Transcripts
1. Introduction: Have you ever thought of
painting a still life setting, which is of milk, glass of milk, spilled glass of milk, plus cookie and then
crumbles of those cookies. But it's a set of still
life composition. But if you ever thought of
that, this class is for you, I'm going to show
you all those grit of small things that you
need to concentrate on highlights and shadows
and how to paint glass cup instead of a transparent cup. If
you're interested, continue with this
introduction video. Hi, I'm Mari azo I'm
an artist from India. This class actually has a simple composition
for still life with a spilled glass of milk and cookie crumbled
cookies on the floor, table, whatever you can think of because I did not compose think keeping in mind that
there is a wall or something. So it's just mainly just the main full table or some surface because
we're painting on white. So how do I actually go
about showing the milk itself and the shadow and
the shadow of the glass, light passing through the glass
cup, all of those things. Very simple things so that you understand those
certain techniques and paint along with me. I think you should
be able to have a good painting at the
end of this class. So if you're interested, join the class, I
will see you inside.
2. Materials: Let's understand the metals
that are needed for this. This is my 300 GSM
watercolor pad. I mask the edges
with masking tape. Masking tape is an optional. If you want, you
can actually mask. It's a pad, all the
sheets are glued so that when I get a big
wash, it doesn't work. These are the only two
brushes we're going to use. One is flat, very soft brush. If you have mop brush,
you can use or otherwise, you can use half inch
brush and one round brush. Only two brushes are more than enough for the
entire painting. That's my watercolor palette. All of them are artist
watercolor paints. Whatever you have you use, but at least concentrate on the colors that
I'm actually going to give you and a cup of water, and then just some
cloth or the paper. So collect all these things. We'll continue with
the next lesson.
3. Drawing Practice: Let's try to
understand how to draw that glass cup and the cookie. Basically, if you look at it,
actually, you can draw it. But if someone who's struggling with either
drawing or the perspective, I'm going to just
give you some ideas. So at least you know exactly how to think of drawing
so that you don't make just a common
perspective mistakes. Now, as you see, as you see, our point of view is
somewhere from the side, that's my point of view, that's where I'm actually
standing and looking at it. But actually, it's eye level is above in the sense
I can see the top. So if my eye level
is somewhere here, if this is when I say eye level, it's the level of the
level of your eye. So I eye level is
above any object, so I can actually
see the top of this. So if my eye level
is below this, I won't be able to see the top. My eye level is above, I'll be able to see the
top not at the bottom. So just keep that in mind. What we'll do is
for that reason, let's just take the cup. If I'm looking head on
on top of that cup, if it is circular, I'm actually going to see that as a circle. If I start changing that, If I look at it from
the other side, but my eye level is still
above as it goes down, this ellipse or that oval shape is actually going
to get reduced. As you can see,
that's what happens. Let me just take an
example here in one. So let's just take this. Now, if I look at it from top, it's just exactly circle. If I keep on changing,
as you can see, that keeps turning
into ellipse or oval. And as I come to come
close to my eye level. This is actually
a straight line. As I go below, I won't
be able to see that top. So that's the thing
that actually you need to keep in
mind. So what do? Let's I'm going to
use this pen so that you can actually see
and dry properly. So let's just think that my
eye level is somewhere there. That's my eye level.
And let's say that cup that cup actually
is a little bit above below. So that's or otherwise, let's say this is
just below itself. So and my point of view is entirely not exactly
on top of the cup. It's from an angle. So for that reason, what
did I say is that it's actually going to
be shape, right? That's going to be shape. First thing is this figure this out first how you're
actually going to draw. Then if I take this, draw the center lines for this, you get the central axis. This is to make sure that
you actually think the way you had to think in terms of
perspective and then write, you don't have to draw these cross lines and then the axis. Because we have drawn
it on the other side, my vanishing point
is actually going to be somew that's vanishing point. For every 1.2 0.3 0.4
0.5 point any of them, so you will have
vanishing points. Where those lines are
actually going to vanish. When I say lines, those
are linear lines. Near lines are just straight
lines, not these ones. This is just a curved circle. But the side of this is
actually linear line. If I keep in terms of that
join there, and join. That is actually going to be my side of that define the bit, where is it actually
going to end. You can actually
define too long, then what happens is
it gets narrower, but we don't want to do that. We want to make
sure that it's just as much as this much.
That's so much. Then if you actually
think that way, you can actually join that
vanishing point, all of them. But what I would say is because there is too many
things in perspective, but the simplest way
of thinking that is, first thing is this, and even
if I join this Actually, that's going to be center
of the summheer here. If I'm actually joining this, then that's actually
going to be center. Believable three dimensional. Not every time you're actually going to use the
ruler and check where the vanishing point is because I know that this is
above my eye level, this is going downwards, below my eye level, this
is going upwards. So draw what you know, not what you see
because what you see might be deceiving when you don't know where
these lines are actually going to end up
in terms of perspective. That's that. That is the cup and then you just base everything based on this and then
draw it. Exactly. See this side actually
goes that line, and this maybe touches on here because it's
on the other side, and this is just then
you can actually either make it oval or maybe
if they are straight lines. That's a perspective.
Then the cookie is just a nonal cookie. That's again, below eye level so that means I'll be
able to see the cookie, but I'm not exactly
looking at it from top, so that's going to be
again, an ellipse. But in this case,
actually that cookie is actually on inside the glass
lying inside the glass, and then this is
a little bit cut. So that's where it is. This is the thickness where
we will be painting that. That is that, and
then we'll make sure that it's going to
be three dimensional. And then when you draw this, what I would I suggest you
to do is draw this one, draw this one, and then light source is from here.
That's my light source. So light source,
depending on light race, wherever it goes,
and then this is actually that
depending on on top. So that goes here. If it is down, the shadow is
actually going to be longer. It's like morning 5:00 shadow and then evening 5:00 shadow. So they are
actually longer. As it comes to noon as it
approaches noon 11:00 or 2:00, your shadow is not as long
as it is at five or 6:00. So Now, depending on that, you have to by looking at this, you'll be able to recognize
where the light source is. Depending on that, let's
just say if I'm actually going to put it this way,
light source is somewhere. From there, and
then from there is again concept and how you
actually manage the lines, horizontal lines on the floor on a surface and from
the light source, where they meet and because light travels in
a straight line. So that's what we
need to keep in mind starts and then where this particular line
actually reaches. So concepts are there, but just for the sake of
this particular drawing, just so that you draw
something perspective wise, like I said, draw what, you
know, not what you see. So What you know is the
concept of perspective. This is actually smaller here. This is actually
going to be bigger. Make sure that you show that diagonal wise and maybe you
can turn this a little bit, and then this is
actually going to be. That will be my casting shadow casting shadow of this and
draw this very light line. So you know exactly once you paint because
it's watercolor. If it is a click, then I would have given you some
other different idea. And then the shadow
of this also is actually going to be somewhere
draw that line as well. If you want, so you know that that is a shadow part,
that's a shadow part. And then on top of that
this spilled milk, intentionally, I've taken
a little bit inside here, and this shape doesn't matter. Any shape, you can actually
think of any shape. Any shape. And then the
point of view is here. So one on the other side, I will not be able to
see the thickness. These all thickness you
will be able to see here. Let me just draw that Thickness and a
little bit of shadow, and this side you will not see same exactly like the waves, what near the beach, and then that's it that much. You can actually
see how that goes. And then the cookie, whatever pieces you
put here and here. Some pieces here here. All of them have
casting shadows, all of them have
their own colors. So that's just
about the drawing. T in terms of high
level vanishing point, how your drawing is two
ellipses and then a little bit of details on this class and the shadow part based on light source and then
the perspective further. Cookie itself. So if
you practice this, I'm 100% sure most of them,
you'll be able to draw. This is not the toughest of
by any means for perspective. But if anyone who is out
there as a very beginner, the question to ask here is why am I thinking so when
I'm actually drawing it. So that's the idea. You try to practice this, draw it very lightly on your surface on paper surface,
whichever paper you have, and then we'll
continue painting in the next lesson. I.
4. The Negative Space: Let's start painting
the negative space. What I've taken is Rasana. You can use yellow
cur with more water if you have Rassan common. That is negative painting when I'm talking about the milk part, that's where this
is all the milk. And the surrounding is just
the wall or the table, including the glass because
that's a glass cup, color, whatever I take,
it's going to be seen. Except milk, I'm going to actually have this
as part of wash. So more water, less paint. As you can see, the
color of pre mixed. For washes, always premix the colors more than it is
needed because in between, if you run out of the color and then you start mixing
and then you will get you won't get a smooth wash, but you will get some lines. So that's around that part. I'm not going to touch
the cookie as well. If you see the glass
which is inside sorry, the milk which is inside
the glass is still white. So except the milk inside the glass cup and which is spilled on the table or any other surface that
you might think of. I'm thinking this
as plain surface or the colored floor or
otherwise some wooden texture. Or just the plain table. But that's all the
negative space. So the main subject here for me, I'm thinking in
terms of the milk, and I'm painting around, not the main subject itself. That will come back
to that later. So that's why I call it
as negative painting. Negative painting is not
painting the subject, but our surrounding around
that particular subject. So we just did the wash.
You do this at an angle, board is kept at an angle. Complete the wash,
pre mix the colors. Complete this, I will see
you in the next lesson.
5. Painting the Glass: So let's try to
paint the glass cup. So here, what I
have is the paints gray and that's indigo.
Pines gray indigo. Both of them are that
is a little bit bluish. This one is more grayish. So you just have to see
which color you have. Let's that's what I'm
going to show you. That's more gray. You can also have
gray color just by mixing black and white and add a little bit of
white to that blue to that. So whichever blue, erin or
ultima in blue, a little bit. So you can come close to this, maybe add a little
bit of burn tuber. It's a combination, burn tuber, blue, black and white. So you can come close
to what I have. If not, if you have
the same color, I've decided not to go
towards more towards blue pains towards
paints gray than indigo, which is a little
bit bluish type. Because this is the cup
is made up of glass. The glass cup is transparent. So light passes through that. So what I'm going
to do is I'm only going to make marks
of certain edges. The top one, although it
gets light, but it's folded. So the glass cup can
be just the circular. What I've done is first, I've applied the color, which we had mixed
indigo with more water. It's very diluted. It's not too thick, in a sense, it's not too dark. So once I applied on that
particular line edge, and then I washed my brush, came back and then just spread just by using the
plain brush with water. Spread the same color.
I'm going to go around the bottom of the glass. If you see the glass, if it is actually not
entirely circular, if it has thinking in terms
of the way that I've painted, it has maybe hexagon or pentagonal shapes a little
bit, although it is round. But wherever that
particular edge is there, so I need to put the
light where light passes through and doesn't
pass through in certain areas. That's where I'll be
able to see if I think that entire glass
and then everything is a transparent and then
I won't be able to show any shaded part or where light doesn't
pass or the folding, it'll be like a magician showing glass,
which does not exist. That's not how you
actually paint glass. When you paint glass,
you have to show what is where the shaded part
or where the folded, where the light doesn't reach. You have to paint those
negative things to show the size or that particular cup or anything you're
using for the glass. So here I'm going to use, I'm using indigo, and
that's the bottom. First, I painted, then
I washed my brush, came back, and then I'm
just spreading with that. So I'm not painting the
entire bottom again. So because the bottom edge actually is going to be thick and then light a little bit of light passes through
and a little bit light gets refracted and somewhere it shines somewhere it has a little bit
of shaded portion. So based on that, you have
to be very careful where the milk is because
spilled milk and the milk, which is inside the glass cup
is very horizontal plane. And then when it
touches the bottom. Okay. Of the cup, that is actually straight. It's not circular
again. It is straight. I'm going to continue same
thing with the one which first the line and I
wouldn't say blended. Just spread the same
color on one side or both sides with just the water in the brush. Take
out excess water. As you can see, the
way I'm going to do, let's say once I apply. Let me just explain
when the next one I do. First is the line. That's
the line, wash my brush, take excess water from the brush and then
just spread it along. Exactly same process. It just shows not too sharp. I just shows that there is some folding to that glass
cup. That's what it is. If not, if it was
just the round, maybe I would have done this
only two or three places and then just left it as and I need to also paint the
mouth of the glass cup. I'm trying my best because my little finger
on the right hand actually has some stitches, so I can't rest. That's the one. So I can't rest it, so
it actually paints. But I'm trying to get
as crisp as possible. So if there is something which you feel that
it's not straight, you just have to understand that based on that
because I can't rest my hand on
little finger. So So what we have done
is that's the indigo. Now that we actually
apply diluted color, we'll just increase a little bit of contrast, little
bit of darkness. So one or two drops
of water, more color. This time, more color, and then The same thing we'll actually use it for
a little bit of detail. Turn your brush,
bring it to a point, go back and see wherever you want to put,
not all the places. Again, maybe a little
bit at the bottom, maybe a little bit at the top. But I will emphasize more
on the mouth of the cup, a little bit darker
one. Little bit on top. As you can see, I'm not going to paint wherever we
have already painted, I'm not going to cover it. There was no point if I'm going to cover
the previous layer. So on that edge particular and then a little bit
more on that part. A little bit more that part. Again, we'll go back with
a little bit potter and then spread the
same color again. Here, emp I'm going to
emphasize a little bit more here because
milk is inside, a little bit of shaded and shadow portion also is
going to come there. We'll play the color later. For now, at least. This line, the line which I drew actually is supposed
to be on top. The one which is inside,
that particular line. That particular line is actually the side
which I'm able to see. The one which is inside is the one where we see through
the mouth of the glass. So that's what you need to see where and how the perspective actually works for that
particular glass cup. Once this is done,
what we're going to do is let's just try to get the mouth of, the glass itself. Let's see how that works. I'm going to put that
little bit of dark. I'll try to be very slow
because I can't rest my hand. I'll try to I should be able to paint the thin just by not
even rotating the surface. But I'm going to rotate this
because that's the only one which is actually
going to be very comfortable for my hand. If not, there is no hard and fast tool
that you have to do it, but I'm just trying to
make sure that This color, whatever I'm applying is the
darker version of indigo, whichever color you're using. If you don't have this
indigo color, like I said, try to mix your own similar
color, like I said, Black plus white is
going to be gray, then add some blue and
touch of burn umber. Not bursa burn umber, you'll get close
to this, a color. That's the one, and then a little bit of a
line on near the mouth. I'm going to emphasize
with a little bit of darkness here and see
the color that one, actually, I'll wash it out with water again. Just very light. It just shows the contour of
the cup contour of the cup. It's not flat surface, it's rounded surface,
but it has edges. That's the one which I was
talking about. Straight line. You could actually even put
some bubbles in that one too, but I'm not going to put just plain straight milk,
a straight line. Now, at least, I know that what is outside,
what is inside. If you have painted this, I think this should be enough, then in the next
lesson, we'll try to see how to paint the cookie.
6. Painting the Cookie: Okay. Let's start painting the cookie, simple cookie color. Those are the four colors,
at least three colors. Burna burn umber and Rm. These are the ones that
I'm actually going to use for now. I don't think Riana
we already painted, but similar color burn umber. Let's start with burn
umber with more water. You have an option. I'm
not going to do wet wet. It's just wet dry. I think it's more darker, so I just took a little bit
more water, not the paint. So if you see the cookie
wherever it is broken. That part actually has
to be a little bit dark, which is showing the inside one, which is baked,
which is inside one. So one that part, you can see the part where I'm actually marking is the one, which is the top of the cookie. And then the thickness of the
cookie on the other side. So all these even all other
cookie crumbles here, all the crumbles
actually have the three dimensional based
on the top side, and then the casting shadow, top side, casting shadow. So that's the only way that you can actually show
three dimensional. Otherwise, what will happen
is they are just more of illustrated one based on just the two dimensional
rather than three dimensional. What we did until now is
you have to be a little bit concentrating on this painting because otherwise you
might actually not get. This doesn't have to be
very smooth blending. Now, I've taken a little bit of Barnciana So here what you
can do is while it is wet, drop some color at the edges. What happens is it
spreads inside, but at the edge, it just gives a little bit of darker color. But drop some darts of the same color inside
because it's wet. Remember, it's wet. I'm playing
with wet on wet here now. The first wet color
was my burnt umber. Now I'm going to take Romber which is a little bit darker. Again, I'm going to
go with the edge. I just want this to be
spread from bottom to top. The reason behind it is if you actually bake the cookie and then at the
bottom, actually, it's a little bit darker
because it's just flat and then not burnt, but bottom on actually flat and then it is a little bit
darker than the top on again depends on where it is kept inside down one and
then the heat, all of them. But I'm not going to
go deep into that. But the main thing is
bottom dark to lighter. That's the one.
These three colors. If you see I've used
three values here, lighter first
layer, and then the little bit darker and
then a little bit darker. I'm going to make a little bit of marks on the same
thing while it is wet. If you feel that it's
actually turning into damp, take some wash your brush and come back and
spread this along. But this will actually give the texture or the
bumps on the cookie. It's not a smooth surface. It's just the bumps on
the cookie surface. You can actually go deep detail into painting a
cookie with the size of three times the size of a cookie and then start
painting all the details. But in this case, at
least from a distance of four to six feet even
from an arm's length, you'll be able to
recognize this as cookie. Make sure that you
have that little bit of observation and then how
do you actually paint it? This I'm going to
take R and that part, like I said, the
inside of the cookie, I'm going to make it darker. When I say darker, it's not
totally dark because again, I have to have two values here. That's my goal for
that painting. You can have Romber
but not too dark. Always keep in mind anyway, we are actually
using watercolor, watercolor actually
dries lighter. The top edge, if it gets
a little bit of shadow, I have to put some dark. We'll come back to that so
at least you get to know. Okay. Sam, what we'll do is let's just get some
little bit on some cracks. I'm trying to put cracks here, but I think it's still damp
and then it is spreading. Maybe we'll have to put
a little bit cracks. For now, I'm going to put some and then we'll put some more
cracks after it a little bit dries because now
what's going to happen is you have to understand
these cracks have hard edges. It's not soft edge. It's pure crack that
you can actually see. In this case, if it
spreads a little bit, it's fine. That's fine. That actually makes
our first layer or the base for the
crack and then we'll come back and put the same crack when it dries up some time. But I want to put some cracks
there. That's the idea. Normal cookie, it's
not a plastic made, it's made up dough, then you have to have
all those textures. As you can see, that's
what we have done. Light is from top left, shadow is going to be
on the right hand side. You have to one has to actually able to figure out
where the light source is. I'm going to take
a little bit of a burn tumber and paints gray. As you can see, I did not
add black, paints gray. That's what I've taken.
For wherever the crack is. Remember I said now
that it's dried, only the top portion, light falls on top and then maybe folded
wherever it is broken, that can actually cast
a little bit of shadow. You can see there itself, you can see the little bit of bottom color is still there. I'm not covering
the entire thing. Remember, don't cover
that entire thing. Otherwise, you will
lose that thickness and three dimensional
aspect of it. So that is only the top
portion, light falls, and then if this cookie is broken inside
underneath and then that is what is casting shadow based on the thickness
of the cookie itself. So that's very important. Okay. So now, I'm going
to use same Romer. You can actually mix with that pain grade same Romber straight. These are the chocolate chips. Chocolate chips of
different sizes, big small dart darts, it's not you can
actually have just five, six chocolate chips and
then leave it as this. But I'm actually going
to put some bigger, small ones and then some broken
chocolate chips as well. I'm going to put but one
thing you can notice here. What I'm trying to do here is whenever I'm painting
that chocolate chip, because chocolate chip, If
it is melted or otherwise, no matter if it is not
melted or otherwise, if it is just on the cookie
based on light source, it gets some light, some
highlight is there on that. You can see some of the
big chocolate cookies. I'm not going to
paint white on that. You can actually
paint white light if you want by using Gas. But you can see for some
of the chocolate cookies, I've left a little bit of space, keeping in mind that that's reflected light from
the light source. Okay. I'm not painting
all of them just flat. Cover it with paint by number. You cover them with all of them. But no, you can see some four or five or maybe even a little bit
medium sized ones. Actually, I've left a little bit of the color water was there on the cookie before the first layer when
we actually applied. That's a layer that I've
left and that will represent the highlight or the shininess of that particular chocolate. Now, I had mentioned, I wanted to increase
the darkness on the right side of the cookie and a
little bit of cracks. That's what I've done. Now what I'm going to do is I'm going
to repeat the same process. It's a little bit fast forward because it's
a repeated process. You can whatever I've
explained until now, if you've done that, repeat the same process for all the cookie
crumbles on that surface, including whatever is in
between the milk, all of them. Just repeat the same process. Even the shadow casting
shadow will do it later. But for at least medium size
ones even small size ones, the top layer, the thickness. If you want to put
some chocolate chips. Chocolate chips, I
can actually try to put for some of the medium
ones or the big ones. As you can see, that's what. You can't put all of them,
but the only thing is, remember, the lighter
color, darker color, lighter, the surface on top, a little bit darker is the one
which shows the thickness. The third one we'll
be casting shadow of that particular
piece on the surface. That's what we'll try to paint
in the next next lesson. But for now, I'm trying to get a bit darker at the bottom of
these chocolate chips. You can go deep into how
much detail you want, but that's the intention. If you've completed just
all random cookie crumbles and then complete this
painting in the next lesson, we'll concentrate on
what do we need to do with the milk. I.
7. Painting the Milk: Let's try to paint the milk. The first question to ask is, what is there to paint the milk? That's where I'm going to make some color. That's
a paints gray. You can actually use blue
straightaway blue you can use. It's not that I just happen to have paints
gray. I'm using that. What is there to paint a milk? Milk is already shown there, but I'm trying to give it a mass in the sense I can actually see the
thickness of the milk. How do I see the
thickness of the milk? Now it just looks like a sticker stuck on the paper,
which is white sticker? How will I actually show
the thickness of the milk, although it's white, that's
only based on the edge. Now what I'm trying to do is I've applied a
little bit of water on the edge and I will drop
this color on the edge. All through the milk side. That is actually going to show me a little bit of thickness. In a sense, the folding
on the right hand side, where the milk has spilled and stopped on that
particular surface. But it has the mid value. You can see there
are three things. One is high light
and the mid tone, which is or otherwise, the other other place where
the light doesn't reach, which is under shade, and
then the other one is the casting shadow shadow of one object on the other
object O surface. So once you apply water
and apply this color, wash the brush, come back, and smudge the edge. Don't want that edge
to be as a line. It has to spread and be more I don't want
that to be hard edge. So I'm going to go around this and then complete
the same thing. As you can see, that actually
gives the thickness now. Let's just wash a
little bit brush, come back again with the same brush on top,
smudge it a little bit. Try not to again wash the brush, come back, take
out excess water. That's it. That's about it. Now you can see it has a
kind of mass when I say, I can see that it has a little
bit of thickness to it. Now to show that that mass
is actually sitting on top of a surface because I'm able to see based on the
light source that I have, that must be casting
shadow on something else. That's another thing.
Some things that there, I wanted to put some
shadow off the glass on the milk instead
of just some lines and then take water
and just wipe it off. Don't distract or
don't disturb any of the painting that we have
done before and a little bit. Just a little bit of shadow
there. White is still there. That shows a little bit of that curvature of the glass
shadow on top of that. It's not that hard shadow, but just the soft shadow just to show that it has
something on surface. So what we did is we just gave it a mask to that
particular spilled milk. In the next lesson,
we'll try to see how to paint the shadows. Okay.
8. Painting the Shadows: Light is from left side, and then the shadow is
on the right hand side. O each one of those shadow
is on the right hand side. So let's concentrate
on shadows in this particular
part of the lesson. So for the shadow,
I'm going to take crimson and ultramarine blue, which is actually going
to give you light. So let's also understand different ways of actually using shadows,
complimentary colors. But here, I'm just going to
use the basic thing that most of the time
you can actually apply this ultramarine blue. That and altm blue actually
makes that violet, either blue violet
or the red violet. But the main thing is more
watery. It is like glazing. I'm actually yes, another thing that I need to mention is
that it's just the glazing. I am not disturbing anything
that I've already painted. But let's understand
a little bit in terms of color wheel itself. Let's look at the color
wheel, let me turn. If you see at the top
on the right hand side, that's the line on the
right hand side is warm color on the left
hand side is there. Color. So you can see the
one which is collected, that's what is the value and on the right hand
side, you can see. It's more I'm actually going to take it towards the left
side, more towards that. If it is very light, it will be on the
right hand side. So if I take this as a cool
shadow, that's a color. It's a cool shadow color that
I've mixed with crimson, serine crimson and
ultramarine blue. And it's mixed with
more water because I'm not washing or disturbing any paint that I've
already painted. It's glazing and
any time you glaze, doesn't matter whether
it is any other medium. If it is acrylic glazing, I think the bottom
one when it is dried, so you don't have any problem. But if it is oil, again, if you have used
fast drying medium, and then the next day or
after two days if you glaze, then without rubbing too much, you can still glaze very Well, but there is a challenge
with glazing in watercolor. You see the glazing
that I've done for the shadow of that glass
cup on the surface. So where that glass cup
and the surface meets, I want to increase the contrast, the shadow casting
shadow contrast. So for that reason, I'm actually going to
use the same thing. What we had used indigo. So I'm going to use the indigo itself, apply a little bit. Make sure that you get
the crisp line under that and then take water
once it is dark, take water and smudge. I don't want to leave
that and spread this. Yeah, spread that.
Just spread it along. The Some white you can
actually leave at the bottom on the right hand side because light passes through all that. I'm going to go one more time because I felt that
there was a line. But I'm trying not to distract. You see that I'm not touching the milk portion because I
want that milk to be seen, but also the glazing on the shadow casting shadow of the glass should be
on top of the milk. That's what I was
talking about glazing. If I actually go over
that one more time now that already had one layer, that will mix the bottom
layer and that's it, so you won't be able to see
that that milk portion So for each small part
of all the cookies. I'm going to repeat
the same thing for all small part of them. It's up to you how many
you want to paint shadows, at least the bigger and the
medium size you can paint. And then here I'm trying to put even darts
for the small ones, as you can see, even
the small ones, the ones which are
on top of the milk, and some which are on top of the surface of the stable
or just the plain surface. So Each one should have anyway. So it's just up to you. That's the reason I said
they use number four, five, six, round brush which comes to a point. So
it's very important. Those are the things,
but I'm not going to see for the big
cookie for the glass, is from left side, and the same thing actually
goes for the milk as well. You see the point
of view. You have to understand the
perspective here. If I'm standing where
my left hand is. I'll be able to see
the shadows on. This is exactly the concept of the wave shadows
of the waves, which side the shadow you'll be able to see which side you won't
be able to see. I'll be able to see that portion and that portion I
won't be able to see, so I'm just but line, and these are the portions
that I'll be able to see. It's very important perspective is very important aspect
of even this part as well. Exactly the same concept
if I were to paint a wave or the water movement
near the seashore. Exact same sad
concept here as well. For this and then
for the cookie, I'm not going to put
the darker version just like what we
did for the glass. If you want, you can try it. And in the next
lesson, we'll just apply some final details. Okay.
9. Final Details: Let's try to apply
some final details. These are all optional again. Some shininess, the reflected
light or other somewhere, I really need to enhance by
using a little bit of white. This is a white gouache. Again, it's an optional. That's why I didn't show
under the material section. You can actually if you have white gouache or white
acrylic, you can actually use. That particular part where I'm trying to put the
light comes from there, it just reflects light. I'm going to apply
that white band, then wash my brush, take out excess water, and then pull it the other side. The surface contro of this
one, not the rounded one. That shininess is only on top, so it doesn't have hard edge at the bottom. I've
just wiped it out. Again, do the same
thing a little bit on top because light
comes from top, again, this might
shine a little bit. This is all shining, but
I've taken very thick paint. It's dry brush. As you
can see it dry brush, I'm going to use even my finger
just to smudge it across. The one line. That's just
a little bit of shininess. Let's do maybe that
particular corner, I felt a little
bit of the color. And then I think
that should be okay. So we'll try for the bottom
on the right hand side. Light passing through the glass somewhere like refracted light. I'm going to rub
this across again a little bit of just the dry
brush and rub it across. If you're using white
clic, that's also fine. This is white gouache, not the white watercolor
paint white gouache, which is opaque, and just going to put a little
bit white on top of this. Although we glazed it and just going to put a little
bit of white white milk, which is actually
shining on top, Here, I'm just trying. I I wouldn't say it's an option. I just tried, but I don't see any difference, so
I'm going to leave it as. And if you have not left
any of these white spots, let me just take out that I feel a little bit
more, but that's okay. So I understood that whatever spots that I've
already left as part of the highlights for
the chocolate chips, I'm going to leave them as. If you have not left, this
is the time that you can actually apply some dots
on those chocolate chips. That's another other option
that I'm going to give you. If you have not done
that, then this is where you can actually
put some highlights. To the rim or the mouth
of that particular glass. I need to put a little bit of shininess to that
particular part. Again, just as one or two lines. It's not made up of that, but it's just the light and the shape that it
is actually showing, we'll concentrate on that
light and the line so that it can actually get
the highlights. Maybe we'll try to put some
lines on the left hand side, maybe at the bottom
to just a little bit. Okay. You don't have to be very what do you call
district about this, but that is where those are the places where light
passing through the glass. That's the highlights. Just mude some color across that particular portion because we need to
show the shape, we need to show
the light passing through because
it's made of glass. I'm just applying very lightly. It's barely visible, but should make a little bit of difference when
you look at it. Let me wash my brush and come back and see if I
can or otherwise, let's just apply white
on the left hand side. Let's just apply white
on the left hand side. You can these are the things that I'm
actually mentioning, but I would say you study
these things because it's very important
that you study. When I say study, what
does that mean by that? Place a cup light
source left side, right side, from back and
front and take a photo. Otherwise, just improve your observation
by looking at it, where are the places
where you see highlights? Where are the places
you see brightness? Where are the places you see
the light? Very important. Because this studying is actually very important if
you're actually going to paint based on your imagination or something that I want
to introduce something, but how do I actually
think in terms of, light or the shadow
or the mid tones. Very important. Every object, anything you do, not
only that all the time, it has to be from reference, whatever object you see, study those subjects in
terms of highlights, mid tone, and shadows,
casting shadows, all of them. Very important. I
hope by this time, if you have used similar colors, your painting should have
turned out very well. Post your projects, I
would love to see them.
Beyond Brush, Hidden Artist Within YOU
