of purple applied. And then on this side we have medium dark groupings of purple color. The one that is also prevalent are visible in our portal. Outlines are of the outmost importance and they have to follow all the objects, including default in our fabrics. In this entire painting, we adjust the tones and the colors to make sure that our objects have volume in them. So from the shapes would change two forms. However, all the objects have to be painted. I like to call it on the rough side. That means visible strokes, planes of Carlos switching from one to another, sometimes overlapping each other. The outline, that it's not a unified one line, but rather consistent on number of lines giving one line. That's way we keep this style of Leicester Cezanne alive. 8. Cezanne, P 7, Background Fabric: The painting as well advanced. And it's time now to concentrate on refining it by bringing patches of group brushstrokes, how I call them in certain sections. To make the general color composition more interesting. There are always comes at the end. But at the same time, we want to make sure that all the sections of the painting are develop on the same stage. Notice please, that my strokes now change direction. Most of them are placed on the vertical or diagonal line. However, some of them go on or follow horizontal line. I'm overlapping with patches of colors, the ones that are placed underneath, and still letting in some places the primary color come through. I'm making sure that my fabric has volume, despite the fact that by using the outlines so characteristic for this style of Susanne and flatten the surface. I still bring the idea of volume. So the tones of the colors that are applied helped me achieve this effect. I'm also having on my mind that the fabric on the desk is cool in general. So therefore, now having the yellow color as the main or dominant one in the background, I try to include light brown as well as orange color here and there to emphasize or to create the complimentary color contrast. The fabric in the background is on one hand step, but the other hand glutes movement because of the visible brushstrokes. The way how I apply paint is definitely not similar to Vanguard, who will be relying additionally to visible brushstrokes on heavy paint application. Cezanne didn't use much pain. His goal was to create the color balance in his paintings while simply fight the forms based on the idea that everything what we see in front of us are in the nature can be simplified to sphere, cone, cylinder forums. And there's lots of writing it because when you look at the bottle shape, we definitely see form of a cylinder. So we did not pay attention to bring in all the ellipsis to perfection. We just wanted to give an impression of the bottle in that simplified form. And so is with the objects such as fruits or the pumpkin. They can remind us on the sphere shape with this various chunk outline. To emphasize that the fabric on the desk follows the vertical plane. Dress on the bottom of our Canvas, we introduce a different kind of purple color, not the dioxin one, that it's more on the blue side by rather the one that is more on the red side, which will be cobalt violet. I mixed trauma in blue with Alizarin crimson. To get this effect. Then we have to follow with some lighter tones. Are blue in very small amount can be mixed with Naples color and great amount of white, then be applied on top of the fabric placed on the table. Noticed we are not covering the outlines. They are, they're permanent. The shadow created by the bulk flow called cast shadow. It's light in its nature. Because if we will paint it heavily, either by using thick layers of paint or covering the surface of the fabric in their back with one layer of green, then the shadow would turn into an object. I'm moving my brush from section to section, making sure that all the parts fulfill its purpose. That I'm able to create illusion of three forms, still using the outlines. So I'm using the power of different tones and change of temperature of the colors from coal torn and back and forth. To get this effect. 9. Cezanne, P 8, Finishing Touches: Only the finishing touches are less. Unify our painting. In terms of color composition. We want to make sure that when we look at this painting, this nothing is out of balance. There's nothing, quote, standout to match our eyes, to move from one object to another smoothly. Therefore, it's so important that there are those smooth transitions. Despite visible mark making and outlines. Our eyes have to go all around the painting without staying for too long in one section. Despite that the fabric on the desk is below the visual while interests, we add some warm towel us to it, not to men patches. Otherwise. That will destroy the fact that the fabric in general is cool or on the cool side. So as you notice, there are some patches of warm, medium to light brown color applied here under to create this nice effect of spicing up the monotony, I call it, of the general cool color combination of the particular fabric. I don't change the brush. There's no need to rely on too many brushes. If you switch from one color to another, you can simply why pop your brush into a piece of paper towel. Or if you prefer, the less solvent you use, the better. Because solvent will dilute the strength of our colors. All what I'm looking for at this stage is to create a balance in my painting, emphasizing certain parts of it, or making them recede into the background. The sack potent cherry on the top of the k. Adding couple of strokes here and there to make sure that the painting is completed to our outmost satisfaction. Why painting? Don't lose the patchiness of your brush stroke application. It's very easy, especially when you use oils to at certain point blend the colors. We don't want this effect. We want this energy created by strokes overlapping each other without blending. Another important tip. You can have your still-life place in front of you, or you can use the reference image though, this is only your reference. Remember, you can apply the changes that will fit your personal taste and your own composition. I saw reference. We don't take it as something what you have to depict exactly. This is only a starting point for our creation. And so our painting is completed. 10. Cezanne, Conclusion: Hi again. I hope you enjoyed the creation process and now aren't there to create your own masterpiece. As you have noticed, it is not difficult at all on what you have to know are the tricks of the trade. You can recreate the same image I use. Or you can set up your own still-life and follow the step-by-step instructions included in the presented video. I also encourage you to work with different subject matters, such as, for example, landscape. That was another favorite subject of the master. And don't forget all about having fun. Which may this project even better? If you are enjoying my style of teaching, I have more courses posted on the Skillshare platform. You can learn, for example, how to paint in style of the beloved post impressionist master Vanguard. Or how to pray, beautiful flowers are mountains in impressionist style. For now. Thank you.