The Art of Illusion: Painting Realistic Fabric & Glass in Oil

1. Welcome!: Hi, everybody. Welcome to the Art of Illusion, painting, realistic fabric and glass in oil. My name is Diane, and I've been teaching for about 21 years, painting and drawing, fine art all the way. And I've been an artist my entire life, and I love it, and I hope to inspire you or help you along on your journey, whatever stage you're at. This class is meant for intermediate oil painters, people who've done at least a few oil paintings and have had some success and want something a little more challenging. Clear glass and fabric are a little bit deceptive in that they're not that difficult if you really focus and pay attention to the process. So I'm going to be walking you through it step by step from very beginning to very end, and we're going to do this together. We're going to be painting a picture of this image, this wineglass on gold cloth, and it's going to come out looking something like this. So hopefully, pretty similar to the image. And we're gonna have a lot of fun doing it. In this class, you're going to learn some specific skills or practice them if you've done them before, how to mix colors to really match a photographic reference or any reference, really, how to manipulate those colors together on the canvas, not necessarily having every single color you need, but being able to blend them together to create new colors. We're going to be creating believable shadows, highlights, textures, the smooth glass, the fabric, the soft, silky satiny fabric. We're going to learn how to control the oil to not get messy and frustrated with it. If you've ever had that experience with oil paint, we're going to work hard on that in this class. Just doing multiple layers of thin paint, letting them dry in between mostly to really build up richness and texture without feeling messy or goopy, and also to control the paint on your palette for a clean palette and usable colors that don't get all mixed up together. So, I hope you're ready to go. I'm definitely ready to go. Have your cup of coffee or your cup of tea or whatever lights your fire ready, and let's get started. 2. Materials: Now that we've talked a little bit about what we're going to do in class today, I'm going to introduce you to the materials you're going to be using. So first, you need a desk or table in a well lit area that you don't mind getting paint on or that's covered with paper or cloth to protect it. You should be in a well ventilated area. I'm next to a window. Be next to a window, be outside, ideally, if that's possible, or have a fan going just so that you're not breathing any fumes. I'm also going to talk about the toxicity of these materials in terms of trying to use less toxic materials because that's important for our health. You're going to need your reference photo printed out on photopaper preferably. If you use photo paper, the colors will be nice and vibrant. You use copy paper, they will be much more dull. You can still do that, but it's just going to be more of a challenge to match the colors and make it look really vibrant. You will need a five by seven or similar sized canvas. You will need your optional practice canvas, so just a little canvas next to you. If you want to practice some techniques before you put it on your painting, a pencil with an eraser, you'll need a variety of brushes. I have for this class, a detail or liner brush, which is just a few hairs. It's the pointiest tiniest brush you can use, and we use it at the very end for signature and tiny details. Going to use these a lot. These are the same size round brushes. They are 3/16 of an inch wide, and I have one that's shorter and one that's longer. It really doesn't matter. I just have two because I like to have more than one available. So I don't have to clean them as often, but you can absolutely get away with one. I have a one quarter inch wide Filbert brush, which is a flat brush, but kind of rounded at the tip. And I have a larger Filbert brush, a three eighth inch wide Filbert, also flat and rounded at the tip. You could get away with one of these Filbert brushes, one small round brush, and you could even go without the detail brush. You can really get away with very little for this class. So if you happen to have those or want to purchase them, go ahead. Otherwise, you can get away with just two or three. We need turpentine or a turpentine substitute. I have mine in this silicoil jar, which is a jar specially made for painters. It's full of this orangy turpentine liquid with a coil, so you can rub your brush on the coil to get the color off. Turpentine fluid itself is a natural well, somewhat natural alternative to turpentine. It's like an orange based, citrus based thing. It still stinks, but it's not nearly as bad for you as regular turpentine or mineral spirits. I highly encourage you to use a more natural substitute just for your health. You'll need a palette knife for mixing paint. I prefer a metal one, but they also come in plastic. You will need your palette. I have one of the kind that's disposable, so you just use your palette and then when you're done, you rip off the top sheet and throw it away. You could have a glass one, a wooden one, a plastic one. There's all different sorts of palettes and if you've been painting for a while, or even a little bit, which hopefully you have if you're approaching this class, you will have identified what type of palette you like best. You'll need a cloth or rag or paper towel to wipe brushes, spills, and hands. You will need oil. This I'm using solvent free fluid by gambling. You can use any solvent free alkyd medium. It improves flow, increases transparency, and speeds drying. Feel free to use this product or any similar alkyd painting medium. And just, you know, I like this medium because it thins the paint without using solvents, which are bad for you to breathe like odorless mineral spirits, and it lets me create smooth, transparent layers while creating a rich paint film. You will also need oil paint. For this class, I use very few. We have titanium white, which is essential for just about anything you're ever going to do. And then we have primary colors. We have one yellow, cadmium yellow hue. I'll talk about the hue in a second. We have ultramarine blue, cerulean blue, and olarin crimson. Hue on this means it's not as toxic as straight cadmium yellow. Straight cadmium paints are quite toxic, and I don't have any of them in my collection at all. Many artists swear by them. It's a richer, deeper color, more true. However, it's terrible for your health. It's very toxic, so I advocate staying away from them and going for hues instead. If you would like to augment your supply of paints, some other common ones that oil painters have, especially when starting out are cadmium yellow, pale hue, vermilion or cadmium red light, Palo blue, that's pretty essential, actually. I just don't happen to use it in this class. Burnt Sienna. Yellow ochre, Van **** brown or burnt umber, cadmium yellow medium, cadmium orange hue, dioxyzine purple, and viridian green. Those are just some that are nice to have and you will probably use them, but not necessary for this class. That being said, let's get into the next section. 3. Draw Glass Shape: Okay, so now that we have gone through our materials, we are going to take our canvas and draw our image on it. So hopefully, you have your canvas unwrapped and your image printed out and a sharp pencil with an eraser, and I'm going to show you a measuring technique. So, if you've taken my classes before, you've seen this before. This canvas is exactly the same size as the reference photos, so we want everything on here to be the same size as on here, assuming you want it to be a very realistic reproduction. So I'm just gonna move this aside a little bit to give myself some space, and I'm going to use my pencil and my thumb as my markers and my pencil as my measuring tool. What I'm going to do first is establish where the glass is on the page by measuring from the corner of the glass, the right corner to the side of the image. And I'm going to get a measurement by putting my pencil tip there and my thumbnail here from where I'm looking at it, so I can see exactly how big that is, and then picking it up, I'm going to move it over. And I don't know how high or low it should be on the canvas. I'm just guessing here, but I do know it should be exactly that far in from the edge. So from there, I can find out how far down it should be and do the same thing, measure from the top edge. And now I know that where these two lines meet is right where that point is. And I'm going to do the same thing on the other side. And the same thing for the bottom. So what I'm doing is establishing the very outside edges of my object. And that's a very round base. There's no real point, so I don't need to measure necessarily from the side. But I am going to do some other measurements. Just as many as I can do will make it easier to draw. So kind of a halfway point between those two. Halfway point between those two approximately, I can go up further and do more and more and go down lower and do more and more. Eventually, what you end up with is connect the dots thing. So the more dots you draw, the easier it is to make it accurate. Now I'm going into the curve at the bottom of the glass. I'm going to guess not guess. I'm going to put my mark right there. And here you can see the form of the glass starting to happen. I also need to measure from the very top of the page to the very top of the glass. And I'm pretty satisfied with that, so I'm just going to draw, and I want to draw lightly so I can erase if necessary. And this is a man made object, so it really unlike an apple or something or a leaf, it really should be very, very precise. So I'm going to do my best to make it perfectly rounded on the bottom. I can always go back and change it, though, which I probably will do, of course, because that's why they invented erasers. And pretty straight from this point to this point, and even this point to this point, but then it's going to curve. And at the top, we definitely want it to round from the side to that top edge. And now I'm going to get the bottom lip in there. That's where the bottom edge should be. And I know I want this to be very round, too, right into that point. And right up to that point. Now, just a couple common errors with this shape and ellipse in particular, people tend to make the ends pointy, like a lemon or too round, kind of like a vitamin pill. So you want sort of a hybrid of those two. In my case, I can see the bottom edge is flatter than the top. So that tells me I need to kind of cut in here a little more to make that look rounder. And I need to go out further here all the way to my measuring point, which will give me a little bit more space to make that round or two. And then I'm going to go back and as and check it out again and see if it looks a little more symmetrical. So you do want the bottom to mirror the top and the left to mirror the right. And you just kind of keep messing with it until that happens. And there we go. 4. Draw Background Fabric Folds: So now that we have the main shape down and we can go back and fix it a little more after if we want, we can put the background fold in. These do not have to be as accurate at all as the glass, but we're going to measure somewhat just for the exercise of trying to make it look like that, like the image. So I measured how far that was from the side. I'm going to do the same thing for this little fold here. And I'm going to figure out where this point ends About right there. And then, as you can see, it breaks in the glass. So here, I'm going to measure how far down that goes. Oops. That's not right. I measured from the bottom of the white portion of the page instead of the yellow. So it's going to jog up, something like that, and then I'm going to start from there and continue up and sort of just lazily make my way up there. It does not have to be exactly like this. It's just a good approximation. This, where this fold ends up into the glass. I'm going to do that next, see kind of how far down from the top of the canvas it ends right about there. If you want, you can certainly be as precise as you want. You can measure that crease, but I'm going to not just for the sake of modeling more fluid drawing, I guess. Not as precise but still beautiful. Underneath there, that's pretty close, so I'm not gonna measure it. I'm just going to make a mark, and it definitely tilts off to the right. So again, I'm not gonna measure just visually guessing. We want to kind of do our biggest shapes first because it makes it easier to get the little ones in. So I'm going to do this one next. Where does that hit the glass? And it happens to hit right at that spot. And then I'm just going to pick a point, either this one or this one, I'll do this one here. As long as you know where you ended up, that's all that really matters. And then we're going to curve around under the glass. I'm going to do this one next. That's a very obvious, large shape. And it touches the glass or actually it touches this other foldRund pretty much right in the middle of the glass. So right here is where it's going to dip down. So it's going to curve up a little bit, touch the bottom of the glass, and then right at that point, kind of fold down. Or actually, this line I made was the bottom edge, so I need to I should have made that top edge first. The top edge is going to go into the corner of the page just a little to the right, and it's going to start here and kind of do this. There we go. And I'm going to curve that around a little bit. And then we have another one here. Starts there. Ends here. So just draw that in. And then this one here is going to start there on the right side and it ends up blending out here, but I'm going to just follow this shadow because it's a more definite line. That goes up this far before it curves over to meet this point and this point, I'm going to measure both ways, horizontal and vertical just to make sure, it's in the right place. Then I'm going to connect those dots. It's going to curve over, round, curve down and up, something like that. Then here, this one is very small and right next to the glass, so I'm not going to measure that. It just comes right down. As you can see, I'm just picking and choosing what I measure and you can do the same thing. Whatever it makes sense for you to measure because you want it to be really in the right place or it's hard to judge, go ahead and measure, anything that you feel like you can eyeball it, go ahead and eyeball it. That's going to start there and curve over, and then right above it, there's this dip, and then right above that, there's this other dip. And I feel like I want to move this line up a little bit to make that shape bigger, so I'm going to do that. And then up here, I have this little tiny bit kind of going off the edge of the page. And over here, I have a single line going off. And there we go. 5. Draw Interior Fabric Folds: Section 1.3 0.2 drawing image on Canvas folds inside glass. Now we're going to do the other folds inside the glass that are kind of funky. We'll measure a little bit, but it's mostly going to be eyeballing. So we already have this top edge here. We can start with this next bit, which seems to touch the lip here. And then it goes down to this point. So from the side of the glass, that appears to be there, but I'm also going to see how far it is from the lip to make sure I made it. I made it way too low, so it's going to be there. And then it's going to curve into this other fold. So before I draw that, I'm going to draw this other fold. I'm going to start right next to the edge of the glass. And then it comes down to this little point. Which is right next to that fold. Actually, I'm going to draw this line in because it's starting to get a little confusing. So that is this line right here. This point is that point right there. And then from there, I'm going to measure down to the next point, which leans a little bit to the left, right about there. I'm going to see if I made it far enough away from the edge of the glass. Not quite. Again, I'm just kind of nitpicking. I don't have to be that accurate, but I am. Then it's going to fold out to the left, so I'm going to measure the furthest out point. It's going to be right here and kind of the center of that point, either measuring from the bottom or the top of the glass, will be here. So where those two meet will be that edge. And then it's going to curve off the edge and down. So I think I'm just going to eyeball that part. You are welcome to make any measuring marks you want, of course, and then I'm going to draw that shape in. Curve in and out and then really immediately, it curves over to the right and hugs the right side of the glass and goes down and sort of disappears into these reflections. Then from there, I can make this end up touching that. I'm not going to draw all of this, by the way. I should have mentioned that. A lot of this is reflections, and it's going to be very kind of ephemeral and ghostly. But I am going to draw this big pit in the middle. So from corner to corner, that corner is right under the fold here, so that's going to start about there and go to about here. And then from the bottom edge of the glass to the bottom edge of that, I'm calling it the pit. I just set that. I don't know what we can call it. I guess it's kind of a pit. To the top corner will be there, and that's all the measuring I'm going to do. I'm just going to eyeball the shape. Doing sort of the largest, easiest edge first, and then the one that sort of seems a little more elusive after. Okay, now I'm just going to go around and complete anything, erase any measuring marks that aren't really necessary. You can get rid of dots if you want. You don't have to. We're going to paint over them, but it can be helpful. Go ahead and make any adjustments you want to make. And then we're going to get on with the painting part. Don't worry about these reflections. We'll put those in later. So this is just the drawing. 6. Mindset: So before we actually pick up the paint brush and get into the class, I just want to talk a little bit about a good mindset to have while you're working. Relax and have fun. That's kind of what we're here to do is enrich our experience in life. So let's keep the focus on that and not stress about being perfect or getting it exactly right. That's also true because oil paint is pretty forgiving. It's opaque, so you can paint over it later if you really don't like what you did. You can also wipe it off in the moment. If it's just not going the way you want, you can take a dry cloth and gently wipe it off and start again. Um, it stays wet for days, so that's not an issue. You could also if the layer below it is extremely dry, you could take a little bit of turpentine on a dry rag and wipe it off. If you have too much turpentine or if the layer below it is even a little bit wet, it might kind of rub off the lower layer, so just be aware that that could happen. Best to try a dry cloth first, or you could just wait for it to dry and paint over it next time. So many different options. Try as much as you can to mix more paint than you think you're going to need for each color because the oil paint will dry between sessions on your palette a little bit. Each time a session happens, and each time you wait a day or two, it's going to dry more. So you want to overestimate the amount of paint you need. You don't want a ton of paint because it will take you forever to mix the color and it gets wasted, but just a little bit more than you think you need, maybe 50% more is a good rule of thumb. Um, we're going to be refining as we go. So the first layer is going to be pretty rudimentary. Don't worry if the edges aren't perfect or the blends aren't perfect. We're going to be layering and layering and layering, so we will refine as we go and do more blends and more details the closer we get to the end of the picture. Lastly, if you are concerned about anything before you try a technique on your actual painting, you could have a scrap canvas next to you to practice with. And for that, you can either use your mixed colors if you have plenty of them, or if you're worried you're going to run out, just use the colors straight out of the tube to practice a technique or if you have a mess up section in your palette where you tried to mix a color, but it just didn't work out, use those colors to practice. That being said, I'm ready to get going. I hope you are too, and let's get to it. 7. Palette Set-Up & Mixing First Colors: So now that we've drawn our picture and talked about the mindset for this class, we're going to set up our palette. So you have the initial colors set out. We have titanium white, cadmium yellow, hue, lazarne crimson, and ultramarine blue to start. And we're not going to try to match these colors exactly. We are just making an approximation of kind of a light and dark, a couple darks, maybe for the background, yellows. So that we can get a base on our canvas. So yellow being the dominant color, go ahead and pour that first. So if you took my oil painting class where we painted the egg, you will know this already. Or maybe you've learned from other instructors how to squeeze out paint. It's best to squeeze along the edge of your palette, the long edge because then you leave all this space for mixing in the center. So we're going to squeeze from the bottom of the tube, just like a tube of toothpaste, a good amount of yellow. And then always screw the cap back on all the way after you wipe the top clean on the canvas. If you don't do those things, then your tubes eventually get kind of clogged up and gross. And even I do that and look at this. It's kind of clogged up and gross anyway. So it just helps to mitigate that. Keep your colors a good distance away from each other so they don't get mixed up in their puriform and notice I'm squeezing far less blue and red than I did the yellow. Oh, dear. This one's really stuck. Mm. Maybe with a paper towel, I can open it. Ah, there we go. I'm doing that because blue and red are really strong, and they're not dominant in this picture, so we don't need very much of it, especially blue. I poured very little blue. And then I'm gonna pour a little bit of white. Because we almost always need white in just about everything. But I'm not going to use too much. Another thing is, we're not mixing a ton of color right now because we're just going to put a very thin layer on the canvas so we don't need a lot. So we're going to start using your palett knife cut into that yellow, take a good chunk of it. This is going to be kind of our main color. And then I'm going to wipe before I dip into my next color to keep it pure. I'm going to add a little bit of white just to soften and lighten it up a little bit. And then noticing that that's too bright, even though it's, again, that doesn't have to be perfect, I'm going to mix a purple, mostly red, reddish purple. And the reason I'm doing that is purple being the opposite of yellow is going to neutralize the yellow in a very small chunk. So you can see from the white showing through on the palette that I still need more blue. It's still quite red. And every time I'm dipping in my paint, I'm wiping my palette knife. Naturally, some of it's going to get mixed up anyway, but this is the best way to conserve your colors. So that's probably pretty good, kind of a reddish purple, but I'm going to take very little of it. I'm going to wipe most of it off my palette knife and just use the residue to mix into the yellow. And you see how much that changes it. Just that little tiny bit kind of darkens the yellow a little bit. And that's all I really wanted to do for my main color. So I've got that, and now I'm going to take part of that, move it over, and add some more purple to it to make one of my dark colors. So now I added kind of a good chunk of purple. And that's going to make this sort of yellowy brown right here. Again, don't need a lot, or just putting kind of a fine layer on. And then, lastly, I'm going to add a little bit of this to my purple to make the really dark shadowy colors. For the glass rim, we're just going to use plain titanium white and maybe a little bit of plain blue just to mark it off when we see it. But other than that, it's all gonna be yellows, browns, and purples. So now we can put that aside and get on to putting down our first layer, which is called the underpainting. 8. Painting Lights: So we are going to start with painting the lights, and I'm going to select my about three eighth inch Filbert brush, which is a type that's got slightly rounded edge, but it's flat. You can use really whatever brush you want. Just avoid super tiny ones because that will take forever, and it kind of reinforces our desire to be too detail oriented when we're just trying to get large swaths of color on there. Have your turpentine or preferably turpentine substitute nearby and always leave the lid on when you're not actively using it so that you're not breathing the fumes. You're going to dip your brush in there just a little bit, get some on there. And wipe it into the light color just to get a little taste of it on your brush, and then just brush it in. And don't worry about getting it where it's not supposed to be. Just try your best to put it approximately where you see it. I'm going around the edge of the glass so that I'm leaving a little space. See, I'm being pretty sloppy about it because this is just an underpainting. It's just us trying to get a color on the canvas. Unlike my egg class where I did not do an underpainting, this is a more traditional way of approaching a painting where you just kind of allow yourself the freedom of sloshing it on there. That's not quite the right word because this is not a sloshy medium, but just being real loose with it. Don't worry if the pencil the pencil will bleed into the paint. That's totally fine. Underpainting. And we're just doing the lights right now. We'll do the mediums and darks next in the next section. And this is kind of mediums, lightish, so I'm going to put my light in. Notice I'm going on very thin. And my paint's getting a little thick, so I'm gonna dip in the Turpentine again to loosen it, get it a little bit thinner, more fluid, easier to spread. Also, it's very good idea to do this in a well ventilated area or preferably even outside. I am not outside, but I have a window open right next to me, so I'm breathing nice fresh air, very important for our health, which is paramount, obviously. So just filling in more lights, kind of scrubbing it in, like I'm coloring with a crayon, making it fun, 'cause it is fun. And when I do want a sharp edge, I'm using my brush to point towards that edge and then pulling down from there. Really getting all the way to the edge. You want to cover up all your white canvas. This is a valley of all sorts of things. I'm gonna put a little bit of light right here for that kind of goldie part and then just go straight into this part. Actually, this whole thing really could be just the light color. I can always put a little of the browner color over the top, and I probably will do that. And come to think of it. Now that I'm saying that, I'm going to go back into here and cover this with light, too, a very thin layer because I'm going to want that down as a ground before I put my mediums in since it's so light there. But this part's very dark, so I almost went into there. It would've been fine if I did, but better to leave it white, and that way, the dark can kind of take over. This is all light That's pretty light. And I'm also noticing there's a lot of red in here, and I didn't really mix a red, so I may just use a little bit of the lizarin crimson right out of the tube to add a redness to some of these colors. I'm not going to paint it on straight, but it'll help with that. I'm going to get some light on the bottom edge here and right there. And this whole section I'm going to paint very lightly with the light. Notice, I'm not trying to get the paint all the way covered on the canvas in this section because I'm going to be covering it with some reds and purples and stuff. So it doesn't have to be that thorough. But kind of the same thing I'm going to do here and up here, just as a base. So that's very different than these more solid areas. And that looks pretty good for now. 9. Painting Mediums: Now I'm going to go in with the brown and do the same thing. Just get a little bit of turpentine on my brush to loosen up the paint and go in and add another layer. So now I'm going over the yellow. So it's going on lighter, which is what I wanted. And now I'm being a little more careful about kind of keeping the edge of the wineglass because the brown might start to overtake the pencil line, and I don't want to lose my drawing. So I'm going right up to the edge and then filling that in. Don't worry if you have brushstrokes showing that's either part of the charm or if it bothers you, you're going to go over it again later anyway. So it really doesn't matter. Let's see here, I'm going to paint in this darker part with the brown. And into the center of the cloth here. Going down, down, down, filling all this in. And then when I get here, I'm going to actually, I shouldn't have painted that. I was going to a it for the purple, but I will paint a little bit of the brown here and here for that kind of crease. I'm going to paint the pit. Solid. Just kind of using the edge of my brush to keep that shape somewhat intact. And then there's definitely some over here. Kind of the round disc shape at the bottom of the cup. I'm going to start to carve that out with the brush, but not get too involved with it. Gonna pull some up on the side a little bit, and then just fill in the white, really. At least on this shape, there isn't a whole lot of super dark stuff on this shape, so I'm just going to fill that in. So every piece of the canvas has a color on it. And then sharpen that top edge. Kind to make this curve down. Go a little slower here so I can be a little bit more precise. And then I'm just gonna rub that into the gold. These are pretty dark. I'm gonna leave those. I'll put some brown here. And some here. As I talked about in the last section. And down here. And that's where it gets really red. So I'll come back and get some lazarin crimson on that later. For right now, I'm just putting all the browns in where I see the browns. One thing I didn't mention, which you may have noticed, may have done yourself, may not, but is that I didn't wash my brush between colors because I'm going from a lighter color, the yellow to a darker color, the brown. And actually, it works in our favor to have a little bit of the residue of the yellow on our brush since we're trying to make these two colors really talk to each other and marry on the canvas. And I'm painting into a ton of yellow anyway, so it just there's no reason to wash our brush. Let's see a little bit right here. Oh, and then this whole area is brown. And I just painted out one pencil line, but that's okay. You may lose a line here or there. If you do, it's really no big deal. You will paint it or draw it back in later. It's pretty important to not lose your cup, your wineglass. So whatever you need to do, I'm just not quite going up to the edge because I'm trying to maintain the integrity of that shape. But whatever you need to do to not lose those lines is important. You get the brown right down to that line there. And then all in here. And that looks pretty good. 10. Painting Darks: For this section, the darks, I'm going to select a smaller brush because the darks are more specific. So it'll just help me to kind of zoom in on those. I'm not going to use turpentine substitute on this because, again, they're more specific, so I kind of want them to show up more intensely. So I'm just using the purple as a sort of all around dark coverage. And I can come back and blend these two, which I will, but for right now, I'm just blocking them in, putting them in in big blocky shapes. Let's see that I accidentally cover with yellow, that's right. So let's get it back with the purple. And my canvas in some places is a little oily from the turpentine. So my purple isn't going on as dark as I'd like. That's totally fine. It's just a placeholder. I like to think of an underpainting as a roadmap for getting us to where we need to go. So you're kind of establishing directions and edges and textures and layers and colors early so that when you're painting more precisely later on, you just are kind of following your initial signposts, which is your underpainting. And in my egg painting, for those of you who took the egg class, which was the precursor to this one, you will have done a sort of type of underpainting in painting the lights first, but we did it much thicker, really opaque paint, which was meant to be kind of the final layer, but we did it in the beginning. So this is different. This is not meant to be a final layer. It's just a guide. So again, just putting it where I see the absolute darkest darks. Come back and blend it in later. I'm going to anchor my wrist here so I can get a finer line around that little bit of cloth. And darks in the folds blend up by just kind of pulling it. This is that pencil line I accidentally kind of drowned out right there in my mediums layer, which is fine. I'm just kind of making up where it went, putting in a dark band. Darkening some areas a little bit in the corner here where it just is barely darker than the rest of that area. Kind of putting the darkest initial brush stroke where I want it darkest and then fading it out the more I brush, the more the paint will wear off the brush, and it naturally lends itself to blending. This is sort of a triangle. And I'm not gonna try to do those stripes, those reflections. I'm just putting the basic color in right now. What pretty dark over here, I guess. Yeah. And you should feel pretty fluid, pretty free with this layer, not worrying about keeping edges sharp too much. You can do a little bit as much as you desire, but don't worry about making it perfect us again, this is just your roadmap. I'm going to soften that edge. I think I got dark everywhere I wanted it. So now we will pause for a second and come back and blend. 11. Blending First Background Layer: So now that we've got all the colors in, we're going to go back and touch up. So I'm going to wipe my brush off and start with my little brush. I may use the big one. I'm not really sure. And I'm just going to go back and see if anything needs to be softened, added to to find kind of looking around. This could be softened a little bit, this could be darkened a little bit. And I'm just using the residue on my brush to do that. This definitely needs to be blended quite a bit into the yellow, so I'm very lightly kind of just rubbing the purple into the yellow to darken it. Same thing here. Very, very lightly, barely touching the canvas, cause if I really brush hard, I'm just going to smear it all into one color. But what I'm trying to do is encourage the purple to talk to the yellow to kind of get into the yellow more. Here, I forgot this shadow. This one wants to blend up a bit. And I'm really thinking in terms of what, you know, week or however long I take for this to dry, a couple of days. When I come back, what is going to seem confusing? And how can I make it not confusing by giving myself visual information, blending stuff, keeping edges sharp, that kind of thing. So just a look at your painting through that lens and decide, am I going to wonder what this thing is or what it's supposed to represent, even though you may have it in your head now and then kind of use that to inform what you should adjust. H. And just kind of go around the whole thing and do that. Feeling pretty good about it. So now, as I said before, I'm going to get a little bit of a lizard crimson, didn't wash my brush, and just brush that into the yellow to mimic this red glow. Here and here and a little bit right here. A little more paint. And even a little back here. Why not? And there we go with that. And then the last thing, I'm going to take a little bit of titanium white on a small round brush, dip it in the turp to get it a little bit looser. There we go. And I'm going to put down a layer for my edges. This isn't totally necessary, but it is kind of nice to just really establish those edges, and you will brush right through some of the wet purple and yellow. That's fine. I'm not going to do it in areas that don't it. Like, there's no white there whatsoever, so I'm not going to do that. But I'm going to do it down here on the base of the glass. And now I'm pressing a little harder. That makes the bristles splay out to the sides. And that makes your line thicker. And then I had said I was going to put some blue in, but I don't think I'm going to do that at this stage. So as you're seeing, just following my process, there's no one right way to do this. I could put blue in, but instead, I'm just going to focus on the form and put in these kind of lines curving down towards the bottom edge of the glass to mimic what I see here. And that's just your base. Just a reminder that, Hey, artist, in my case, my name is Diane. Hey, Diane, this is a round glass, and there's these round reflections on the bottom, so I want to be able to see those really well. And I'm going to stop there. Oh, no, I'm not. I have this edge. I want it to soften a little bit. So just look around, see if there's anything else that you want to do before it dries and then leave it alone until it's dry. It could be anywhere from a day or two to a week, depending on your weather situation and how hot or cold it is in your house and the humidity in the air. So just kind of check it in a couple of days, see if it's dry and come back when it is. 12. Mix Colors for Upper Left Background Corner: Okay, so I hope you've waited long enough for this to be dry to the touch. You should be able to kind of touch it around, not get anything on your hands, and if that's the case, rub it. If it still feels good, then you can just really make sure it's super dry before you continue. We're going to start by mixing colors for this upper left corner. And I'm going to mix much more than I need because we're going to use some of those colors in the rest of the painting. But we're just going to start by focusing there. So I'm going to squeeze out a lot more yellow. This is the cadmium yellow hue we used the other day. A little tiny. Well, actually, no, I'm not going to squeeze out more blue yet because I don't know that we're going to need it. We're going to just start with the yellow, and I'm going to go for this color here, this kind of orangy and notice how much of it I'm using the yellow is much weaker compared to these other colors. I'm going to use a little bit of red, which is pretty strong and it's going to turn it orange pretty quickly. Using the tip of my knife, as I talked about in my beginning oil painting video, where we did the egg so that we prevent spreading the paint too far around on the canvas and then just kind of holding it up to look and compare. It's pretty good, actually. It's definitely a little bit lighter, but we are going to be blending it with this dark red color. Um, I could choose to You know what I'm going to add a little bit more red and a tiny bit of blue, just to neutralize it a little bit closer to what's actually there. I could not do that and just rely on blending these darker colors into it on the canvas. Either way is correct or not wrong, anyway. It's just kind of which path are we going to take? So I'm happy with the amount of red there, wipe before I dip and get the tiniest amount of blue because blue is deadly strong, especially compared to yellow. And that might just be enough. Just dolled it down a little bit. Yeah, I'm happy with that. So I'm going to leave that and then for the darkest color, I'm going to start with red, since that's pretty dominant. This is all dry here, so I'm just going to mix right next to that space. There's no real rhyme or reason for that. I just felt like it. And I'm going to get a little bit more blue because it's a purply color. So I want it to be pretty dark. The Alizarin crimson and the ultraen blue are very transparent, though. So to combat that, first of all, we do have the underpainting, which is part of the reason we do an underpainting to combat transparency. But the other thing we can do is add a little bit of titanium white, which is very opaque. And we want it to be a tiny bit lighter anyway. So checking that out. That looks good. Don't need a ton of it. I wish I'd mixed more, but in this case, I'm just going to go with what I have because I can always mix more later, and I've already got the color. And then, lastly, I'm going to do just a little bit of kind of an olive green for this little bit right here, which is going to appear in other places. So I'm starting with the orangy yellow naturally has a little bit of red in it, of course, and then I'm adding blue. Yellow and blue obviously make green. But because it's an orange yellow, it's going to naturally turn olive rather than if I use a bright yellow, it would turn more of a leafy green. And I didn't actually mean to do it, but I think I came pretty close to nailing it with the first try. But I'm going to just look at it around. Yeah. So you may be able to see it's a little bit greener than what's on the canvas, but with oil paint, it's often a good idea to exaggerate a color, whether it's a little brighter, a little more intense, a little lighter or a little darker than what you intend because they're all going to blend together. So no matter what you actually mix here, it's going to change a little bit when it interacts with these other colors. So kind of emphasizing the separation between these colors rather than trying to mix exactly what I see here is really going to work in my favor as we paint. So those are the colors I need for that first section, and with that, we can get on to painting. 13. Painting Upper Left Corner: Now that I've got my colors mixed, we are going to go in and paint. I'm going to use the same brush I used the other day for most of the background painting this sort of three eighth inch wide filbert. And just starting in with the orange, I'm going to just paint the orange approximately where I see it, being mindful to keep the edge of the glass very sharp by using the point of my brush towards the edge of the glass and just filling it in, but not approaching the areas that are dark. I'm just filling in where I actually see the orange. And putting it on fairly thick. However, the color this orange color is pretty transparent. So you will probably see some of your underpainting brushstrokes through it, which is totally fine. I actually really enjoy that quality. It makes it look more painterly, more artistic, less of a photograph. But if it bothers you, if you want to cover it up, you are more than welcome too. Um, I'll talk about that in a minute. After the orange, switch to the green, and you can Oops, almost painted the photograph. You can just put a little bit of green where you see it at the top edge of this fold, and then just a whisper of it in the top corner. I barely have any paint on the brush. I'm just trying to get a presence of it up there. For opacity, you can always take a little bit of titanium white, put it into your transparent paint, let it dry, and then later when it dries, put over another coat of the actual color. So in this case, the orange. And that will make it opaque. The white will make it opaque. It'll make it too light at first, but then it dries. And when you want to re darken it, you just put the orange back over the top. So it's a multi step process, but well worth it if you want that effect. Um so now I'm going to get a little bit of the dark red, kind of using the corner my brush to get into that very specific corner. And then pointing my brush towards the sharp edge, painting that in. And I'm going to go over here and put a block of it over here. It's more blurry over here, so I'm not so worried about keeping the edge sharp, but I do want to keep it sharp against the wine glass. So I'm kind of angling my brush in that direction to keep it mostly sharp. And then same thing on the bottom edge here. And I've used up most of the paint on my brush at this point, so I can just start to blend. When blending, you don't want a lot of paint on your brush, it'll just get really gloppy and difficult to control. So my paint naturally wore off because I used it on the canvas. So now I'm just going to go back and blend edges by rubbing them between the colors. I'm going to go up and down a little bit here, I just want that edge to stay sharp and the green and red to naturally match. Excuse me, marry. And then I'm going to go back and blend this edge. I have a little bit of red residue on my brush, so I'm going to put it in this corner. Again, this corner is sort of unnamed. It's mostly orange, but it's got a little bit of a mysterious darkness to it. So I'm just using both the green and the red to add a presence there, and then just lightly brushing it into the orange. Now, I'm going to show you what I meant by adding titanium white. I'm wiping off my brush, not washing it, just wiping it, getting just a little bit of white on the tip of my brush. And I'm going to put it into the orange. And you'll see it lightens, obviously, because it's white, but it also increases the opacity. And you can go further if you want. You can put more white until it's as opaque as you would like it. Don't be too worried if it gets too light because as I said, you can always adjust down the color later by darkening it after it's dry. For right now, if you want it to be more opaque, you can just do that in any areas you wish. Even the dark red, you could put a little bit of white into it, and that will make it more opaque. So go ahead and noodle it as much as you would like, and when you're done, we'll move on to the next section. A 14. Painting Upper Right Dark Background: Now we're going to paint this section in here, and we're choosing this because it's kind of behind these other things, and it's really nice in oil or acrylic or actually many mediums to work background to foreground so that you're constantly layering the light the foreground on top of the background, and you don't have to worry about smudging edges. Because if I did this first and then went back to do the stuff behind it, I'm having to be very manicured around the edges. So it's just a little bit easier. We already have the colors we need for this section. I think this dark may prove not we don't quite have the right color, but I'm going to see what happens if we put a little green in with the red. And if it doesn't work, we can always mix a new color. So I'm going to start with the orange again because it's the lighter color and just paint around this area, even though it's too bright, but you'll see we're going to do more of this where we put the reds and greens in and really blend into the orange here to dull and darken it. So I'm really just putting that where I see the lighter parts, and then I'm going to include this little thing up here. A little bit more paint. Wipe off my brush, switch to the green, put that in kind of around this whole shape and actually into it because I said I was going to experiment with mixing the green and the red on the canvas here. And I'm going to paint some of the green into the orange to give it some dullness. That's working really nicely. In fact, I'm just going to go over all the orange with the green. Yeah, that subdues it really beautifully. Then white my brush. Oh, I'm sorry, I forgot to mention, you may have noticed I'm using a smaller brush because I have more details in this section. Still a Filbert, but you can also choose to use a flat brush or a round brush. I find Filbert nice because they're good for spreading larger areas of color and also blending. Like I said before, if you're a one brush person, that comes in really handy. But if you're just putting in larger areas of color, a flat brush is really nice. If you're just doing details, a tiny round brush is really nice. So I'm very carefully putting in the red here I want to maintain the integrity of that left edge. And then I'm going to put some right in the center here. Now I don't have a lot of paint left on my brush and I do want this to blend really nicely, so I'm going to go ahead and just start smearing it. Or I shouldn't say nicely. I should say widely. I want to wide blend. Now I feel like I have a little too much, so I'm going to wipe some off and go back and continue blending. That'll be something you encounter a lot as your oil painting, you'll just notice I have too much paint or not enough paint on my brush, so you go and fix the situation accordingly. I'm going to blend this center thing out by following the curve of it. And then up here, I'm just going to anchor my hand on the flat surface so I can be very controlled about it and kind of blend these two little fine edges, wipe my brush again, and I still want that more blended, so I'm going to go back and soften more. Rubbing between the two colors. Got a little red line in there, wipe it off. And now I'm going to look around. I kind of want this to be a little softer. Yeah, and I'm happy with that. So on to the next bit. 15. Painting Upper Right Light Background: So next we're going to do this part because it is in front of those two, and we've already done those two, so that's kind of a next natural step or one of many. It's just the one we're picking for this class. I'm going to use the same brush I used for this section, the quarter inch wide, Filbert. I did rinse it first in the turpentine and wipe it off, so I have a fresh start because I'm going to go back to a light color. So for this section, you're going to need all the colors we just use, all three of those, plus the same kind of light yellow we used for the underpainting or something very similar and just plain white. So if you don't have any of this left, go ahead and pause the video and mix some more. And we're actually going to start with the white because that's going to establish that bright highlight on the fold of the cloth. It's gonna be too white to begin with, but then it's going to be overtaken by the yellows. So we want that to be established before we start. It's not wrong to put it in after the yellow, but you may be fighting the yellow in order to get it to show up. So that's why I put it in first. I'm going to get some of the bright yellow from the underpainting class and I'm being very mindful of this edge because it's obviously very wet with red. I'm just very carefully going up and down. It's creating a nice smooth edge. It even softens a little bit between the yellow and red, but I don't want them blended. I just want them smooth together. Once I've got that edge established, I'm going to go back for more yellow and paint it mostly over the white, but just really boxing it in from both sides. And then I'm going to wipe my brush off and do one or two last swipes of the white directly into the yellow, and that'll brighten it. Now, on the other side, I'm going to put the orange in where it seems to kind of glow orange. So I'm doing this because it's the next lightest color. So I'm kind of skipping over that dark edge right now. Painting in a big, not sickly painted, but just a wide area of orange and I'm going to do the same thing down here on these folds again. The red here is very wet, so I'm being very careful and slow about trying to get my edge right up next to the wet. If this is difficult or just unpleasant for you to try to be that careful, you can always wait til it dries and come back to it. A couple of days later or a week later or whenever it's dry, you don't have to do this right away. But if you just feel like plugging forth and it doesn't bother you that much to be careful of the edge, then go for it. That's my orange there and then down here a little bit. I'm going to wipe and then switch to the green, use the green to establish my darker color around the orange and right up next to the edge on that fold, where the white is going on. That's not as dark as I would like it, so I will probably go back and darken that later. But for right now, it's a nice placeholder. It's definitely green enough and that's what we wanted also is a darker green. So just putting that wherever I see that kind of brownish green color. I'm going to use this also to re establish this edge because as you can see, with my red, I kind of cut into it too far. That likely didn't happen to you, but if it did or if it ever does, you can kind of use the new color as sort of a bully color to push the old color out. So I'm anchoring my fist, so I can be very careful of this edge and just kind of mindfully wiping pushing the red back into its own territory. And then I'm going to wipe that and get a little more green and go back in here and try to create this fold, although the paint is very wet and the green is not dark enough, so it's really not being very successful, but I can do what I can and then come back later. Wipe it off again, get a little bit of the red, put that into the center here and pull that out into the green. I'm also going to put a little bit of it up here just to darken that fold. That dark place right there is called the core shadow. Most objects that are very dramatically lit will have a core shadow, which is the kind of darkest shadow between the reflection and the brightest lights. And then I'm going to go back and just soften where it needs softening, sharpen where it needs sharpening, add more color where it needs more color. I get a little bit more of an edge up here. So I'm now going back into the background just happened to have the right color on my brush, and it needed it. And that is pretty good for that section. 16. Painting Right Background Folds: Now we're going to focus on this section here, the right background folds. Before we start painting, we need to mix one more color, which is going to be this dark grayish brown. I probably should have mixed that for here, too, as you can see, and as we talked about, the red and green didn't work so well. But now I've learned from that, so I am going to mix a darker, grayer color, starting with yellow and blue. Wipe, wipe, dip back into the blue because I just need more. That's nice and dark. That's what I wanted. And it's kind of greenish. Let's see how this looks. Little too greenish. So we need some red because red being the natural complement of green will neutralize it. May have gone a little too far with the red there, but let's see. Maybe not. I'm going to add a little bit of white because we do need to lighten it. Just a hair. That'll also make it easier to see what color it actually is. That is pretty good, but I'm going to add just a dot more blue. Overdid the red, a little tiny bit too much. Nah, that did almost nothing. Try that again. There we go. All right. And I think we've got it. So we're just going for kind of a really dark brownish gray a little on the purply side. And I'm going to use my tiny round brush to get the yellow in here on this line just because it's a little bit easier. And then over here, oh, I forgot about the white, so I can just wipe the yellow off my brush and do the white. I'm going to put a little bit of white right on the edge of this fold, where it gets very bright. And I'm also going to put a little bit over here. Ideally, I could switch to the Filbert, but since I have the white on this brush already, and it's such a small section, I'm just not. You certainly can, if you want, but I'm just putting white kind of as a ground where I see it. Not painting thick. If you paint thick, it will be very difficult to make it look yellowy later. All we're trying to do is add a brightness to the ground. So we got that. I'm going to switch back to my Filbert brush, rinse it off in the turpentine. Actually, Turpentine substitute. That's not quite as terrible for us to breathe and wipe it off really well on the towel because I really don't want any of that oily residue if I can avoid it. Now I'm going to go back into the light yellow and paint. Just kind of the edges here, getting the white to subdue a bit. Something like that, and also up here, get some yellow up there. I forgot this part right here next to the glass. Then I'm going to use the orange, fill that in along the bottom edge. In this fold right here, wipe, move to the red, paint that into this crevice, trying to establish a sharp edge between the red and the orange and establish a shape for this big shadow. Also putting the red on the bottom edge of this shape right here, all the way up to the edge of the wine glass. And then we're going to move to our new color and fill in the darkest areas a little bit right here and up here. And then we'll go back with just a little residue on the brush and kind of blend things out a little bit. Residue from that dark color because it's a little grayish down there. I'm also going to just establish this edge. And we're done. 17. Painting Bottom Center Foreground: Now we're going to skip to this section here because that is kind of the next sort of in the back part. These two folds are more in front of it. So we're going to do that skip this and come back to it. We're going to start. I'm going to use the smaller Filbert brush again and just start with the ridge here. I'll start from there, and we'll do this in another section. So I'm going to use the green paint in this core shadow on top of the ridge of this fold of fabric. And since I'm on green, I may as well go over here. And actually, I just broke my own rule. I did not start with the lightest color. But I guess this is a good opportunity to explore what happens when we do that. It is not a big deal. So I started with the green. I'm just going to continue, put that in where I see it. I may as well. And then I'm going to wipe it off. And in this case, I don't really need to clean it because there's nothing here that's really much lighter than green except for that little tiny bit right there, but that's a dull color. So it doesn't matter if there's a little bit of green in my brush. I'm going to get a little bit of the yellow, the light yellow from the underpainting, and put that in right there where I just talked about, and kind of pull the green down off the canvas a little bit. And then I'm going to wipe it again and put a very small thin amount of yellow in this orangy bit. Oh, that's not even showing up. Just a little bit in order to create a nice light ground for the orange, not because I want it to look yellow, just because the orange is very transparent, so that'll help it go on a little more solidly and opaque. So now I'm going to put the orange in down here to the bottom and blend that into the yellow I just put down. And over here to the mouth of this kind of purply cave. I'm going to use some of the red here because there's a definite red glow coming from that little cave. So I'm not filling in the darkest part, just kind of the mouth of the opening. Since I have it on my brush, I'm also going to use it to establish this little tiny line that seems to be sort of coming from the bottom and the top and almost connecting in the middle. But I have so little paint on my brush and I'm barely touching the canvas that it kind of becomes a whisper, like they're trying to connect, but not quite. And now I'm going to go and blend that red before I get the dark. So I'm blending a lot on the bottom because it's very soft there. And then on the left side, I'm just barely softening, pulling it up into that little crease. Then lastly, I'm going to get the super dark color and paint that into the center, just dabbing it in and blending it with the red. I'm also going to use the very edge of the brush to kind of darken that little tiny crease. I have a little bit of this dark on my brush, so I'm going to use it and just dab it in a little bit at this core shadow to darken. And that actually is working really nicely, so I'm gonna continue. Yeah, it seems maybe that's the money spot. The green first with a little bit of this dark brownish color on top. And then I'm gonna go back and dab it into the orange. Since I can, I'm going to wipe my brush off, get a little bit of yellow, the light yellow and put it all along this ridge. Just to give the dark something to blend into. We will be coming back to this fold, but in the meantime, this will give it a nice transition upfront. Lastly, I'm gonna just look around. I feel like I want to put some of this dark in right here. Definitely wants to be a little darker at that shadow at the base going up into that little whispery shadow we talked about before. And I'm feeling pretty good about that, so we'll leave it there. 18. Painting Right Bottom Corner: Okay, now we've got these two sections painted, which are behind this one. So we're going to go over to this right bottom corner. I'm going to switch back to my large Filbert brush, get a little bit of white, and paint that into the brightest surface here, again, not thick paint, but a wide area of it. And a little bit as it transitions into the valley area we just painted. And then across the top edge here. And that will re establish this top edge as the boundary between this front fold and the back area we painted a little bit ago. So I'm kind of purposefully forcing the white into that area. I can see my pencil line a little bit through the paint. Don't worry about that if that happens to you. We're going to go over it anywhere you see pencil lines for that reason, if nothing else. I also see a little bit of shimmery white here, so I'm going to just put this on really, really lightly. You can see the canvas texture showing through. That's how light I'm putting on. Then I'm going to wipe go back and get my original light yellow from the underpainting and paint that in solid where I see yellow. Again, using that color to re establish my boundary between the fold I'm currently painting and the tunnel, what do I call it, the cave that I just painted. And as you can see, the red is kind of forcefully showing through there. Don't worry about that. We can go back and fix it. But I thought maybe I could use the yellow to bully the red back, but I cannot it's okay. So I'm going to wipe it off the canvas here and then smear it over to the left where I'm blending it with the white, put a large forceful swath of it right there, and then I'm going to wipe the rest it off my brush in this area where I put the white. And that will nicely blend with the white to create that kind of gold color, that chalky gold. And going almost all the way up to the edge, but not quite. I'm going to leave a little bit of white there. Now I'm going to go back here. I wipe my brush off. I'm going to go back to the edge of this yellow and just kind of dab around it to encourage it into the white a little bit. And I don't actually want this to stay white, so I'm going to use the residue and just kind of wipe the yellow into it so that this part still stays the more dominant gold, but the area around it reads as lighter gold. Same thing with this crease up here, the edge, I'm going to just sort of wipe the gold into it so that it is not pure white anymore. And then on the edge on the left here, I'm going to use a little bit of this darker color and just at first, just experiment with it, see how it behaves. And it's pretty dark. So I'm gonna continue doing this, but with very, very little paint on my brush, using the edge of my brush, the tip of it to kind of establish that fold right there and then pulling it over to the right. Now, I'm kind of at a point where I may not be able to do this because it's so wet, but I'm going to try to put some yellow over the top of this brown to color correct. And let's see what happens. If it doesn't work, we can always do it later when it's dry. It's definitely having an effect, a good effect, which is making it more yellow, but still staying dark. And that is the goal. So it's working. Yeah, sometimes it does, sometimes it doesn't this case, it worked. And I'm going to go back and just touch up a little bit, soften edges. This edge, even though it is pretty sharp, needs to be just whispered at, softened a little bit. So I'm kind of using the side of the Filbert brush to do that. If I use the wide side, it blends more broadly, but I just want to soften the edge there. And then down here, I'm going to use it a little bit just to create more of a transition between the light part I just painted in the dark part. Lastly, I'm going to take a little bit of white and put it right here to see if that will come back the red. Nope. So I could do this later, but I may as well do it now. I'm going to take a little bit of the dark color and very carefully put that line back in so that the reddish brown is no longer showing through the yellow. Now, I've just got an edge right there, and it looks like that's it for that section. 19. Painting Lighter Left Folds: So now we're going to go paint in the two lightest folds on the left and bottom. This one here and this one, we're going to skip a little bit because these two have really similar colors. Normally we go background to foreground to foreground to foreground. But since those are the same similar colors, it's just a little easier. And it's okay to skip around a bit. So, oops, I'm using the wrong brush. I would like to use my smaller brush that back section is a smaller piece, and I used a dirty brush. Oh, no. So I'm going to wipe my brush off and then go back and get a clean area of white and paint in white where I see the brightest areas. No real actual white, but I'm again, using this as a base for the yellow to brighten it quite a bit. And then up here at the top of this fold, and I'm going to just kind of carry that all the way up the upper edge of this fold. And because my paint is wet here, it will just naturally blend right in. It doesn't show up as much as I would like there, but again, we can go back over it later. So right now, we're just establishing a second layer. In some cases, this might be our last layer on some of these areas, but in most cases, we're going to go over them all again. Wipe that off and then get the yellow and go back up here. The yellow is quite strong on the back of this fold. Remembering that background color is very wet if you have not let this dry like I am just keeping going. I'm using the edge of my brush to very carefully keep that edge sharp. And then pulling the yellow down against the edge of the next fold. And some of the red did blend into that yellow, which is kind of a lovely effect. It's not as yellow as it is here, but we can always go back and change that later or not, if you like it. Here, I'm going to actually use the orange first and then probably add a little brown over the top. 'cause it's darker. Actually, no, now that I'm looking at it on the canvas, I'm going to use yellow. I thought I would need to darken it, so I thought I would need to use the brown, but I don't think I do. So I'm going to use yellow to make it more of a gold color. And that worked pretty well. Now I'm going to go back and try to enhance the yellow back here. And then because I don't want this actually to be white, now I'm going to smear the yellow into the white. There we go. And down here, I'm going to get a little bit of that light yellow painted into the corner. And pull it up into the white and onto the left side of this core shadow. Then I'm going to blend it. Sharpening edges where I need to and smoothing others where I feel inspired to do that. Like on the top of this core shadow, it feels a little too sharp. I'm just going to go in with very little on my brush and just mess with it a bit, blending it to get it to look softer. And while I'm at that, I'm going to go in with the brown and put a little bit more on the right side to get it to soften down into this darker area a bit more. So just very little paint on the brush and kind encouraging it down to the right. And then lastly, I'll go back and soften the top edge. And again, just like all my classes, probably every art class you've ever taken, whatever is going on with the instructor's painting is probably not exactly what you're experiencing, but just use it as an opportunity to learn new skills for when you do run into these things. And it looks like that's about it for those two, so we'll now move on to our last two folds. 20. Painting Darker Left Folds: So now we are going to finish the background fold second layer by finishing these two. So I'm going to use the smaller Filbert again, start with white again and establish wherever I want a little bit of white to brighten up the yellow I'm going to put on the top. Also using it to sharpen up that top edge all the way down to the base of the glass, and I'm going to smear it down a little bit. Kind of gives the yellow something to grab onto. Same thing on this one. A much sharper, brighter highlight than the one on the top fold. So I'm making it more solid. And then I'm going to switch to the yellow, not wiping my brush because I don't have a lot of white on it, and I want the residue on there for the next bit. So putting yellow below the white blending, pointing my brush towards the darker of the two colors makes it a little easier to blend. Same thing here, put the yellow in beneath the white. And into this fold that I just painted. I'm also going to use a bit of the orange to brighten. There is some of that reflection right here. I'll get that nice warm glow going in the cloth folds. Same down here, a little bit of orange. Right. And then I'm going to use that dark brown color for the shadowy parts. Going pretty dark in that bottom corner here, not so much. So I'm using the residue from that. I'm not getting more paint on my brush. I just have a little bit left because this part is just not as dark. So I'm going to kind of use it to just wipe around. There is a suggestion of a core shadow here. Between the white and the orange, so I'm going to use the brown to create that brushing it up underneath the white. I'm exaggerating it at first, making it darker and more obvious, and then I'll go out and go and blend it in. That's kind of a way of establishing its presence nicely. And then up here, I'm going to just point down towards the brown to blend. And kind of pull it up into the lighter colors. This one is more of a gradual transition between dark to mediums to lights. Was this one's more dramatic. Now I'm going to go back, white my brush and blend out this top edge. Blended more on the left. And as you move right, it's going to get less and less blended because it's becoming more and more sharp. So I'm going to be more careful using just the tip of the brush on the right here to soften and blend. And just looking around, I'm going to go back. I see a lot of brushstrokes here, which are all going in the same direction. I would like to break that up so that it doesn't distract from the kind of finished look of the picture. Eventually, obviously, it's not nowhere near finished. And then here, I've got a little bit of the brown showing through the yellow on this fold, so I'm going to take the brown and just go into the yellow with that to get rid of that little shadow. It's much easier to do that and just give in to the fact that the dark is showing through. Use it to your advantage than it is to try to do multiple coats of light over the dark later. You can do that. There's nothing wrong with it. It's just easier to do it this way. And I'm also going to blend out that shadow more because there's too much of an edge between the brown and the orange. Then lastly, I see a little bit of pencil right here and it's dark, so I'm just going to use what's left on my brush to fill that in. And we're done. 21. Painting Left Upper Ellipse: Okay, so now that we finished the background, I have actually let my painting dry for a few days after I finished the background so that I wouldn't make any smudges or get it on my hand while I'm painting the glass. You're welcome to do the same. Or if you feel inspired, you can just keep going and just be careful not to smudge anything you've already painted. I also mixed some more of my colors because I was running can do that anytime, pause the video, remix your colors. The only thing different from my original palette is this color here I added to do these kind of darker greenish browns inside the glass, and I'll use a little bit up here in the ellipse. This is just this color, except it's got a little bit more blue and red in it. So you can go ahead and mix that one, go ahead and pause the video, mix this again and add a little bit of blue and red to it until you get a brown or darker version. Now we can start painting in this section here, the left side of the ellipse. So I'm going to start with a little light yellow and just approximate those stripes. So they're blurry, they're fuzzy, they're very malleable. So you can just approximate what you see. Don't feel you have to make them exact. But I see kind of a thin one, a wide one. And then they start getting a little wiggly here. And the yellow is too light for this. Don't be concerned about that. We want to put down a more opaque light layer of yellow on this layer. And then later near the end of the class, we'll come back with a darker yellow and what's called glaze over it, which is putting a transparent coat of a darker yellow over it to be able to still see the pattern underneath but adjust the color down. If we tried to do that dark yellow now, it would be too transparent and it would show through. So I think that's all I want to do with my yellow, so I'm going to wipe my brush off, switch to the lighter green. And put a little bit right next to it on the right side. I'm going to put a little bit kind of on the sides of this stripe because it seems a little bit greenish over there. Wipe it off, and then I'm going to switch to a light brown and go over that green I just put here and just kind of putting it about where I see it. Separating the stripes gets redder over here, but I'm going to put a little brown on top of the green between those two as a base, and then I'm going to very conservatively use a little bit of dark red because this is a very dark red. I do want it to show up, but see how incredibly dark that is. Don't be concerned. We are going to blend it so it will lighten up. And much like the yellow, we can always go over it later if it turns out to be too dark or too red or too anything. I'm going to put some in the corner here, blend that into the green. So I barely have any paint on my brush right now, which is why that blend worked so well. If I have a ton of paint, it just the red would have just dominated. I'm going to put a little bit into the brown here. I barely have any on my brush again because I've worn it off on the darker red stripes. So I'm using that to my advantage here. And now I've got the basic stripes and so I'm going to go back and blend. Oops, I didn't wipe my brush well enough. Don't want to spread that red too much. I just want to soften it. So now I'm using kind of the side of my brush, the rounded edge to blend. And because my paintings dry, I'm able to anchor my wrist on the bottom corner here. So if you let your painting dry, you can do the same. If not, you kind of are forced to hover above it or if you're on an easel hover in front of Now I'm paying attention to the quality of the blends. So on the left side of this stripe, it's softer and on the right side, it's harder. So I'm going to turn my brush so that I get kind of the edge of the brush, the sharper top edge to keep that a little bit sharper. I have some residue on my brush here, so I'm going to use that to wipe through this red, wipe off the extra because I have too much red. Same thing, wipe off the extra. Go over here, blend a little bit. And then these reds are just too strong, too hard. So I'm going to go back and just kind of wipe the edges and try to soften them a bit. More. Sharpening the edges at the top and bottom. And that looks pretty good. 22. Painting Right Upper Ellipse: Now I'm going to paint the right side of the ellipse, which is very tiny and very yellow. So I'm going to use the same brush with a little bit of the red residue on it, but I'm really wiping it off well. I don't want to rinse it because the rinsing does add an oily residue to the brush. I still want to use my little Filbert brush here. Again, you can just use a totally clean brush. That's fine. I just prefer to have a little residue from my last color on my brush so that it has a relationship with the new color. Um, so you're going to start with the yellow and just put in an edge there. I'm trying to cover up a little mistake I made where I kind of went into that fold, so I'm applying it pretty thickly here. Looks like it's not covering entirely, so I'm going to have to go back over that. Or I can alternately bring the red further into that fold, which I might end up doing. And then on the right side here, I'm going to put a little bit of this brown. And then wipe that off. And I'm going I should have actually done this before. I'm going to put a little bit more yellow here. I should have done this when I had the yellow on my brush, but I didn't, so I do it now. Wipe and then get a little bit of plain white and just wipe that right into the center where I left a teeny bit of canvas showing so that the white would come on really bright. Wipe it and then go back and do any blending. Like, I got a little yellow smooth there, so I'm going to blend that. And I do feel like this side needs to be a little bit darker, so I'm going to use a little bit of my new dark brown color into the wet paint. Because it's wet, my dark brown will not go on as dark. Which is exactly what I want, and I'm going to kind of dab in a suggestion of a darker shadow, a core shadow right here, trying to leave a little bit of light at the very base so that it appears to brighten as it slopes down, and then I'll go back and reblend that. It doesn't require a lot because it's such a small little section. And then I'm going to come back here with a smaller brush and try to cover up that edge with a teeny bit of the red. So now I'm using kind of a thin round brush, and I'm going to anchor my hand so I can really control where it goes and dab in a little bit of the red. Chances are you will not be doing this because you didn't make the exact same mistake I did, but if you happen to or if you did this in another section, you know what to do. So it's just easier to bring the dark color in and cover up a mistake than to try to fight it with the light color. I could easily let the light dry and do another coat next time. And then even another coat if the mistake still shows through. But I'm choosing to cover it up with the dark instead. And now that I've done that, I'm going to go back with my larger Filbert, get some yellow again and try to yellow, enhance the yellow on this edge, although the paint is very wet and I don't want to go into the red I just painted. So it's not working very well, but that's okay. It's worth a shot. And we're gonna go over that with a brighter yellow anyway when it dries. But I am going to spread the white a little bit more, just kind of blend that out. I need to add a little more white it's getting dominated by the brown, 'cause I want that highlight to be whiter here, not whiter, but wider, like, thicker. Although it's becoming whiter as well. And then I'll re add the yellow to try to get a little more of a goldy glow right there. Well, that got more blended than I wanted, but that's okay. This is only the second coat, and we can always come back and refine later if we're so inspired. And that's good enough for the right side of our ellipse. 23. Painting Left Upper Corner: Alright, we are just going to keep working our way down the glass. So we did the inside of the ellipse. We're going to skip the rim. We're going to skip all the exterior like lines and reflections. We're just focusing on the yellow showing through the glass, the cloth. I mean, showing through the glass. So now we're going to do this left triangle section, ignoring the highlights. See this kind of, like, bluish purply reflection on the left side there. We're not going to try to do that. What we're focusing on is the fabric behind the reflection. So I'm going to start on the left side there with my small Filbert brush and some orange and paint a big wide stripe of that. All the way to the bottom. Some of it is so obscured by the reflection. You're kind of guessing. You can't really tell what's there. So that's also fine. Just do the best you can. I'm going to wipe the brush off, and it looks like there's some light green there at the bottom, too. So I'm going to paint that right into the orange and move over to the right with the light green. And it looks like there's some light green kind of around this area of darker, reddish brown lines. So I'm going to just sort of make it up, loosely copying what I see, but it's so obscure. Don't worry about making it exact. What is important is you want to try to match your line to what you've done up here. So if there's a line here, you don't want it going to nowhere, so make sure it continues. Um, in some way, I can wiggle, it can bend, but it should have some sort of continuity. And then I'm going to wipe my brush and switch to the yellow. And really, I should have started with the yellow to follow my own rule of light to dark, but I didn't. I started on the left, and this is what happens. We have to just wipe our brush more often, and that's okay. I'm going to bring the yellow all the way to the bottom. Again, this yellow is very much too light. We know that. We're doing it on purpose so that we can create an opaque layer of yellow beneath or, sorry, on this layer so that we can put a more transparent layer of brighter, darker yellow over later, and it will just glow. That's a magical moment. So there's a big wide stripe of the yellow, and then up here, I'm going to copy pretty much what I see, but I'm also paying attention to the stripes I have up here, which may differ from that a little bit because this is a painting. It's not a photocopy. So it's going to be there are going to be differences, and I want my painting to look cohesive and, like, it has a sense of continuity. So I'm paying more attention to where those stripes are than I am here. I'm done with the yellow. Now I'm going to go back and get some of that light green again and fill in some stripes between where I left. The yellow actually there I'm going to put in some dark red. Again, the dark red is very dark, so I'm going to be conservative with how much I put on my brush a little bit. That's the most bold red stripe there. Then here there isn't one on the picture, but I'm making it up because there is a red stripe on my painting, it looks like it's going to just wiggle down a little bit to the left, so I'm doing that. I'm going to add a bit of red right into that green I just put there. Then I'm going to use the residual on my brush to fill in these spaces over here that I left showing between the greens. Making it up, creating ghostly stripes. It reminds me a little bit of the scream, Edvard Much scream for those of you who are familiar with that painting where everything is just a swirl of madness, all these swirls of color going up into this screaming person. Okay, so I'm going to wipe my brush and go back and do blends, and then I can always adjust after if I need to. This is quite soft here between the yellow and the green. That's a bit of a harder edge, but I'm just going to wipe it a little bit to soften it. And same here. These are harder edges, but I'm going to wipe them a little bit just so they look cared for. And over here, I'm just going to bring my orange. I don't have anything on my brush now except residue, kind of pushing the orange out to the edge a little bit more. So it's more sharp. And there we go. That is good for the left upper triangle. 24. Painting Darkest Crevice: Okay, so now we are going to skip a little bit. We're gonna go to this area, which is the darkest part. And we're doing that because it's kind of behind. It's like the background of these lighter areas around it. So if we get that in, then everything else we paint around it as we paint it will kind of serve to soften that shadow, and it just kind of it's kind of a more organic way of doing it back to front. So we're going to do it that way. It's not wrong to do this first since you're kind of moving down or even this. But if you're right handed, like me, it makes sense to go generally from top to bottom left to right, so you don't put your hand in as much paint. But again, it's really not that big a deal, whichever way you choose to do it. Anyway, that's the long explanation. We're going to do this part. So I'm going to start with the lightest color, which I believe is the light green, and we're just going to put in these funky little edges that we've already suggested with our underpainting here and at the bottom. Okay. And even a little bit out at the corner here. And then I'm going to wipe and go for my light brown and fill in kind of beneath blending into the light green beneath that edge, I mean, and a little bit right over this yellow that I put in last time. I and actually, I'm going to use some light brown up here, even though it's red, and obviously we're going to use the dark red, but as we've seen, the dark red is very, very bold. So this will help to soften it a little bit, since it's not that the red in this particular piece isn't that bold. I'm going to leave this for the darker red because that's the boldest part of that shadow. But I put the light brown kind of at the top edge there. Now I'm going to go for my darker brown, the brownish green that I mixed earlier and fill in pointing my brush towards that edge because that's really one of the very few sharper edges here. So that'll keep that sharp, and then I'm going to kind of pull down some sections of dark brown into the greenish and put a section of it up here, right under that yellow twist part and right above the yellow twist part. Again, even though that's reddish, I'm using this as a bit of a base. I'm also going to put it up here in these two darker sections. White my brush. I'm going to do my blending on this now rather than wait till the end, because I am going to get red on my brush and I'm not sure I want to put red here. I may want to. Let me see how it looks after I put the red up here. But just in case I don't, then this will already be blended. Now I'm going to switch to the red. And I'm going to start since I just put the color on my brush, I'm going to start in the boldest, darkest place, and that'll wipe the boldest, darkest amount of color off my brush. And then I'm going to work my way into those slightly lighter areas. And as the paint wears off the brush, it naturally becomes lighter, so it works really well if you do it that way. So I'm now blending it into that light green area, blending it up into the light brown area up here. That worked really well using the brown and the green as kind of base layers so that the red doesn't become too overpowering all the way through this crevice. So just looking around, I think I will take just a little bit of the red residue and kind of dab it into this brown area. There does seem to be a presence of it, and same thing here. I'm going to marry those a little bit, just kind of bring them together. And add a little red into this crease and then very, very lightly with barely anything on the brush and just sort of rubbing it. And that will be good for our darkest part of our folds. 25. Painting Left Upper Light Fold: Okay, so now we are going to focus on this left upper light fold and start with I really am enjoying this Filbert brush for the entire wineglass, basically. So just wiping off the residue from the last color and starting with my light yellow, and I'm going to point it towards my edge to try to keep it very sharp and paint it in yellow. With every layer going a little slower because we want to be more precise, bringing it closer to a level of finish we're happy with. So this is going to be entirely yellow up here. And then down here, I'm going to put yellow just kind of along the bottom edge and leave this for white. And I'm going to go right through my lines I painted earlier. Those were just suggestions anyway. But as you can see, you can see them through the paint. They're just there to remind me that my roadmap says there's lines there. Then I'm going to put some yellow down here as well, being careful as much as I can, not to smear too much into the green because that's wet, obviously, since I just painted it. And it actually works well. I do not suggest waiting days for this to dry because it's going to work in your favor if it's blendable, but you just have to be careful around the edges. So I'm going to go up over these folds. Up here, there's some kind of yellow stripes, so I'm going to just put a few stripes in going down to the right. Can't really see them because the whole background's yellow, but when I put the red in you'll be able to see them better. And then here, where it's orange, I'm just going to kind of wipe any residual yellow off my brush there as a base, and then I'm going to go into the orange. Paint that in and it should glow nicely. Yes. Love that. Right up to the edge of the red. And way down here. So I don't have a whole lot of orange paint on my brush because I don't want it to dominate. I just want it to nicely glow. Pulling that down. Oops, I mess that up a little bit. I'll just fix it. And I'm going to add a little bit more orange right down here into this little dab of brownish orange. So I'm just kind of putting blocks of color where I see them. In fact, that's kind of what I've been doing the whole time. And then I go back and refine later. You probably have started to see that rhythm. In these stripes, I'm going to get a little bit of the light green, put that kind of at the end of each stripe. So those are starting to get more defined. Dab it in there, and then I'm going to get just a little tiny bit of red and put that between the stripes. The lighter stripes made of the greens and yellows. I guess I need a little bit more. Better to be too conservative and have to get more than end up with a big blop of red on your canvas, though. So I'm not even counting how many stripes there are. That's probably about right, four or five, but it doesn't really matter. It's all very much an abstraction of what's behind it, which is the cloth. At the top of these stripes, the red sort of comes together and peels up to the right, so I'm going to take the top edge of each stripe and just blend it up into the orange. And then that's getting a little smeary up there. I'm also going to take some dark brown and put that in here for my core shadow, where the yellow meets the orange, and that's going to really define it as cloth folds. And then that comes down around the outside of the orange here. Blend that really well. Well, not that well, actually, just kind of soften the edge all the way up and then grab some white and put that in here. Oops, can't get quite enough. And blend that into the yellow and down and then soften this edge because it's pretty hard. We're done. 26. Painting Right Curvy Folds: So now we're gonna paint the right side section with all these curvy folds. So grabbing my small filbert again, wiping off residue, and starting in with a light yellow. There's quite a bit of yellow this time. I'm going to paint this entire section with the yellow, but I'm going to put the light yellow where I see the lightest color. And I'm going to do something we almost never do oil paint, which is used paint straight from the tube because first of all, I've already got an underpainting. So any paint you put on, whether it's straight from the tube or mixed, is going to be kind of a hybrid of what's beneath it and what you're putting on. And secondly, it just seems like the appropriate thing to do. This color right out of the tube, this Cadmium Yellow Hue is nice and bright and gold for here. So it's just going to brighten it up a little bit. I'm putting it in the darker areas of this yellow, and it's not going to show up tremendously well right now, so don't worry about that. We're kind of just using it as a placeholder for the darker yellows, which we will do more of later. But that way, it's not just a solid block of light. I'm also going to take a little bit of white and enhance those lights just to give it a little bit more of a identity against the dark. And I'm going to take that right up into this curve. Just kind of pull the white up there and use a little bit of white up here. Even though I haven't put the yellow in yet, I should have done that first, but I have a little bit of yellow residual on my brush, and I'm just going to go backwards and do the white first since I already had the white on my brush. Then I'm going to put in the light yellow wipe, then the dark yellow straight out of the tube at the base. And actually, I could have used the dark yellow up here too. I just didn't think of it till now, so that's okay. Oil painting, any painting is always a journey, a work in progress, no matter how much you've done, how much you know, you're always going to be changing your mind along the way. And that is part of the beauty and the fun of this practice. I'm going to put some dark yellow in here and up here. Kind of where I see that glow in the dark. Oh, glow in the dark. I mean, the yellow glowing in the dark. Now, I'm going to switch to the light green, put in sort of an outline on this shape because it seems to be sort of outlined by this color. Waving down into this lower area. What else? About right here, there seems to be a little green. Down here, I'm going to put some. This is a section I missed this dark section. I miss that with the underpainting. So I'm gonna try to just define it. It's probably not going to get that dark, but I can at least define the shape so I can go over it later. And a little bit of green right here on the outside edge, simultaneously softening into the dark red that is also very wet. I'm using it kind of a It has a double purpose there. The green does. Now I'm going to go back with some light brown, put that in just to kind of darken a little bit on the green up here and I'm going to put it down here. Even though it's not dark enough, that will be a good base for the red. I'm going to put it underneath this fold here, same thing. Good base for the red and into here. A lot of good bases for the red happening. And I'll use it to darken this little section as well. Oh, and I guess I shouldn't wipe my brush off. I need to kind of bring it down into here. Again, painting over those curved stripes I put in earlier, not a problem at all. We will be putting those back in later with whites and blues and things like that, grays. So now just softening the edge. And now I'm gonna go in with the red. Dark red, like a little bit right here. At first, just kind of putting it where I see it, not too concerned about blending it in yet. I'll go back and do that. Big block of it up here, a little bit more. And down into this section. And a little bit right here. Also going to refine this little curve, which kind of forgot about until now. Wipe my brush, go back and do any blending. This kind of goes down and over one more little tweak and done. 27. Painting Elliptical Base: So now we're going to paint the last bit of the inside of the wineglass, which is the elliptical base here. So grabbing my favorite Philbert brush and I'm going to start off with the yellow. It's really pretty basic. We're not going to do any of those reflections as we haven't been doing this whole time. So we're just painting the main color colors. So I'm going to paint the left side with the light yellow, which has a little bit more red residue in it, not on purpose. That's just because I didn't wipe my brush very well, but that's also fine. And then I'm going to grab some of the greenish color for the right. Paint that in trying to really keep the definition of that shape as much as I can, so I don't lose it in the paint. Wipe it off and then kind of soften them together in the center, go around and sharpen edges, keep it really, really elliptical, really round. Then over here on the left, there's some darkness there, which I'm going to define with this dark brown right into the yellow, on the lower left side there, kind of blending up into this greenish section a little bit with some waves of yellow in it, but we'll put those in later. Wipe and just kind of soften the outside edge a little bit. It's too hard. I'm also going to get a little bit of the dark brown. Paint it right into here because there's this kind of ghostly dark shadow right down at an angle in the center. And then my top edge got a little bent out of shape, so I'm going to refine that. And I think we're good there. I'm going to actually, I'm noticing this yellow is a little bit too bright. Even though we can go back and refine it later, I'm just going to use the dark brown and go into here to do this. I'm going rogue. I'm going back into a section we've already done, which also happens all the time. I'm hoping you've done that at least a handful of times during this class, 'cause that's what artists do. We meander. And that is too brown, but it's gonna make a really nice base for a darker gold later we will glaze a darker gold over the top. And I'll just touch up that top edge to soften it a bit. Alright. And we are done with the second layer. H. 28. Enhancing Upper Left Corner: Alright, so now that we have finished the wineglass, I've let mine dry for a couple of days. You are welcome to do the same. You can also go ahead and tackle the third layer on the background, excuse me, while the wine glass is wet as long as you're very careful. It's very important, though, that the background is dry for you to do the third layer. So just make sure that's the case, and then you can proceed. For this section, we're going to do this upper left corner one more time. We're going to do a third layer. And I'm using my three eighth inch filbert brush, three eighth inch wide. And I'm just going to start in with my orange. Obviously, if you run out of colors, you can remix your color. And the purpose of this layer is to enrich and enhance. So kind of that third layer using a more transparent color like this orange is going to really create a richness of color and kind of a thickness to eliminate any transparency that might have still been remaining. So I'm just going in with solid orange over most of this. Leaving the dark areas dry for right now, I may put a little more orange in them depending on what I encounter. But I'm going to go into the dark red just a little bit here, into the brownish corner just a little bit. Same thing down here, just to give the red something to grip onto. But mostly I'm just focusing on adding another layer of orange where I see it. And then I'm going to wipe my brush and get into the green, which is barely present, but it is here a little bit in the lower left. Wipe again and blend. And that's not blending very well, so I'm going to get a little more orange there. There we go. Much better. Right up to the edge of the glass and down into that red a little more. Wipe. I'm going to get that upper left corner with some of the brown this is a slightly lighter color than what I used before, just to kind of establish a brownness in that corner. Actually, this is the same brown I had used in the background or excuse me, in the second layer. But now I'm using it as a third layer here. And it is a little bit lighter than I thought it was going to be than I wanted. So I'm going to get just a hint of the dark brown and put that into there. Not a whole lot, as you can see, it's pretty strong, but it'll just bring it down a notch, much better. And then just kind of smearing it out into the orange. There seems to be a bit of brown up here, too, so I'm gonna just really, really blend that out. And then I'm going to get the red. Red being what it is, very strong, go to put not too much on my brush and just do a third layer. As I get close to the wineglass, being right handed, it's difficult to keep that edge crisp. So one trick is to make it turn your canvas upside down so that you can get the edge really crisp. You don't absolutely have to do this, especially since we haven't even approached the edge of the glass yet, like, the glass part. So we are going to go over that part with the blacks and blues and whites, but may as well just as a way of showing you that this is possible. It's a hack. And I'm going to soften that bottom edge just a hair, and then carry over here to the right side, darkening over here. I have too much, so I'm gonna wipe my brush off on the cloth and then go back and blend. I'm going to pull it out into the orange a little bit because I want it softer than what it's giving me by just going up and down. Then I'm going to wipe my brush. Lastly, I got just a little bit of red right here. Even though it's going to smear, I'm going to just wipe it so that it appears to be part of that yellow edge instead of infringing on it. Same thing here. I'm going to point up towards that red and just rub it a little bit. That's not really going away, but that's okay because I'm going to paint the edge later. 29. Enhancing Upper Right Dark Background: Okay, now we're going to start in right here in the dark part behind the light part of the fold using the same filbert brush, you wipe off the residue, but not clean it because we want some of that residue and start with the orange. Painting that in over the entire orange part. And up here in that little fold, wipe the brush and then go into that whole part with the green, which is too light, but we're gonna go back over it with some brown to darken it. Maybe even a little bit of red. Not sure yet. Let's see how the brown behaves. The brown seems pretty dark, but I put too much, so I'm going to wipe off the excess, go back and just soften around the outside edge by wiping it into the orange. Not quite dark enough, so that's okay. We'll go back with a little bit of the red. Put that oops. It might help if I got some on the brush. Put that in there, and I'm just going to continue with the red in these other areas. So up here at the top, being very careful to keep that edge sharp, and then filling in below it. Right up to the edge of that orange crease, but it is a soft blend right there, and then I'm going to keep going below that. Soften that a little bit. I'm anchoring my fist on the table now so I can keep that edge sharp more effortlessly and just filling in the rest of the rid. Now, on the right side of this shadow, it appears a little sharper. So I'm going to get some more red and paint in a harder edge right there. And then just kind of pull this red down into the orange a bit more because the orange is too bright, so I want to use the remaining red on my brush to tint the orange, give or that's not the right word to adjust the orange down darker. And then up here, the orange is also a little bright, so I'm going to do the same thing with just the teeniest hint of red on my brush. And the fix the corner I see down here. And that looks pretty good for that section. So next we will do this lighter fold in the next section. 30. Enhancing Upper Right Light Background: So for this next section, we're going to do this bit of the yellow cloth that's between and in front of both the dark sections. I'm going to switch down to my quarter inch filbert because it's feeling a little the other one was feeling a little bit big. And I'm actually going to start with plain camium yellow hue right out of the tube because I've already put in some lighter yellows here. I'm going to anchor my fist so I can really keep a sharp edge, but make sure not to put it in the wet paint you just painted if you're doing the same. And look at how vibrant that is. It really makes that left edge pop. And this is a great use of straight out of the tube colors, if you ever do use them. As I mentioned earlier, I believe we don't use them very often. We try to avoid painting straight out of the tube, but there are situations which warrant it, and that's one of them. I have a little bit of yellow left in my brush, but it doesn't matter at all, because I'm now switching to the orange. Orange being darker than the yellow and the yellow being a component of the orange won't show. And I'm just going to paint at a second layer over this glowing orange cloth on the right. It's just delicious, that color. I just love it. So being mindful of trying not to smear into the paint, I just did on the dark background there, but at the same time, covering up the entire second layer. So I don't want to leave any little light edges showing. So, if anything, I'm rubbing into the red, the dark red here just very slightly to make sure that I cover up everything. A little more orange up here, wipe and then switch to the light brown for this next bit. Oops. A little more. Right along the core shadow. And in this area kind of down into that pit a little bit. I'm putting the very lightest, thinnest layer over that because I'm going to put a little red in there, too, but I want the red to be much lighter than it is here, so I'm putting the brown down as a base to neutralize and lighten the red. I accidentally smeared some of the red from here into my cloth. I'm just going to rub it in blend it in. A little more brown. Actually, I guess I'll put that right here. I didn't actually need that. I should have used the darker brown because I was going to go down here. I'm going to switch to the darker brown now and put a little of the darker brown right at the bottom of that orange fold and a little bit right here. For that more pronounced blend or excuse me, that more pronounced fold right there. I'm also going to use a little bit of dark brown right here at the very top of the core shadow and blend that down into the lighter brown. That'll make that look more realistic and pronounced and just enhance the light. I'm also going to use whatever's left on my brush to just soften this edge because we don't want that to be a hard edge. And I'm going to kind of use it to drag all these colors together and then go back and blend this shadow a little bit. And very slightly soften the outer edge, more on the bottom than on the top of this shape, something like that, but a little bit on the top edge as well. I'm going to wipe, go back and get a little bit of red and put that into this little valops I got too much. That's too strong, so I'm gonna wipe it off and just smear around what I have, blend what I have into the brown. Barely just tickling the canvas with the tips of the bristles there. And then here seems like that edge needs to be softened a bit, so I'm going to more aggressively rub it with the brush. That looks good. Then lastly, I'm going to make sure I wipe my brush really well, but still not cleaning it for the residue that is so beneficial. I'm going to get a little bit of plain white, put it into the highlight, just kind of dab it in there. Then wipe, go back and blend and trying to keep the highlight very bright, but not solid white. So I am trying to get the surrounding colors to infringe a bit on that white. And it looks like that's pretty good for that section. 31. Enhancing Right Background Folds: For this next section, we're going to do these lower right background folds. So using my quarter inch filbert brush again, I'm going to wipe it off, get all the residue off and start with whites. This time, I'm going to go back to the tried and true and start light to dark. So I'm just going to paint white where I see it where actually, it's not pure white, obviously, but where I see the lightest lights, that's it. Wipe the brush, go back to the light yellows and paint that where I see it kind of on the right side of the white, blending into the white there. And then this is all really light yellow, so I'm just going to put it right into the white. A little teeny bit of it up here, it looks like. White my brush, go into the straight out of the tube Cadmium Yellow Hue and really brighten the light brightest yellow areas. Just a thin coat, but all those beautiful colors beneath it will create a vibrancy and gradations where you need them, and you can just use it to enhance the yellow, the brighten the color. A little bit on the left side of that fold there. And then into the orange, which will be on the right side of the teeny fold on the left, into that little valley there. I'm going to blend it with the white. And on the kind of next section down here, I painted the yellow a little bit too low, which means I need to get more orange on my brush to combat that. Which is fine. Wipe the brush, switch to I think I'm gonna go for the dark brown. Actually, I don't think we need any light brown in this section. And if I do, I'll put it in after I I find that oops, that was too dark after all. Maybe it is a little too dark, but let's just see what happens. So I'm gonna pull that down put this bit in this shadowy part up here. Kind of reshape that, too. Need more paint. Looks like that needs to kind of dip down right there and then come up a little rounded. Where else? That looks pretty. Well, actually, I'm going to put a little bit into the orange here to create a bit of a core shadow. Not a lot and very, very thin. Blended into the orange. And right here, actually, I'm going to pull that down over the yellow, and at the base of this shadow, kind of goes from brown to red to brown. And then just use it to soften the orange here. Now I'm going to go back and get the red. Pretty conservative though I'm just going to dab my brush off to make sure I don't have too much and then paint that into here, blend it down into the brown and up into the brown here. And then at the base of this shape up into the orange. I feel like I need a little more red there. It's just a little too dull. And soften that into the orange. Then here I'm going to use it to just pull the brown off the edge, very, very thin line. And I'm going to white my brush and go back and make any little changes. I'm going to soften the edge of the red against the yellow, flip my brush around so I have the yellow on the top, and the red on the bottom, soften that edge, soften this edge and in pull up a little line there. Wipe and go back and make any other blending stuff you want to do? A sharpening, soften that a bit. And that's looking pretty good. 32. Enhancing Bottom Center Foreground: Okay, so now we're gonna jump down to the darker area here for the same reason we did this first and that first because it's kind of behind these other sections, and it's darker. So we'll get those darker background sections in. So using my same smaller filbert, I'm going to start with the orange and just do another layer of orange over the orange I already have in, and it's going to make it super rich and yummy. We'll get that. Wonderful. And then I'm going to put in a little bit of the green around the outside of this darker part. Oops. My paint's getting kind of dry from multiple days of use. So I should remix that one soon, probably all of them, actually. If they start to form skin and the skin gets in your paint or if it's too goopy to paint with, then you definitely want to mix new colors. I'm going to put a little more green at the base of the red here. Um, and along the top edge of the orange, just to give it a presence of green, even though it really reads more brown, but there's a greenish ness to it. So I got that in there. And now I'm going to do the dark brown along that ridge. Not paying too much attention to the left side because I'm going to come back to that shortly in a different section. So I'm more focused on the color and quality of blending on the right side down into the orange section. Of that core shadow. That's gonna disappear gradually. And then I'm going to blend the bottom edge of it into the orange. And I guess actually I will soften the top edge just because I really don't like leaving it like that. But that's as far as I'm going to go. I'm not going to do the rest of that wrinkle. I'm going to get a little more brown to darken the center of this bit and pull that up. There's this little arm that's kind of reaching down from the core shadow towards this part here. And then I'm just going to soften those to blend out in the center because they're reaching but not quite touching or maybe they're touching a little bit, but it's not that obvious. Then I'm going to wipe my brush and get some red. And darken this hollow here. The top edge is sharper and then it blendens quite a bit right here. And then it sort of almost disappears but becomes a very thin line. So I'm just dabbing it with the very side of my filbert brush and then pulling it up to disappear into the bottom of the glass right there. Barely any paint and using the very tip of my filbert, you could also switch to a tiny little detail brush, something like this one with just a fine point. If you're more comfortable with that, that's fine. But I'm going to wipe off the excess and then come back and do some more blending down here. I'm also going to just soften the right edge against this yellow wrinkle fold, which we'll do shortly also blend the red down into the green more. And on the left side here, I want to soften the red up into the orange a little bit. So I'm just using the tips of my bristles with no paint on them just to encourage the red to talk to the orange more right there. And then one thing I forgot was I need to put some plain yellow from the tube right here. But I'm actually glad I forgot it because now I have this lovely red residue on my brush, so it will inform the yellow. It won't go on straight yellow. It'll just go on a really dark yellow. Soften that edge. And then on the right, excuse me, on the left, I'm going to put a little bit of white right there just to lighten that little bit of lightness showing through. Wipe off the excess and go back and soften. And there we go. 33. Enhancing Right Bottom Corner: Okay, now we are going to paint this bottom right corner. Same brush, wipe off the residue, start with white. Just a very thin coat. Nice reddish yellow residue on the brush is tinting that to a different color, like a slightly more warm white. Same thing up here. And I'm going to pull that down just barely. This is one very rare instance where you can actually see what I mean by just barely the paint is just whispering on there. It's not going on full strength at all. Then I'm going to wipe and get some light yellow, paint that over the top. And down and over the white. Okay. To make that more yellowy and over here on the left, blend that into a wet, orange brownish, yellowy color I put on right at the very end of the last section. And then, actually, I want to get a little more white on that ridge just plain white, wiping the excess off my brush to emphasize the light there, and then coming around this corner, emphasize the light here. On the top right edge. And then I'll just soften that into the surrounding yellow on the left and a little bit on the right. Now, I'm going to go in with a very small amount of the light brown, so I'm going to get some of my brush, dab it off because I don't want a ton of paint, and just very lightly put a coat here because I'm actually going to emphasize this corner with the dark brown, but I don't want the dark brown going on full strength, either. So I'm putting this down as a ground to help absorb the shock of the darkness. Doing this on canvas actually is quite nice you get a suggestion of the cloth texture without even trying. Now I'll get the dark brown. Paint that over the top of the light, particularly in this bottom left corner here. And up here, I know that's very yellow, but I'm going to put a little bit of dark brown because I know the yellow is gonna be too bright for that. So I'm going to put a little hint of the dark brown there just to give the yellow a boost when I put it in. And actually, now that I see it, I'm gonna put a little more of the dark brown down here since I have it on my brush, too. Wipe off the extra, get some of that bright yellow Cadmium Yellow Hue out of the tube, and put that in right at the top here, pulling into this flat section, and then also into the brown or that will blend down off the canvas. And I'm going to wipe my brush. There's a slight separation between those two yellows right there, so I'm going to get that in there with the white. Put in a stripe of white, wipe off the excess, and blend over to the right. Then down here, I need to blend the yellow and the white together. Then I'm going to go back and make adjustments. Here, the whites too obvious. I'm going to smear it over into the brown a little more. Same thing on the left side, a little too obvious. White my brush and then I'm going to get some more of that lovely cadmium yellow and add it to the brown because it's just too dull over here. It needs to be brighter and more yellow. And there we go. 34. Enhancing Lighter Left Fold: Now we are going to go back to this section right here, that teeny little guy. So just wipe any residue off your brush. And we're going to start with the tiniest amount of white because again, there's no real white here, but we're going to use it to emphasize the very brightest part, which seems to be right there next to the glass. Wipe, get the light yellow, paint right next to it and into it and kind of just cover it up, but very, very lightly on the right side there. Wipe. Go back and get some cadmium straight out of the tube. Trying not to touch my wet paint there on the bottom right. Paint that in against that top edge. That's nice and wet now. Net a little more of the cadmium to try to make that stand out more on the left. And then here against the glass, I'm going to paint that solid with the cadmium and then go back into it. And my filbert's feeling a little clumsy here, a little too big, so I'm going to switch to a smaller brush. This kind of round pointy brush I used very minimally so far. And I'm going to use a little bit of the dark brown and just kind of use my other hand to stabilize my wrist so I can go straight down without getting my fist in the wet paint. I'm kind of using it as a wrist wrist. And then I'm just putting the dark brown right into that yellow. And I'm going to put a little bit here on the left side as well, because where that fold goes out into the distance, it gets darker. And that'll do it for that part. 35. Enhancing Darker Left Folds: And now this is our last background section. We're going to do these last three folds. So start with your wiped off Filbert brush. Get a little white, painted into the very brightest areas, pointing your brush towards the edge that you want to keep sharp. Not a lot of white as usual, just enough to enhance those really super brights. I'm not even going to put any on this fold because I want to use the yellow for that. So I'm gonna now switch to the light yellow, paint that in where I want it at the lightest parts. And that's going to smear down a fair way, but not a lot of paint. A little more light yellow for this next bit right up into the white here and covering the white. Mostly, just kind of smearing the yellow into the white so that a suggestion of white remains, but not a lot. And then here, I'm just going to fill this bottom section in with the light yellow because that appears to be the appropriate choice for this part. And blend that up into the white pretty seamlessly. Now, I'm going to utilize the fact that I have no paint on my brush to blend this edge while I'm here since the brown is wet. And then wipe and I'm going to go back and put the orange in the next two sections. Right here. I'm making the section the area of orange bigger than I think I want it because the brown will naturally take over being darker, so I want the orange to really have a personality, which means I need to emphasize it. Oh, I skipped over the cadmium yellow straight from the tube, but I'll go right back to that. Wipe, get a little cadmium straight from the tube and put that here. So the light yellow uses the straight cadmium to kind of blend into the orange. Then a little bit here. Beneath that white. And off to the left and then here where it kind of blends into the brown. And that's very transparent, but I'm gonna put the brown in in a minute, and that will take care of that problem. A little bit of straight cadmium right over the ridge of this fold, too. Blend into the white. Wipe the brush, and now we're going to go into do I want light brown? No, I'm going to go straight into the dark brown. Dark in this corner. Yeah, that's actually the right choice it's not as dark as I would think because I put all that orange in there. So I have to use even more brown to make it show. And then I'm going to blend kind of in circles going up because I don't want there to be a diagonal direction to this section. I'm going to come back to that in a minute after I wipe some of this brown off my brush by putting it into the next section. I could alternately wipe it off on the cloth, blend, and then continue. But since I have it on my brush, I may as well use it where I need it. This is going to go right up over that ridge between the yellow and the orange, blending into the orange here, all around and blending that brown off the canvas here. I'm also going to use the tip of my brush to really kind of create a sharp edge between the white and the brown there. And then, now that I don't have much brown on my bro, I still have too much. I'm gonna wipe it off and go back and blend, pointing down towards the darker color. Blending in circles, like I said earlier to get rid of the horizontalness. Kind of sharpen and fix that top edge. Get rid of that little brown dab, and then here, soften the brown into the yellow just at the very end where they go off the canvas. That edge ceases to be sharp right here. And there we go. We are done with the background. 36. Enhancing Left Upper Ellipse: Okay, so now that we're done with the background, we're gonna resume our third layer on the glass, and starting with the left side of the ellipse, like we did the first time, I have not waited two days now. So my background is wet, and I am going to be careful to not touch it or try not to. But if I do, then I'll fix it, and that's just what you do. Um, so now that I have my light yellows in there, I'm going to use my cadmium straight out of the tube and add dark yellows. So again, I'm kind of stabilizing my right hand with my left hand, using my left fist as a wrist rest for my right hand and putting those straight cadmiums over the light yellows, you can see how much that darkens and brightens them, which is exactly what we're trying to do here. So it works really well. So I'm just doing a second layer over those yellow stripes and actually I can be a little sloppy with it, too, because my stripes are now defined. So I don't need to be so careful getting those in there. You know, wipe the brush. I did remix, like, the green and the brown, so I have fresh piles of those. Obviously, as I mentioned, do the same for any colors that seem to be drying up or getting goopy or that you've just run out of. Put a little green in this stripe and a little over here into this yellow stripe and into the red as a base that red is more dull than the one in the background. Uh, where else? Um I'll put it a little kind of dull the stripe on the left here. And this one seems a little too intense. Actually, they kind of all do, so I'm going to just use the green residue on my brush to soften those and quiet them. Wipe my brush off and go into the red. Very little. So just dabbing it off on the palette to make sure I don't have too much. Paint that in where I see it. And then we'll go back and blend. Wipe. Go back and soften quite a bit. So I'll pull it over to the right, using the flat side of the brush. Flip my brush over, pull it over to the left. And I did that because I have yellow on one side, right on the other, and I don't want to mix them up. So I flip it over, so I keep that the colors kind of identity on the correct side of the brush. And now I'm just pulling it into the center because I want to dull that yellow a little bit. I'm going to use this as an opportunity to dull the yellows and blend the reds at the same time because the yellows are still too bright. And that's working really, really well. I'm also going to use my small brush and wipe just a little bit of red into it to get these very tiny suggestions of smaller red stripes in there. One there. Kind of one over here, I guess. Mm. It's a little stripier here. Just gives it a little bit more detail, which will add to the realistic effect. And it looks like we're done with that section. 37. Enhancing Right Upper Ellipse: And now we're going to do just this little bitty corner that we did earlier. So I'm going to wipe the excess. I'm going to use my small brush this time, the small round brush, wipe the excess paint off, get the dark yellow, use my left hand to support my right hand and get that top edge very, very bright with that Cadmium Yellow Hue. I'm also going to put a little bit on the right side of the brightest white highlight because it seems to be there. There's a presence of it as it goes into the brown. I'm going to put the white in next. Of course, I should have started with that, but I didn't. So now I'm putting it in. Wipe. And before I go to the brown, I'm going to blend that white. Into the yellow. And actually, I see a teeny bit of orange, right at the very right corner here, so I'm going to put that into before I do the brown. Then I have so much yellow brown, yellow and orange that I'm going to use the dark brown here because I know the light brown doesn't have enough oomph to combat those two and actually show up. I put a big stripe of dark brown, which is obviously too dark and too bold, but that's because the orange and the yellow would just swallow it up if I didn't do that. Now I go back and soften on the right side and on the left side. And I'm going to add a little more orange here just because I see this shape of this glass has become a bit angled. So just in case that ends up being white canvas showing through at the end. I'm putting orange down so that there's no white canvas. We don't want any white canvas by accident or otherwise. I can always put the glass color over the background, but if I miss it, then I have to go back and do it later and I don't want to do that. All right. I feel like I need a little more of the cadmium yellow up here at the top because the white bullied it out of the way. And over the white, too, because we don't actually want it to be white. We just want a light yellow. And there we go with that part and onto the body of the glass next. 38. Enhancing Left Upper Corner: Alright, now we are going to move into this left upper corner, do the Arthur layer there, moving to the filbert brush again, the smaller one, wiping it off. And again, I'm going to do it similarly to how I did up here. I'm going to start with the bright cadmium out of the tube, paint in where I see it, and that brightens and darkens it right away. Do all the stripes, the yellow stripes. And then here on the left, it becomes very difficult to see what's going on because there is a reflection on top of it, which we're still ignoring until we get to the glass layer. So I'm just sort of putting a little yellow here and there. Now I'm going to switch to the green. I had nothing left on my brush, so I didn't end up wiping it. Put a lot of green in here because it does seem to be kind of a green glow beneath that reflection. Ooh, I have dead paint on my brush. And then it sort of curves down under the yellow here. Over the top here. And I'm going to use it to dull the yellow. So I'm just smearing the green all into the yellow. And after I do the red, I will do the same thing like I did up here where I put the red in, but I also use it as an opportunity to blend the yellow and darken it a little bit. I'm going to get some dark brown. Put that down here just to add a presence of darkness because it does seem like there's some darker stripy stuff going on over here. I'm sort of just making it up at this point, like I said, I can't see what's underneath that reflection. But I do want some dynamic color. I don't just want it to be a solid block of one thing. Softening edges. Any more brown? A little bit here. Up here, this one I missed on the second layer, maybe the first one too. I'm going to add it now. Wipe the brush off, get a little bit of red, and go in and put those in. It's a swirl of it going to the side where it blends into the lip of the glass there and add a little red to this part that new stripe I just put in, and the brownie one right here. Then I'll put some random bits of red over to the side into the wet green and then go back and soften them. Try not to soften too much because I do want them to represent themselves as stripy, but not solid stripy. Now I'm going to take see the red on my brush, the residue. I'm going to paint it right into the yellow, again, to dull and darken. Make it look a little more like mustard and also blend the red stripes. And I still feel like since this is wet, I'm going to go back up here. That's just still too right. I'm gonna do that. All right. Looking good. Onto the next bit. 39. Enhancing Darkest Crevice: Now we are going to go back into this darkest crevice. Once again, skipping the light part. We'll go back to that. I'm going to use my Filbert brush, wipe off any residue from the last section and go into my green first. Oh, maybe I should have done a little yellow but that's okay. I've got green on my brush, so I'll go back to that if I need to. And I'm going to put green over this part and a little bit down here just to green it up. On the corner there. And these fingers, I'm going to put green over the top of them. Those are not nearly dull enough, and they're greenish. So that might just be all I need to do. And notice I'm painting over the red stripes, too, but the green is so transparent. The red shows right through. This, I feel like I kind of invented, but I'm going to subdue it. And then I'm gonna put some green right over the course. Oh, whoops, that's the wrong section. That's okay. I'll go back to that. I forgot I was just doing the crevice. So, um, get the green on these folds up here. Those are the most ghostly parts of this picture, I think, is that upper right corner of the glass. Can practically hear it howling. I find that if you think of things that something reminds you of when you're painting, it kind of takes on that personality. Oh, and I just realized this is not part of the crevice, either, so I'm gonna wait on that. I'm going a little green, happy here. So that will be part of the next section. But now I've got the green on there. So when I get there, I won't have to do it. I'm going to get the brown and darken this bit underneath those folds. Blend it down into the green. And up under here. I'm going to kind of cut into that bit I invented. I go over it a little bit with the brown. Barely I can kind of see a whisper of it, what I was thinking there last time. Brown up under here and under here and under those fingers. And then up here in the darkest part, I'm going to put brown as a base and curving down into the reddish section and then just sort of wiping the residue of the brown around in there to get a presence. Now I'm going to switch to the red and go back to those sections and give them their red quality. That will blend down here, put some red into the brown pretty much everywhere because it is a reddish brown and the brown I have is a little too brown. Yep. I'm just going to dab it in and then go back and blend. I'm also going to pull the red up into the finger creases and then I'm going to use it not only to darken the creases, but to darken the fingers themselves because they're too light. I'm going to put red over the top here, kind of blending one side into the other. I know that's part of the lighter fold. We'll get to that in the next section or one of the next sections. But it is part of this, too, so that's why I'm including it here. Now I'm going to pull the red over those light yellow fingers to make them subdue. And that's working really nicely. And then I'm going to go back and blend the red where I put it. So I'm just sort of working in little circles here to blend the red into the green. This edge is too pronounced now, so I'm going to wipe over those as well. Giving the whole area a little bit of humility. That will be blended into the light fold on the next bit or that light section rather. So I'm just looking around to see anything else. I guess I could soften this edge a little bit. We're done. 40. Enhancing Left Upper Light Fold: So now we're going to go into this light fold here. So wiping residue off from the previous section, we're using this quarter inch filbert again. And I'm going to start with white over here on the far left. And that red is lovingly showing its little rosy face as I put it put put the white in. Keeping the edge sharp, but also going just a hair into this background green section to get that edge soft against the background. Those edges are so important to make it look photographic and realistic. We really want to not leave dry space between two sections. Got the white in there. Now I'm going to switch to the light yellow, put that into the white. A and then switch to the cadmium yellow, put that into this bright glowy area here, and that trails up into the core shadow here and lives on the left side of the core shadow all the way up until it gets to the top when it takes over right before the lip. That's going to span the whole section there, and then blend down on the left. And I'm going to make it a little wider here so it can blend into that orange section when I get to it. Then I'm going to grab the orange and paint this whole underside here, the underbelly of this fold. And up over the red. And down into this bump and then blend it into the yellow here and into that little bit right there too. I'm going to force the red to blend into the orange there and go up and down the crevices between the fingers a little bit to get those to match more. We put a little bit of orange right here. And blend with the yellow. Now, oops. This little tip needs to be softened. So I'm actually going to go into the brown here and force it to soften into the yellow that tip doesn't want to show as much as I have it. There we go. And coincidentally, I was going to use brown next anyway, so I now have some of my brush, and I can put it right into that dark core shadow. All the way down into the orange, into the top edge of this round shape and kind of dabbing it into the white a bit right there. Again, barely barely any paint on my brush. Otherwise, it would just take over. And here, the edge is fairly sharp, but at the very top, it's a little softer, so I'm going to soften it and then just kind of let it be sharper down here. As it goes up, I'm going to soften that top edge and soften the bottom edge into the orange. Lastly, grab, I think, lastly, grab a little more brown and just deepen and darken the core shadow right here because it seems to really want that. Blend, top edge. Blend bottom edge into the orange quite generously, actually. And there we go. 41. Enhancing Right Curvy Folds: Now we are going to jump over here to the right and do these curves, which I already put the green in from the last section. So I'm going to start wiping my filbert brush. This one, I'm not going to use any white. There really doesn't seem to be much. So I'm going to hit the white from the previous layer will be enough to make this bright enough. So I'm going to start by putting the light yellow where I see the brightest colors. Excuse me, the lightest colors. In that little upside down boomerang shape and then switch to the cadmium, paint that in the brightest yellow parts. I think you're going to be really amazed at how quickly this comes together once we put the white, the glass colors on. The cloth, in my opinion, is just so delicious and wonderful to paint. But the way the picture kind of comes together is when you put those finishing touches on. And in this case, the finishing touches the object itself, which is the glass. Let's see. Anywhere else over here on the side a little bit, even though there's white and blue there. From the glass reflection, I'm going to put yellow down just to make sure there's something there. Wipe it off, get the orange. Paint that there right next to that curvy fold, and up under this one. A little bit at the top of this one, not a whole lot there. Then I'm going to put some here and here because it appears orangy kind at the base around the ellipse. And now I'm just blending the oranges. And I'll grab some dark brown. I'm gonna put that down here as a base the red is pretty dull there, so I don't want to just put red in. Same here. Same pretty much everywhere, except up there. They're all put straight red. And just keeping my brush pointed towards that light edge to keep it fairly soft. Whoops. I accidentally smeared some light yellow into the brown. That's okay. I'll just blend it in. No big deal. And now switch to the red and get a little bit into this bit. I have a little more on my brush than I wanted, so I'm going to not blend right away. I'm going to go put it where I see it to wipe it off my brush, and then I'll go back and blend. And here my yellow got a little too precocious and infringed on the red, so I'm putting the red back into the previous section. Here I have a little bit too much yellow going over into the red also, so I'm going to wipe that. Now I'll go back and blend. Red into the green and down here, This edge should be soft. Oh, I forgot this part, but fortunately, I have a little red residue on my brush, so I can just brush it right up. And I need more. That's okay. This is going to blend down. That's soft down there. And that is looking pretty good. Oops. I want to soften that inner part too. There we go. 42. Enhancing Elliptical Base: So the last bit we're going to do for a third layer on the glass is going to be the elliptical base, and that's pretty straightforward. I'm going to use the filbert again, wipe off the residue, start in with the light yellow, and just put that in kind of on the right here where it seems a little more dull and light. And then on the left. I'm also going to use this time to reclaim my shape because mine is sloping over to the left. I kind of lost my lips, so I'm going to reclaim that top edge. I really want it nice and round, even. Not pointy, not too rounded on the edges, a really nice anchored ellipse. Then I will use my bright cadmium out of the tube to brighten some areas. There seems to be a brighter yellow right around here, where those kind of reflects reflective stripes are. A little bit kind of it's even hard to tell where it is. So I'm just putting it kind of off to the right. Wipe my brush, get a little of the dark brown and paint that kind of into this foreground section in a horizontal ish way, and then up along the back where it kind of comes down to a point, sort of, rounded point. And then over here on the left. Then I will wipe the brush and go back and blend. All right. Looks like that's the end of our third layer, and next we'll get onto the glass. 43. Mixing Base Reflection Colors: Okay, so now we are going to get on to the reflections on the glass. We're gonna start by mixing colors for the base of the reflections. So for right now, we're ignoring blues. We're going to do the kind of light gray here. And then right on the skinny edge there, there's kind of a really dark grayish, brownish, bluish color, which would probably be easier to just shoot for over here. That's a little bit of a bigger chunk of something similar. And then we're also going to do this dark brown color at the base and the main gold color that we see in the cloth everywhere, just so we have that because we're going to need it in the reflections. So I often find it best to start with the darker colors and then add white to make the lighter colors. So I'm going to start with the dark gray color, starting with blue, red and yellow. Because anytime you mix all three primaries, you get some sort of gray or brown neutral. Using probably double the amount of yellow and red as blue because blue is so strong, and I probably still use too much blue, but we'll find out. It's really hard to see because it's so dark. But one trick is once it's all mixed together, kind of scrape aside if you have a white palette because you can see a better result of what you've got there, and it's definitely on the red side. So I'm going to add more blue. And that actually surprises me. I thought I had used too much blue to start with because I want to I'm adding the blue because I want to get it more neutral. More of a purple color and then more yellow to balance that out. And the yellow being the weakest, I can go pretty liberally with that and not worry about tilting it too far in one direction or the other. Now we're talking, it's getting kind of brownish, silh reddish on the reddish side. So I need a little bit more blue, and notice I'm wiping my palette knife every time I dip into my color. And I'll be honest, as an artist, when I am not on film, I don't always do that. I have messier palette habits than I'm exhibiting here, but I'm trying to be very good and show you the best way to feel successful. And especially when you're first starting to mix colors, having a clean palette knife each time you dip is one of the best ways to feel successful. So I'm just going to check that. I think I'm on the right track, but it is pretty dark, a little too dark, even though that is a very dark color. So I'm gonna wipe my knife off and get a little bit of white. I just want to give it a little bit of a light lift. And that is good. And then I'm going to take a little bit of that, wipe it over here, just a smear of it, and add a bunch of white to shoot for the light gray. And that's one reason it's great to mix the dark first because if the light is just a lighter version of the dark, then all you have to do is add white. Whereas if you mix the light first, then you literally have to remix the dark from scratch. That worked pretty darn well. I'm going to add a little bit more. I feel like it could be a little lighter, and I want to augment the amount I have. Oops, that was probably too much, but I can always add more dark. Kind of a purply gray. Oh, no, I think that is good. And I can always add a little bit of dark into the light as I'm painting if I need a darker spot. Now I'm going to go for the brown, the dark brown. So for that, I'm going to start with red. Since brown is a warmer color, it's dominated by red and yellow. So orange. It's just like a burnt orange color. And then I'm going to add I'm definitely gonna need more yellow, but I'm going to add the blue first. More blue. I'm going to add the rest of it 'cause I don't have much left. And I got a purple, and now I'm gonna add all my yellow because I know it's going to need a lot of yellow. And that is good for the dark brown. And then I'm going to take a little smear of that and add the rest of the yellow to it for the kind of dark gold. Oh, that was a little too much, so I'm not going to mix it in all the way. I'm just going to add some white. And we're there. 44. Painting Base Reflection Body of Glass: Okay, now we're going to crack into the painting. We're just going to use these four colors we mix to do the base of these reflections. So as much as we can, we're ignoring the blues, which is difficult to do the blues are kind of dominant. But we're paying mostly attention to the shape of the reflection and the approximate color we think is underneath those blues. I'm going to be using a number two round brush, so a very pointy kind of thin brush to do this. And I'm using oil, too. So I poured a little bit of oil into my little cup there, and I'm going to dip the brush in the oil first and then kind of wipe it into the color I'm going to use to loosen it so that it's not quite as thick. And that way, it kind of creates a smoothness to it. It's more of a vehicle for the paint to go on smoothly. I've also zoomed in here so you can hopefully see a little better since this is a very detailed section. Going to start on the left because I'm right handed and I don't want to put my fist in wet paint, and I'm just going to brush this on the outside edge of the cup here where I see that kind of bluish reflection starting, pointing my bristles towards the edge of the cup to keep it nice and sharp. And then as I move down, I'm going to pay attention to approximately where these stripes start and start pulling out some gray stripes. So here, I'm going to quickly kind of put in a few gray stripes mimicking the roundness of the bottom of the glass, so they're kind of slightly curving down and disappearing. Not trying to be exact to the reference, but I am using it as a close guide. You are welcome to be as exact or as not exact as you'd like. The key is just kind of getting that roundness and getting the stripy look. From there, I'm going to go over to the right side since I have the gray on my brush already, and I'm actually kind of ignoring the stripes there because they're mostly light gray with just little bands of dark between them. And I'm going to paint a big section of light gray right here, getting larger as it goes down to the base, kind of a long skinny curved triangle. And then when I get down here, it becomes kind of a wild mishmash, so I'm going to mimic this sort of outside line that curves into the base of the glass, and I'm going to paint a whole bunch of gray here, but I'm not being very specific about it because it's just a base. After all, we're going to put those skinny little blue lines in later. And then I'm just going to put some gray kind of going over to the side of the glass loosely. And that's good enough for the light gray. Then I'm going to switch to the dark gray and go back and go over those areas. So over here, I'm going to put a little bit right next to the light and into these bands, I know it can be a little scary because we've spent so much time doing this gold cloth so well. That's actually a little bit of a bluer color than I have, but that's okay. I'm going to go back over it with a blue later. So if it's not the exact color you would like, you can do the same. And here I'm going to go further with the paint. Oh, I forgot to add the oil. That's why it's so goopy. Do want oil on there. I'm going to go further down towards the base of the cup with this color because that's where it kind of goes to. And then over to the right, I'm just adding sort of made up lines, but I'm also looking at the reference, adding some dots and dabs here and there, just to get a sense for what these colors do, the shapes they form, something like that. And then I'm going to go back over here and put these kind of really thin lines in going up. I'm wiping my brush. I'm going to get the darker brown color, which is actually very similar to the dark grayish purple I just put on, but it is a little bit warmer, so that's appropriate for this very bottom edge. And wipe that off. Whoops. I didn't mean to make that big smudge there. Let me move that into the glass a little bit. That's the beauty of reflections. They seem very specific, but you can often mess up and it really doesn't matter because you can just turn it into something else. And then, lastly, I'm gonna get a little bit of gold, paint it right into the center where I left it blank and right over the top of this darker purple line. And then just kind of blend it a little bit, so it's smooth. And that's our first pass. 45. Painting Base Colors on Rim: Now we're going to do the rim of the cup, not the whole thing, but just the gold and dark brown part. So start by getting a little oil. That's probably too much. You'll notice if you get too much oil, then it becomes really oily on your canvas and kind of see through. So you'll know how much to get, just by practicing a little bit, you want it just a little bit loose. And I'm going to use that gold to define the shape of the rim, as you can see, I've gone into it quite a bit with the fabric in the background. So I'm going to recapture that shape by getting a really nice sharp edge at the top here. N a little bit more. All the way to well, not all the way. Almost all the way to the right, where the blues will eventually take over, but that will be another section of the lecture. And then on the bottom edge, I'm going to do the same thing, kind of starting in that gold fold right there and then pulling it over to the right to both wet the surface and get that gold color in there along the bottom edge of the rim. Um, let's see. I think I'll save that thin gold line for later. I'm going to put a little bit over here on the left where the blue turns into gold, and then a little bit on the back edge of the rim where the rim kind of meets the top edge of the rim meets the background. I wipe off my brush, go back and get the dark brown and get the brown to meet the gold. That's really going to show up because it's so dark. That's a lot of paint. Didn't need that much. A. Oops, and I did put my fist in the wet paint, but that's okay. I can clean that up later. Now it's kind of rough on the bottom, so I'm gonna wipe my brush off, go back and just sort of smooth it out. My hand is shaking a little bit because I'm trying to keep my hand out of the camera's view so you can see what I'm doing. So I'm holding my brush further away than I normally would. So I hope that's not inhibiting your understanding of what's going on. Smooth that out, and then I'm going to do the dark browns in the front. So that will be kind of coming from the reddish part here in the background and it swoops into the glass. It's kind of a cool effect right above that bottom gold strip I put in. And then that just sort of disappears right there. And then I'm going to do one on top, too. It sort of just comes out of nowhere. Turns dark. And then on the right side, it turns into dark blue at some point. For right now, I'm brushing through the yellow. Unfortunately, I put a little too much yellow, so my brown isn't going on as dark as I want, so I'm going to try to get a little more brown and see if that helps. If it doesn't does seem to be helping, actually. But if it didn't could either wipe it off and start over or just know that I could come back to it later when it's dry and do a second coat to darken it. I'm going to go make the left a little pointier. Wipe off my brush and come back and just try to fix this bottom edge by pushing it up a little bit. And any noodling you would like to do, go right ahead. And that is the brown and gold on the front of the Oh, I forgot this bottom edge here. That needs to be kind of blended down, so I'm just going to rub it, rub that brown and yellow into the glass, so it sort of disappears. And then we're good. 46. Mixing Rim Colors: Now we are going to go into mixing the blues for the rim and this kind of not the bright pink reflection, but the kind of purply color between the blues there. We obviously don't need a lot of that, but we do need it. I'm going to start with the darker blue over here. Oops, I got both blues on my palette knife there. So I've introduced another blue. This lighter one is called serlean and we'll use that in a second. I just accidentally got some of my knife. So we're going to start with the darker blue for that gray color. And then I'm actually going to just add a little bit of my purple gray to it. That might just be sufficient for what we're trying to do. We'll see. Very dark, but maybe right on the money. Let's see if I add white. If I have achieved what I wanted, which is just a dark grayish blue. Ah, got it. Ya, that was easy. So if you don't have any gray left to add, you would add a little bit of red to make it kind of just a tad purply, and then yellow to neutralize it. And then white. Um, so there's the dark blue. The light blue is going to be this kind of really if you look closely here, there's two colors. There's a kind of main blue, and then the lighter, brighter blue. We're actually going to mix the lighter brighter one because the darker one can be achieved by just putting a little bit of plain serleian out of the tube right into the wet light blue on the canvas. So I just start with white and add a little bit of serleian to make a very, very light blue turquoise color. That's probably too light. Yeah, but not by much. I didn't leave myself much mixing room there. I started very close to the edge of the palette, but that's okay. I'm adding a little bit more cerulan to give it more of a personality. And I think that might be it. Yep, that's good. So the reason we had to use the Cerulean is because the ultramarine blue is a purply blue, and the Cerulean is more turquoise, yellow blue, and the purply blue just will not make turquoise. So Cerulean is a great way to achieve that. And then the purply gray. So for that, I'm going to start with white and add some of this gray since it is a purply gray and just see where I get to. No, that's much too gray, but I think I've got the right value, like the right darkness. Pretty close. So it's definitely on the redder side of purple, so I'm going to add red first. I'm just trying to brighten the purple now, but not necessarily make it lighter, brighter. So that's definitely redder. Ah. Ah. By gum? I think I got it. I didn't try. I thought that would be too red, but I'm sorry, I did try. I just mean I didn't think that would work. I thought I would have to add blue. But it does appear to be a pretty red purple, so we'll leave it at that and get on to the painting part. 47. Painting Rim Colors: Going to do the blues and purple on the rim, I zoomed way in because I think it's important for you to see this really closely. So you won't be able to see what colors I'm dipping into, but I will do my best to describe them to you as I get them. So I'm going to start with the light blue because it's kind of dominant on the left side there. I'm getting a little bit of oil on my brush, rubbing it into the light blue to make it loose, and then I'm going to start by just painting most of the left side of the rim because it's very dominant over here. I'm going to do my best to leave space showing for those purple little lines. Chances are, I will need to touch that up later because it's very hard to leave teeny little skinny lines showing. But we're just going to do our best, especially when I'm trying to go around wet paint. So I'm pulling the light blue over to the right to try to meet the yellow that I put in before. And then it's going to curve around. I'm also using the light blue to reshape the edge of the glass, since as everywhere else, the background color gets into the glass and makes the shape a little uneven. So I'm pulling the blue into the yellow on the top edge there. And then on the left edge of the rim, I'm going to put kind of a dab of light blue because that's what I see there. Pull it over to the right. And another dab of light blue below it, which you can't really see because I'm putting it into light yellow. The colors are very similar, but I'm just kind of putting it in the shape. I see it approximately, and then another little dab of it right next to that big one. And then I'm going to leave the light blue and get the plain cerulean straight out of the tube and put that into the light blue. Since it's wet, it shouldn't go on super, super strong enough to darken a little bit. It's actually going on stronger than I would have thought, but that's a nice effect. I can always just spread it around, which is what I'm gonna do. So I'm going to put that at the top edge here, pulling it over to the right and along the top edge here. And then here I'm just realizing I went a little too far down with that one, so I'll go back and fix that in a minute or later. I'm not sure which. On the left side, I'm going to actually, yeah, I'm going to put in the light blue on the left side, which isn't very much, just kind of a thin strip from the yellow, which is still wet from the previous section. So it should blend very nicely, and pulling a thin little strip kind of into the bottom edge of that rim, and it just sort of disappears right there. And then I'm going to put a whisper of it just on the outside edge to define the shape of the rim. And allow myself space to fill the rest in with the dark blue, which I'll do now. So I'm going to grab the dark blue. And that should come kind of organically from the top edge of that light. Over to the right and get thicker as it comes over here. That dominates the top edge and then sort of disappears into a little point into the brown that I put in earlier. And then there's also a suggestion of it kind of below that separated by a very light, little wispy stripe of light color. And now that I'm looking at it, it's actually not very blue. It's more Well, it's blue ish. It's kind of a mix between the blue I'm currently putting in and the gray. So I'm going to go get some of that dark gray, the same one that I use down here and just paint it right into that blue. That's better. Now it shows up a little more as it's supposed to. And I'm going to brush it into the line on the top edge of the glass. And that is good for right now for the blues. I'm gonna wipe my brush off, go get the purple, and that's the last thing we'll do in this section. And like I said, we'll just see if it shows up well enough. It shows up pretty well. We'll see if I left enough space for it. I'm going to kind of brush it in between the blue lines that I had. Just put in. Don't worry at all about those bright little highlights. We'll put those in later. Now I'm just trying to smooth it out so it's not lumpy or bumpy looking, and there we go. 48. Painting Reflections on Left Side of Glass: So now we're going to focus on the blue reflections on the left side. But first, I'm going to take a clean dry cloth and just wipe at that little blue reflection here that I pulled down too far. I accidentally smeared some of the purple. No big deal. We can fix that later, but right now, I just wanted to get it off before it dried. So let's go down here. We're going to get some light blue. And again, a little bit of oil if you need to loosen it up a little bit. We're not putting very much in this side. I'm going to get a little bit at the top of the light purple gray I put in earlier, kind of follow that line down, and then I'm going to add a few stripes so that we have reflections of different colors going, but they're very subtly different. Like the blue and the purple kind of intermingle. They're both very similar values, very light. Not a lot of difference there. I'm going to put in this sort of one that comes down right here. And anymore? Not really. I'm going to put in Oh, yeah, these kind of bright ones at the base. They are darker blue, but I'm putting the light blue down as a base. By the way, I'm painting into wet paint right now. I did not wait for the grays and purples to dry. You're welcome to do that, if you would like, but it's not necessary. You can always go back and touch up later if it gets too smeary. Now I'm switching to the darker blue, and I'm going to put that in. And this is going to make more of an impression because it's dark and shows up more. So I'm just putting it about where I see it into a lot of these stripes. Trying to keep it somewhat distinct from the light blue. And even though I'm making stripes, I want them to not look like stripes. Eventually, I'm going to go back and add a little more character to the shape. I'm just kind of putting in stripes to keep me honest in terms of the shape. I want them to mimic the curve at the bottom of the glass. So putting in stripes at first is a good way to do that without getting carried away with detailing the shape too much. So now I'm going to go back and add a little more shape to it. And I'm sort of making it up, sort of copying what I see because I don't want to get too caught up in being exact. I'm not trying to paint a photograph. I'm painting a painting, so it's an interpretation of the photograph, which is a lot of fun. And it's also very educational. It helps us to kind of learn how to mimic something without making it exact. So just adding a bunch of dark blue lines, dots, and dabs. I'm going to add a little triangle bit to the end here of this stripe. This one has a little bit of a head on it on the left. This area just looks kind of like a mishmash of stripes and lines and dabs. So I'm going to just kind of mess it up a little bit without blending because I do want it to these reflections to look very, very sharp. So I'm really not trying to soften anything. I don't want to have canvas texture, though. So if I see canvas texture, I am going to wipe through that to get rid of it. There seems to be a little bit of dark blue defining the bottom edge of the glass into the cloth right here. I'm going to use it to just wipe through this entire edge to get it really nice and round. Since I don't have much paint left on my brush, it's going to just sort of take the personality of all the colors I'm wiping through and recommit the edge of this glass to being very, very round. Lastly, I'm going to go over here and pull this reflection up a little bit, so it just disappears more naturally. And then look around and just mess with anything. I think I need to just soften this edge just a bit more. And I'm going to add a little bit of a wrinkle with dark blue right here and a dab where that reflection seems to go up. And that is pretty good for the left bottom side. 49. Painting Reflections on Right Side of Glass: Okay, now we're going to crack into the right side, and we're going to start with the light blue because that is dominant on the right side. So I've got the very light blue, the one I used for most of the left side of the rim up there. And I'm going to put some into the light gray kind of randomly just to give it a little bit of diversity, so it's not all one solid color. And I'm going to try to start creating these little pointier shapes, but I am painting into wet paint, so it's not going to show up as it would if I was painting on dry paint. If you have waited a few days and you're painting into dry paint, this will show up a lot clearer for you, and I may or may not end up going back and doing a second coat, depending on how it looks, especially putting the Cerulean straight out of the tube right into this wet color that may not show up as brightly as I'd like. But we'll just see. I can always go over it. So I'm just as I have been, mimicking the shapes. I'm not trying to be exact, but I am trying to be diverse with the shapes because we don't want them to all look exactly the same. Reflections are very abstract, which is both a challenge and something fun to play with. So now I'm going to go back and get the dark blue, the very dark blue. The one I use dominantly over here on the left side and use that to define further if I can. But I don't want to use a lot of it. There's not a lot of darkness over here. So I'm just putting it where I see the darkest areas, including on the very right edge here, there's this very thin little stripe, which I was going to do with the dark gray when I first mix it and forgot. I'm using the dark blue instead. I'm just going to see how I feel about that. If I don't like it, I can always paint over it. But I have it on my brush and I'm feeling frisky, so I wanted to put it in. And I actually do really like that. I think it looks pretty natural, but I need to make the stripes that are already there, kind of merry with that by pulling them in to that line. So that's what I'm doing now. I think that looks pretty good. I'm going to add a little more dark blue kind of in some cavities in here just to emphasize the darker areas. And then I'm going to wipe my brush and go back and get some plain Cerulean blue right out of the tube and try to get these blues brighter. We'll see. Like I said, I'm painting into very wet paint. Yeah, it's not really behaving well. It's not showing up bright. But that's okay. We'll see if we care later, we can always go over it. For right now, we're just creating the pattern as best we can. I'm going to use this also to kind of define the edge here further. Go right into that blue line, dark blue line. Oh, that's nice. I'm also, since I'm here and have the blues, I'm going to go back to the light blue and fix this edge that I wiped off earlier. So I'm going to put a little bit more blue in where I wiped it off, but not as low this time, a dab below that rim. There we go. And anything else we want to touch up? I'm going to just keep wiping around here to try to get this edge super smooth and sharp. Just disappearing very gradually as it creeps up the side of the glass there. I'm pretty happy with that. I'll stop there and move on to painting the pale reflections in the body of the glass next. 50. Painting Reflections on Center of Glass: So this next section, we're going to paint the reflections into the body of the glass, not the bright ones, but these more pale kind of ghostly ones. So you're going to need a lot more oil than normal. So we're going to dip into the oil. And we're going to start over here on the left with a little bit of the pale gray, just a little bit of paint. You can always get more, but it's better to start with less and add more. So I'm just going to paint I'm ignoring the bright kind of line and just putting the kind of purply gray, ghostly color right next to it, pointing my brush towards that left edge and pulling the color over to the right. It's got a bit of a sharp edge on the top, so I'm going to try to get that. But the rest of it just really kind of disappears. So the more I pull over to the right and just sort of scrub into it, see how I'm laying my brush down on the canvas. I'm not using the tip, the more it's going to blend over to the right. And I can also put a little bit right below and I need more paint for that, whatever that is. I'm going to add a little bit more into the reflection now that I have more paint on my brush to get a brightness. I'm also going to mix a little bit of the reddish purple in there. There we go. I've got too much, so I'm gonna wipe my brush off, go back and continue spreading it, laying my brush very far down on its side. And I'm going to put another one, a very thin one right next to it between those two and the edge of the glass. And then I will get the same kind of light gray color and move into the center. And put this reflection in, whatever that is. We don't know, but I have a fair amount of oil still on my brush to make it. So this reflection is fairly transparent. Curves over the bottom. Because we don't know what it is, we don't have to be exact with the shape. We're just trying to get an approximation of the brights and more pales. So I'm now putting more paint, less oil on to kind of emphasize the brighter parts of that reflection. And I'm not going to do these bright white lights, but I am going to do this skinny little line right next to it, which we'll put the bright whites into later. Then down, let's see what else. Down here at the bottom, there seems to be a little bit coming up into the base of the glass. Any more gray? Yeah, up here, there's a stripe kind of coming down. And even more pale one next to it, but I don't have as much paint on my brush now that I've wiped it all right there, so I'm just gonna go right into it. Um I think that might be it for the gray, but I'm gonna wipe my brush off 'cause I'm feeling like these are too intense. Go back and just brush through them a little bit more, kind of wiping it off, really. And they're still too intense, so I'm going to take a towel and wipe some of that off. There we go. And then just even them out. Now. Anything? Oh, yeah, I'll go back down here with the yellow. But I'm going to get a little bit of plain white, mix it up right next to the yellow, 'cause I want a much lighter version of the yellow and then add a little bit of oil to it for these lines right here coming out of the base. It's going to kind of wiggle over. It looks like there's three of them, but you can do two or one or whatever, five. Make it up. I'm going to try to do about three. I did three, one right next to the purple there. And they just disappear off to the side here. And then I'm actually going to take some of that color and go back up to here some of that whitish color and put that in where that bright area is next to this purple shadow I did first just to get a presence of it. I'm going to take a little bit of that and put it into here as well. Just a few little lines to give it a little lift where it's brightest. And then over here, kind of this purple shadow kind of lends itself to going into the one kind of next to it. And that's looking pretty solid. 51. Painting Brightest Highlights & Darkest Reflections: Okay, now we are going to go in and put the darks on the sides of the glass and put in some of these bright white reflections. But like I said, if the paint's wet, it's not going to show up as well as we would like, so it's probably just a first pass, and we will do more later. So I'm going to start getting a little oil on my brush and getting some of this dark brown color, the one that we used at the base to begin with, to darken the left side of the glass here. So I'm going to put kind of a big thick stripe of it with my brush tip pointing out. It seems to get a little thinner as it goes up towards the top rim. And then I'm going to wipe my brush off, go back and blend it into the orange right next to it just by rubbing a little bit. Pointing making sure my brush is pointing out towards that edge so that I don't accidentally smear it into the fabric behind the glass. I'm also going to use it to find the shape of the rim itself by putting some underneath the rim because it's very dark there. And then pull it down into the blues that are right there on the left. I'm going to also pull it up next to the rim itself to give that shape back where it got lost. This is probably another point where you may have very different edits than I do. So just look at your own painting and go ahead and start adding where you feel you need to and subtracting and adjusting and all that. I'm going to actually purposefully soften this outside line because I feel I made it too hard even for a glass and a little too dark. So I'm just kind of wiping the center of my brush through that edge to soften. And I'm going to also use the kind of dampness of the brush to blend the left side of this bright light shadow highlight. There we go. On the right side, I'm going to use the dark gray, again, the one I used for down here and define the dark shadow here. So satisfying to do these fine edges when we've spent all this time doing the wrinkles and folds and all the stuff in the middle to get it really, really tight. Such a lovely way to culminate a piece. I'm going to put a line right here. Kind of curves and another one next to the brown and pull my gray line, my dark gray line all the way down need a little more paint to my start of my blue gray reflections right here on the bottom edge. And then go back and blend, soften, sharpen a little more, whatever you feel you need to do. White my brush. I'm gonna get a little oil on my brush, and, um, or actually, I'm switching brushes I'm gonna go on to the bright white highlights. So I've got a brand new brush with bright white, and I'm going to put I'm not worried about the blue parts of the glass yet. I'm just putting in whites where I think they will stick because I haven't had too much paint wet paint there. So there's a bunch of little dots right around here. Don't want to make it look poka dotted, though, so you want them to be very randomly, unevenly spread out. We've got three little white dots here on this line and a big white sort of boomerang shape here. A couple dots above it. Big spots, really. I'm skipping this because that's a crack in the glass, and I don't want to add that. You can if you want to. Brighten up that bottom edge. And it looks like that's good for the whites on the body. 52. Touch-Ups on Glass: Okay, so I have let it dry for a couple days. Hopefully, you have too, but if you want to try to do this wet, you'll just find that the lights won't come out as bright, which is fine if that's what you're looking for. Anyway, if you have a dry surface like I do, we're going to go ahead and put in the dark blue, kind of a little bit darker blue shadow here on the back edge of the glass. So just grab a little bit of that dark blue. My paint's a little drier 'cause it's been sitting around for a couple of days, so I may have to use a little bit more oil, but I'm going to really work it into the palette here. So I get a little bit of paint. I know you can't see my pile of paint, so I'm going to do it over here and kind of wipe it around on the canvas, excuse me, on the palette, a little bit of oil to loosen it up. And that looks pretty good. So then I'm just going to go in here and add a darker blue. It's very subtle, but it seems warranted. Kind of a triangle softening on the bottom, and then just pass this whiter highlight, a little bit of dark blue over here. And pulling it over to the right where it sort of disappears. And then I'm just going to continue kind of blending it on the bottom edge. I'm going to wipe my brush off and then go back and blend some more because I had just even with the very small amount of pain I had, it was too much to blend. It was just going to keep finding its way onto the canvas. There we go. Now, it's just kind of evenly moving down. Same thing on the left here, paying really close attention to keeping that ellipse nice and round. Okay, and then I'm going to rinse my brush in the turpentine, wipe it on my towel and move into the bright blues here. So I'm going to start with white and go in and put just a few of these kind of little pointy shapes in here, brightening up those highlights that we did the other day, but they were too wet to really show up. And then I'm going to put a whole bunch of kind of dabs and dots around them. Just trying to copy approximately what I see here. I'm also putting white anywhere I see bright blue because I'm going to add that next. There's a little bit on the left, but not that much. The left is pretty well done. I guess I'll just add. A couple little friendly suggestions. And then down here where I see the bright blue, and I'm putting white down as a base so that the blue shows up brighter when I put it on. And I'm going to be using that Cerulean blue, that kind of turquoise color. Actually, since I have the white on my brush, I'm going to go ahead and put the white anywhere else I see it. So brightening up those three, a little dab of it here and here, and up at the top. And a little bit on the rim. A couple of little dots there brighten up that light. So just anything else you see, yours will surely be different than mine, but you can just use this opportunity as a time to touch up. And then I'm going to go back and get the Cerulean Blue, which looks like this one and add a little bit of brightness kind of next to my whites here and into them to some degree. Dabbing it around pretty liberally on the right, and a little bit on the left, particularly where I put those two bottom whites and up here a little bit. And I'm going to rinse my brush again, get a little bit of the kind of pinkish color we used for this highlight earlier, but I have a little turp on my brush, turpentine, so it's making it nice and fluid, and I'm going to use that to just add a little bit of pink around those two white highlights at the top and a little bit more on the side here. And looking around, I'm thinking that might be all, but feel free to do it to your heart's content. 53. Touch-Ups on Cloth: Okay. And now that we've done the touch ups on the glass, we're going to do touch ups on the cloth, which in my case, I'm just going to brighten these three top edges of the folds because the glass seems to be sitting over them now, which I want the folds to look like they're kind of going over the glass or nesting it a little bit on the bottom. I'm also noticing that this orange brown shadow and the glass are competing with each other a little bit, and it almost makes the glass look like it has a corner there. So I'm going to brighten that up a little bit, the left edge of the glass. And again, you probably don't have the same issues I do. So just continue touching up as you see fit. I'm going to use this color, which is kind of the topi gray color I used in a lot of the glass and just wipe some on the left edge here, and that will hopefully serve as more of a separation between the glass and the shadow behind it on the cloth. And that worked pretty well, but I'm also going to darken that cloth shadow just a hint by using some of this dark brown, and I mean just a tiny little bit, like really a whisper. To darken that and make it look like it's more behind the glass. And that is pretty satisfying. So I've done that. I'm going to rinse my brush. And now go in for some plain white, which will be too bright, but then I'm going to put some yellow over it as needed. So I'm going to put white over the top edge of the fold and just barely creeping into the glass just a little bit more than it already was. It's a very, very small action, but it creates a huge effect because now it looks like that cloth is more in front of the glass than behind it. And that's exactly what I want to look like want it to look like. So that's too bright. This is definitely going to be too bright, but we are going to use the yellow to neutralize and dull. First, putting on the white, wiping my brush. I'm going to go back and blend this part just a little bit because it's too dark. Okay. Now I'm going to grab the yellow. Oop, dried a little bit there. There's a wet spot. By the way, if you ever have so much skin over your dried oil that it's completely dried, just use your palette knife, pierce the bottom and kind of pull the skin off over the top. And that way, you won't mix the skin into the paint and get little lumps all over your painting. So now I'm going to go back with the yellow and paint into the white. So it just makes it more golden and less dark, chalky white. A little bit more yellow. And then I'm gonna wipe my brush off and come back and soften the bottom edges. With no paint on my brush, I just want to get rid of any canvas texture or chunky looking areas. I want it to be a nice soft transition from light to dark. And a little bit more yellow right here. I went a little higher into the cup than I had wanted to, so now I'm faced with kind of covering that up so that the cup or the cloth doesn't look transparent where you can see the cup through it. I also got just a tiny dab of yellow right there that I don't want, so I'm just going to kind of wipe that off. And there we go. You can just continue refining, adding, brightening, softening, sharpening, as you wish. And when you're done, I'll meet you in the next section where we will talk about signing or painting. 54. Signing Our Paintings: So when you have arrived at a place where you feel satisfied with your painting and you're ready to hang it on the wall, the last thing we can do is sign it if you choose to. Many artists don't sign their work, many do, so it's really your call, what you'd like to have happen here. But I'm going to show you how to do it in case you decide you want to. First of all, we're going to use a very tiny brush. This one is really pointy. I'm trying to get it in focus for you there. Really, really tiny, like, a few hairs on it. And we're going to use that so that our name doesn't stand out too much. And I'm just going to sign right here in the bottom right corner, or the bottom left corner is also a commonplace. Some artists may sign along a fold or something. That's much less common, but you will see that sometimes. The point is you don't want your name to be the first thing people see. You want them to see the picture and then subtly notice your name. So the other part of that is choosing an appropriate color to sign in. You want it to blend into the background somewhat. So I'm going to use some of my light yellow since that's the dominant color in this corner. Add just a little bit of darker brown to it so that I have a darker version of that color so that it does show, but it doesn't pop out at you. And that's going to be too similar to this. I'm going to add a little bit more dark brown. And it's still too similar, so a little more. I may have gone overboard. We'll see. No, actually, I'm surprised that's just a little bit darker than this, so that should be fine. The other thing to take into consideration before you sign is, are you going to frame your piece? Because if you are, your frame is naturally going to overlap the edge a little bit, so you'll want to lift and get your name away from these two edges so that the frame won't cover it up. In my case, I tend to not frame my work. I may paint the edges to make it look nice or just hang it raw on the wall depending on what mood strikes me, but I don't typically frame, so I'm going to be signing a little bit lower. So the first thing you want to do is get a little bit of oil on your brush. And just rub it on the palette I have a little bit of blue color on there. That's not going to matter in the slightest because I'm going into a dark brown, which is going to nullify that. So I'm just going to get a little bit of paint on the brush, wipe it around to make sure it's nice and loose. And I'm just going to use my initials because I have a very small space here. So I'm going to write D, just using the very tip of my brush with my fist anchored so that I can really make it very even and controlled a little more paint. F. Diane Flick. You can do the same. You can write your entire name. You can write just your first initial and your last name, your last name. You can invent a name. You can write the date. Well, probably not the date, but you could write the year. I often sign mine Diane Flick and the year afterwards when I have a larger canvas. So it's really up to you. You can even invent a special signature just for your paintings. Kind of sky's the limit, but just kind of follow the rules of not letting your name stand out too much, keeping it away from the edge far enough if you're going to frame it. And generally using one of the two bottom corners or kind of artfully and creatively working it into the base of the piece. And that's all I have for you today, friends. So with that, we will talk about what we've learned today and celebrate our painting and give ourselves a pat on the back for persevering and hopefully picking up a lot of new skills and enjoying ourselves through this journey. 55. Congratulations!: Alright, friends, we did it. I hope you had as great a time taking this class as I had painting right along with you. Thank you so much for joining me today. Just to recap some of the skills you gained or practiced are keeping palette colors neat and tidy so that they don't mix together, mixing enough paint so that you don't run out or remixing paint as you do run out. Creating believable textures on canvas with oil, such as the satiny silk cloth, the transparent smoothness of the glass, creating believable highlights and shadows, detailing things so that at the very end, you're able to kind of really bring out the life in the piece and in the image, and also applying multiple layers, starting with a very rudimentary layer and building up richness and detail as we go. If you're interested in more, I have other classes in many other mediums chalk pastel, oil pastel, colored pencil, charcoal, mixed dry media, watercolor, acrylic, and, of course, oil. So feel free to explore. I hope you get to take classes from other teachers because I really believe that the more people you learn from, the richer and deeper your toolbox will be, and the more engaging your art journey will be. So thank you again for joining me today, and I hope you have a beautiful rest of your day.