Simple minimal Still life Acrylic Step by step Tutorial | TheArtSherpa

hey everybody i am cinnamon cooney your art sherpa and this is a step-by-step paint at home art lesson i'm going to be showing you how you can create this awesome still life with tomatoes and a white pitcher this is a really great core kind of painting class very traditional we're going to be working on values white is always a very fun subject to paint in a value structure because really you're just dealing with white and shadows and reflected light tomatoes are always a joy to paint and so maybe we're like oh i like painting with her but tomatoes really i think i'm actually going to surprise you with how not only informative this is but what a beautiful painting this type of still life actually makes and it will look more modern and yet kind of like classical at the same time it's a lot of fun on the mic is my husband john hello he helps me do this because otherwise it would just be me sort of like holding some paint and painting canvas and holding some paint painting a canvas because cameras a bunch of them and they zoom in and he reads the live chat so if you have questions you can ask that we break these lessons down into steps the steps are then time stamped into the video so you can find your place again later or know what we were working on at what particular time segment of the video later these steps are written up into guides written out guides with each level of instruction brushes materials all that step by step through that you can print out for free and then hopefully the plan is that eventually a book will come out with all the information wish me luck on that there's a plan here's some plan there is a plan a cunning a cunning plan with sanips having planned turnips and publishing publishing i should have painted turnips they're actually really fun to pick turnips are fun to paint any turnip plan has me involved alternate plans have john involved alternate plans alternate plans so yeah we're we are one of the longer running step-by-step painting shows but i would say we're probably one of the more innovative we're always changing we're always improving we talk a lot to our community and when there's resources that you need we try to provide them when there's information you need that we try to provide them this year we have a core set of colors if you check the description below you'll see it we're trying to develop a core set of brushes and so we are really working every day i'm just doing everything i can every day to make the best beginner art education that i can and i couldn't do without you guys actually so i really appreciate everybody's time to show up to these live streams to give feedback to sharon group to share online even my little small twitter family i love seeing everything you guys do it's really i would be sad if twitter got big i would because i couldn't see all the fun stuff going on plus i have a weird twitter space that's somehow very happy i don't i don't i don't know why it's like a pocket dimension inside twitter it's the good twitter the only good tweets happening all the bluebirds say happy happy things i'm in a weird mood today i've been painting all day i like your mood my mood habits you will notice that we have a printed out lined drawing called a traceable i'm going to demonstrate this today because i've been getting a lot of questions about how to use this often this is written up in the previous mini books and we'll always have something about it um somewhere on the website but i just wanted to demo it today as the request and talk about it a bit you want to print out the reference um 8x8 on your printer everybody's printer's a little different so when you download it that you want to set that and then you cut out i give you guys a black square now so you can cut these out the cereal paper i recommend comes in yellow and you want to have it be the dull side up shiny side down you can use all cereal paper for a very long time so it's not as big of an expense as it might seem i think it's like eight dollars for the roll but a roll lasts a really long time like i could technically use this piece through a whole drawing i'm not going to because i'm sterile wealthy i have so much sarah paper right now i got anxious i don't know why i thought there was going to be a shortage during covet on cereal paper but at some point i did so that happened breathe in breathe out step one do you wanna yeah you do that ah still life as we like to be literal that's why i let you guys name my artwork around here very original very original so step one is getting a lined uh kind of guideline drawing on the canvas these are the contour contour lines the outside structure lines of the objects of our subjects and we want to get these on the canvas so a lot of ways you could freehand it you could project it you could use a handy dandy app if you wanted right now i'm going to tape down the serial paper i tape down my transfer paper and i may trim it just for my so i don't have trouble again you can use this for other things my daughter has about 50 uses for all of this so i never feel bad now i have to have her teach a class i'm going to also tape it down at the bottom this is so it doesn't shift whenever you're doing a transfer method it's shifting that will mess you up do you want to stabilize the paper and the image that you're transferring i will put that here and i will also tape that down because there isn't a horizon line back of the table line any really major perspective line in the back all i've got to do is generally line it up and make the picture face be flat that's what i have to pay attention to and i'm just explaining this stuff because i don't want to assume right just assume that you guys know something i'm going to bring this a little more up to the top and i'm going to line this a little more at the bottom if you guys see because that's that i want to have room for that wood to show there's a little bit of a forward look at wood and it's nice and we're going to have it show i can however put it in with my t-square so it's not the line i'm most concerned about now i'm going to take a colored pencil this is overkill on that you don't need to use a cron to ash in fact you shouldn't don't tell them i did i am going to trace over all the major structural lines and this is going to take a minute so if there are any hellos or questions or any things like that i will oh i broke that what is cereal paper sarah paper is an art paper for transferring images like this onto other surfaces there are papers like this that are for quilting or art this particular one is an art one i like the yellow and the blue graphite paper doesn't always transfer on acrylic well some brands do i think martha's graphite paper is about the friendliest i've run into for acrylic and that's because of the plastic nature of acrylic it doesn't always let you transfer mid painting and sometimes you would want to i don't have to be perfect with these lines i don't even have to have to get every single detail line like some of this i could probably do [Music] free hand i might let myself know that there's a stem some places that could be going but i'm probably going to freehand that stem in if you're not comfortable with freehanding an art you may want every single line now you also have a free color sheet don't you color sheet the traceable and color sheet for mixing i don't know what the mixing color sheet is uh so uh joni says where is the traceable and freebie color sheet from the color mixing show located oh okay so we're still writing the mini book for the color mixing show up it was a really big project i just we're just getting pictures of every mix and making sure that that correlates to the color mixes in the chapters that you see in the video that's a few days from being released the traceables are into the traceable tab on the website you can keyword search it um so you could just say tomato still life or still life and it will pull up it's also on the video page which is in the description and the mods will have that link um i just dropped the step-by-step mini book for the pure sunset that we did the dreamy sunset gorgeous it's gorgeous so if you're in the file section looking for any of those mini books and if you're gonna if you're gonna find it on our website it will be under file they're all under the files free to download all right now i've got a good question from brooke i love it and thank you for that question about the color sheet because we're working on that very quickly what constitutes a still life well that's an interesting question in traditional classical terms um a still life was generally an arrangement of objects that you might find around the home and you would place them in a pleasing kind of manner it's anything that isn't in motion things that are not alive so keys could be a still life a pile of tomatoes could be still life a vase of flowers could be a still life um as modern art move forward you know the kinds of things that we put in still life actually changes and in uh modern still life you should be putting your cell phone your your the objects that you use your key fob like those little elements should be sneaking in you could be doing like a dutch classical which is you know when you think of like a full meal in some like dead birds on the table if you've seen those yeah fish and all that i heard the rumor was that it that artists used to throw down with each other by putting things in the still life that would deteriorate over time like fresh fish yeah well that means you can paint fast enough you're either wealthy enough to have the fish and you can paint fast enough to capture it also here's why artists do still life though there's an important thing to understand about artists doing still lives still lives are the most commercially successful subject in painting in other words people who buy art are most likely to buy still life i think it's even ahead of portraiture and so when an artist is trying to make a living especially commercial you know an artist is trying to be commercial they're going to paint still lives because that's what you know you can hang in your home right a wonderful vase with some beautiful bright tomatoes is lovely in your kitchen it is it just is let's see how this transfer did shall we and we'll take a oh it did not do great so it's there it is there it's super what it's here's my word guys and i'm i'm gonna do a thing very very light yellow but you can barely see i'm going to add some stronger lines just so you can see some of the major objects because again i'm comfortable freehanding it and on your own painting the reason i like this yellow so much is that it does this light transfer that is one of the things i like about it is that it is a light transfer um and it doesn't stain up the paint very much especially on something that has a lot of white like this does but you may find that you want slightly stronger lines and so what i'm using is a watercolor pencil and i'm going to use a watercolor pencil because it will vanish fairly well why is it and the watercolor pencil is it dissolves in water yeah it doesn't have any oil or grease in it so it's not going to damage paint there we go so sometimes you might do this you might say wait what's going on here and then you know come back and be like oh no i don't want to end up with peaches i do want tomatoes don't get peaches so this is me just making sure that you guys have something that you can see and we will be doing the cloth in such a way as to not bother you guys it's been a long day i can't even tell you how has your day been i know yours i mean theirs looking pretty good yeah yeah their days looking good well everyone's excited to be here oh that is very good this is actually again this is one of those things it's going to come out lovely and i'll just uh kind of mark this in i don't need every line there again for me sometimes i don't need every line it looks like i brought this a little placed up maybe a little close to the edge so that the table is going to be coming to here so that happened you may want to improve structure lines in your traceable anyways and by the way that's okay to do is that showing up a little more the reason why my why am i bothering to draw these in i want you to understand if you were just sitting in a class and you just had a pile of tomatoes when you were beginning to lay it out the teacher would be like you know you've got to sketch this out this is all they're asking this is all you would be doing drawing for art is so different than drawing right we would approach this completely differently if we were just drawing it and i should do that class someday where i'm like how i draw it differently than i would sketch it for painting because it's a completely different process but all you want in painting is major structural lines and spaces you want to know this is the background this is where the folded fabric is this is where my bowl is my tomatoes replaced your major objects just their structure lines all right let's get a nice picture of this and put up step two so weird deviation but you saw me deal with light sarah paper you leave yours light if you can see it with your eye and not get lost it's dark enough you can always come in and darken it if you need to but if you can see it with your eye that it's not going to stain up your painting and less is more in this instance but for me a video teacher you being able to see the lines is kind of critical so sometimes i have to make a different decision about what i'm doing on my canvas for you guys step two sir step two we can do that so in step two we are going to do what i have referred to on the channel for a long time as there's nothing there oh it just went the wrong way there we go now we're getting there okay um it was that on the video or just for me there you go it's all there okay so uh we're going to just be doing what's called blocking in which is where we do large fields of color and kind of identify each major structure with a color paint or value i'll start putting my paint out john will take a picture [Music] like he is we'll go over the paint colors and then we will block in which will be what we do in this next step which is pretty easy actually locking in is a nice way to warm up in art um because it's going to let you watch me not put this cap on correctly if this doesn't go on this time you all have permission to mock me relentlessly let me get all over my hands why do i wash my hands do nice nails let me put out these colors and we'll go over the colors and then again they're in the description the colors that i'm using for 2021 are in the description and we will be using them pretty thoroughly through that year i don't think i'm going to use mine tight-knit yellow in this particular painting but i am going to use a lot of cad red and cad yellow i'm going to use my sky mix that i taught in my 430 colors with my phthalo blue my ultramarine blue i definitely am going to pull some black into this i might use my tiny yellow we'll see how as we go right well it could happen we won't rule it out completely but mostly for the most part this should be a fairly neutral still life like the colors used in it should be kind of neutral kind of reasonable and i may put some more yellow there as i need it but overall what i expect to use for this live stream which will be corrected by the end because then we'll know you won't be wondering will wait the mystery will be over um is cad red medium phthalo blue ultramarine blue phthalo green burnt sienna cad yellow titanium white mars black i don't really expect to have to use more i don't i might be wrong but i don't the first thing that we're going to want to do is paint in the background and i'm going to just grab a i didn't bring my other bucket of brushes over i'm just gonna grab this brush because that's well no i need a bigger brush john i need my other bucket of brushes is what i left it i'm gonna grab this big brake this is a number 10 hog brush this is a cambridge i'm just looking for number 10 bright with a stiff filament that i can mix oh thank you thank you thank you thank you um that's not them but i love it it's okay it's okay i will i have a thousand brushes i can get through i can really get through with three so we're gonna let it go we're gonna let it go i love you because those are gonna end up falling off okay uh just leave him there just leave him there let's just he's so helpful and i really appreciate it i'm taking my phthalo green and my burnt sienna and this is again blocking in which means this isn't the finished resolved painting that i'm looking for if you're wanting to know exactly what brand this is this is a grand prix by silver brush limited i will be moving on really soon and into other brush lines and stuff but that's what this is and we're going to paint this around i would say one of the tricks will be how to have the stems at all show green on green that's always one of our big challenges as artists is getting the green on green to work i'm going around the object and you'll see that i use the edge of my bristles to kind of control my spacing at this stage i don't need to be concerned about how pretty the paint is laying down in any way because there's going to be so many layers it's really not that important i'm going to dip my brush in a little bit of water not too much because when you're painting with hog it can pull hold a lot more water than a synthetic brush and so you will want to be aware of that when you're painting but i know where everything is now don't i mm-hmm so i'm looking to make sure that everywhere that i have green background i've got kind of a dark green to work with wipe off and i'll rinse out where i can use this brush i just will and then if i have to move to a number cat's tongue or something going through um i will switch it up okay so i've got my pitcher my folded cloth my bowl my tomatoes this blue object and my wood so an easy place to paint would be the wood and i can just take a little black and brown my burnt sienna and my mars black and just paint in some of this again at this stage it's not neat and tidy one of the things when i used to paint uh live places right um i would be in the stage of the painting because you start from a blank canvas and this is the weirdest stage of a painting to let people view because well it's kind of ugly in this stage it looks raw especially in acrylic painting i'm just kind of pushing this back so i don't forget my lip so it's important so i'm looking at object placement making sure that i've got what i need where i need it or around my tomatoes and i'll rinse this out i'm going to take a little of my ultramarine and yellow blue this is like a a really traditional blue that you see in a lot of farmhouse artwork and so it's a good blue to know how to make and i'll put in details a little bit later for right now i'm just trying to get the major object painted in let's see just a blue object just paint it in roughing in under painting is another term that you will sometimes hear people refer to for this if you are unsure of your final composition you may want to leave more of your anchor lines your structural lines oh you know what i am going to put out though i'm going to treat myself to one of my very favorite mixes my dioxazine purple whenever i'm doing reds and i really love to do this with cad red and it's kind of a thing that i'm you know it's kind of a me thing i like to take diox instead of black or blue to darken my cadmium red this is doxazine purple and you'll see it does a beautiful job of darkening it but what also happens is later when i go to pull it into the red it will allow it to be even just redder and oranger it's a really cool trick sounds like it i like it it's one of my favorites third painting today knocking them down knocking them down i'm getting ready for a very large daily painting project for you guys and that means that i have to do a little more than a daily painting to get ready but that's good for me because that's that's where i kind of get into what's going on for me well just putting in these values to know where certain objects are i might go ahead and for some of this space i may go into a smaller brush i'll go ahead and get into one of my cat's tongues you could use a filbert and i'm going to um make some gray just gray really not that much deeper than that and i'm again for me i don't have to be that neat and tidy because we're just getting major values worked out not even values just colors just blocking the spaces just blocking the spaces in to say there's a thing here and a thing here and plenty of time in the art journey to paint it in a much more particular way plenty of time to play with value and highlights now coming on the inside of the bowl i may do a lighter white i'll come back to the tomato in a second i might come right here just along there slightly lighter weight just have to be able to tell what's going on here so i could come along and just get a slightly darker black and what this is up against and put it right here just so that i can tell the picture from the bowl enough just enough to tell the pitcher from the bowl it's messy in the beginning easy for me to handle because i know it's going to work out you can look at my other paintings if you're like oh my gosh where is this going to go look at the other paintings they'll have it other underpainting stage but for you the new artist being here and having it be this messy can be very disheartening if you don't have somebody say oh yeah that's totally normal it's awkward growing up and sometimes things feel uncomfortable these are normal growing pains yeah you don't have to feel weird much like the green background i'm not being particularly um fussy look at this it's just very rough i went and grabbed a light so i'm just creating a highlight that kind of goes here just to kind of think about the turn on the handle and then again we know that there's the folded fabric here it might be a little bit lighter on the back side just so i can see where it is you don't have to you can see i'm just doing a slightly lighter thing just so i can see front picture back of the picture that's all you're saying even said anything super fun yet nothing just weird and all the same value and background painting a little bit of ducks purple and cad red now i do like that this tomato kind of goes up above the bowl so i don't imagine i will lose that and remember i can paint anything back i just need to know where everything is in relationship to everything else adjustments needed to change this piece up we will do easily as we go good time to change out your water and we're going to call this a step and i'm going to sip my coffee yeah yeah sip sip it i'm going to have you heat it too okay well john's doing that i will check the chat and talk to you guys while he's heating my coffee taking a picture and getting me fresh water nothing for him to do why don't i do this for myself it's because if i back up the chair a whole bunch of lights break we actually tried that earlier today who else would talk to people apparently i i was watching the show so it's like you don't need to be there and i'm like yeah take me home take me out am i enjoying not now am i enjoying youtube no not that much your guys's features have been bugging me lately ah here we go all right yeah okay sorry you're microwaving that okay so in this step in step three we're going to begin to resolve the texture and lighting and effect of the background and start pulling through values in this type of painting being able to get a dark a middle and a light value a dark gray and metal gray and a light gray is really important in fact if you can kind of get those for each object you will get through most of it another thing that i'd like to tell you about painting is that more than getting the exact hue if you get the value of something how light or dark it is you will end up with a better painting that's much more critical than the exact color mix so you know you'll hear me a lot saying the hill i want to die on the hill you want to die on is grayscale more than color though i do think getting color mixes is wonderful is my phthalo blue semi opaque or opaque says lovely life lovely life wonderful online name they're all transparent and here's how you know if you want to know how your tube of paint is on the back it'll say tinting when they say tinting that's what they mean is how opaque it is so uh height a high tint or low tinting and then where's the other one and you can see on this one see how they did a paint swatch there and so tinting might be very staining uh light fastness one somewhere on here it's going to tell you how transparent there it is that little transparent or opaque right they're saying it's about half half it's kind of transparent phthalo blue phthalo green yellow they all tend to be kind of transparent so blue so there's somewhere on every tube of paint some weird little symbol or indicator that will tell you how light fast it is what color it is what real color it is because it'll tell you pigment like this is uh ultramarine blue so this is pb29 all ultramarine blue is going to be pb29 even when they call it winsor blue create a tube of paint and it will get you through all right uh amy over is like hill i want to die on all right so in my family we have this thing is this the hill you want to die on which means what battle do you want to have in any in any situation right there are certain strategic areas for which you need to hold that hill am i not i think i also have 10 shoes i i also read censors the art of war when i was a kid why i don't know it just did um but that concept that there are areas for which the fight is worth it and there are areas for which the fight is not worth it and in my i have a belief structure of what is a key to happiness and one of my keys to happiness is you do not have a battle you do not need to have you don't have to have every war i'm always telling my kids you don't have to fight every fight you don't have to have any war there are there are things that are super important right they're so important it's worth losing friends over it's worth upsetting people around you like maybe this like it's an issue of humanitarian need that's maybe that's a hill i would definitely die on to fight for the rights of people definitely i will make myself uncomfortable but um somebody's right to eat brussels sprouts i hate them i'm not for them but i'm not going to stop you that is not my hill right have you ever noticed some people though they want to die on every hill they're just emotionally exhausting you're just like you don't gotta have every fight you really care if i brussels sprouts we don't care really it's not in your mouth that's that's it uh robin b says my outline turned out really light even though i pressed harder yeah outline can be light which is why i kind of traced over and as long as you can see it you're okay if you're having trouble you're going to want to light it well and just go over it with watercolor pencil or little paint uh choose your battles is the much more succinct non-wordy non-two-hour way of saying it uh robin b suggested that choose your battles yeah you're choosing your battle not every war is worth fighting they just aren't all right back to my reference and your lesson shall we yes all right background um and this is really good to talk about this is a very different hog brush than say you know a simply simmons hog they're all hog though sadly they're all hog it's all wilbur um and what you like about that is the way they hold water the ends are kind of split or flagged and they make a nice diffused line that's why you choose it as a as a brush right they come in sizes this is like the traditional 10 bright i'll get the 8 because that's what we always have for acrylic april and i am going to create a brushless guide at some point here because i'm discontinuing the brushes i use or mine or whatever makes it hard on you don't really care about the ego situation to me but i do care about your experience and i just want you to know that there are many hog brushes many and they're all good right you just want the bristles to stay in and the length out to be good let's make a background this background is a little bit of burnt sienna and phthalo green and some cad yellow right when we want to lighten it we'll go more cad yellow and when we want to darken it we will go more yellow green and we're going to begin to lightly brush and the reason i am lightly brushing and if you'll notice kind of hatching or weaving my strokes is because i don't want to have a direct line i may come over and get a little white notice this right here for the light area on the wall so somewhere this lovely person who set this still life and i want to tell you in photo references and i have looked at no less than bazillion d still life photos from pixaby from paint my photo from shutterstock from everything people who do a good still life are rare and few between if you're on paint my photo there's like one guy he just like the most amazing still lifes but like it's very rare to get a good still life if you want to make it less saturated you just add a little more brown and how we just less saturated the green with a little more brown what's nice about the green in the background over here is that even though this is maybe perhaps a little bit transparent the green being under it actually creates a depth of color or layer that you might like you should like as i go down the wall i will be more brown and more green because we are further away from the source of light i'll come back into my tomatoes a little bit and over my bowl i can put my objects back over my wall i just want to make sure that i've got a nice depth nice deep depth you want to make about the same deepness of color and will enlighten it as you come up all right you can see i'm just being very rough with my brush that's the other reason i like to have a hog around i don't like to be this rough with synthetic um synthetic is harder to reshape maybe that's something i've never said on the channel before why why do i have hogs if synthetic brushes are great a hog brush because it's a hair because it's a bristle it can be really easily reshaped with traditional brush care processes a synthetic brush can take a little more work to reshape so i can be very hard and scumbly and rough with my hog brush and get some great wonderful diffused effects whereas a synthetic brush i can damage it and really struggle to get it back to where i want it get a little more green i'm taking this background super serious and that's okay to do guys that's okay to do it's okay to take things seriously like i don't know if any of you uh ever watched the crown on netflix but i got really because you know kovid got sucked into it like everything on netflix i think i've seen everything on netflix everything everything so of course i got really sucked into the interview of megan merkel and uh prince henry who is by the way if if if these are your monarchs and this is your royal family i totally get that your experience uh or feelings around this could be very different than mine right because my whole relationship to uh the royal family is you know tv shows it's the crown you know broadcasting whereas you know if you live um under one of the places where they are your royal family you know completely different thing so i get that but i am sucked in completely just just so sucked in i'm like what will happen next well we'll go on and and then of course hoping that a bunch of it will make it into the next season of the crown because they said they weren't going to go uh very far into it like with with diana and charles um but now maybe they will i'm just hopeful because i'm like look more stuff is happening that you could write about and make a show about i don't think okay and this is how into i'm in you know how like with one division i watched all the shows that break down i'm just adding more dark value down here guys same thing i'm doing over here i'm gonna do over here with my brown and my yellow and and my white so just like on one division where i took a super serious and i watched all the breakdown shows with all the easter eggs i did that with the ground because i wanted to know what was historically accurate and what was made up for the show is it canon yes is it canon okay so this is you are like these are my rulers and this is very important and i get that i'm like is it canon did she dance did she dance for giles i need to know so you know i'm in a slightly different place and then of course for me oprah is everything like for me oprah is everything i'm so glad i was able to grow up with oprah winfrey um but what about that green this green is now a little more yellow am i waxing too much on oprah i just want to make sure you cover the green i am so how i'm lightening the green is i'll go into yellow and a little bit of white down here towards the edge i'm more into the green and brown less of the yellow and white to deepen it and i'm going to keep brushing layers notice that i'm kind of glazing and brushing layers i did and that's going to help us create this diffused background still life background for the wall so oprah's everything for me she's probably like painting with me going okay that's great girl but tell me about that background tell me about that background that's probably over right now don't make me call you up and give you heart attack with my actual voice on the phone don't make me do it because i know you're gonna like totally go crazy you know that's probably a thing that she like has to resist doing like you know i would call you and tell you to act right or fix whatever it is you're fixing except you would just freak out that i'm calling you to tell you to fix it because whoever it is would listen it doesn't matter how long she's been off the air and i know i know ellen's been there like a lot like all this time now but and total respect to alan she's wonderful but you know oprah is my everything if you just got a call middle a day from oprah saying you're tying your shoe wrong and you need to do it right i would just change how i tied my shoe i would just change how much time i shoot it wouldn't matter what she told you i would just change how to tie my shirt she can say you're filling your glass of water wrong i am adding more white it doesn't matter i'm adding more white and yellow and i'm just taking the time to build this up do you guys see how i'm building it up i'm also another thing that i'm doing here like here i'm going kind of the brush is almost perpendicular can we see this uh yeah we can because you're amazing john to the canvas it's very leaned in a little more yellow a little more white you can really get in there and i'm try brushing and allowing a lot of what's underneath to show through so we're getting these wonderful like aged patina light effects i'm really starting to just love this background so much yeah oprah did do that she would like drive around the neighborhood and be like stop and knock on people's doors and be like you can't let kids play in the front yard it's super dangerous i would just die i would never let my kids play in the front yard no but i would just be like over just told me not to let my kids play in the front yard i wouldn't i would be just for a week some folks were asking about this art not oprah because you're like i know who she is she's got a channel i'm good were they saying that folks were asking but the the painting seems a little dark and that's partially because okay so if you've just come in and you're like that painting is a hot mess why does this woman have 600 000 subscribers what on earth is going on we are at an underpainting stage so these hot messy areas these hot messy areas will become refined evaluated elements of the painting but one of the first layers of a painting one of the first parts of a painting is that you need to block in you need to create space to say pitcher tomato tomato tomato and in acrylic we tend to build up from dark layers into lighter layers whereas in watercolor would tend to go from lighter layers into dark layers so if that was was that the question yes okay and i will add to that our cameras are adjusted to make sure we can see all the fine subtleties between the darker shades during the undercoat during the underpainting and as we move up in the in the in the in into the brighter and brighter colors you'll see that uh yeah it will definitely lift up i just rinsed out my brush and i'm just gonna make sure that i've got you know these fine little layers it's a good time to take it out behind your picture and things as well and the reason you would do it now rather than later is um because then you can paint your picture over things and you'll get a nice sense of real evaluated shadow evaluated shadow shadow i evaluate you and i find you wanting so i continue to paint you look at this wonderful wall come together one of the great joys in painting is when you get to paint a patina patina is that aging and resurfacing effect that happens in some objects as they oxidize through time and by doing this right here i'm creating this really vibrant wall i'm also helping create a sense of dramatic lighting you need some drama some drama i'm taking a little bit of my phthalo blue and my burnt sienna and i know where my i know where my scarf is i know where my handle is because i block them in so painting over it at this stage isn't going to harm my painting the other thing about this that you guys might not know why did i pick this photo of all the white pictures with fruit would i pick this because of orange and green being a compliment the tomatoes and this background being a compliment create dramatic interest even though the pitcher and bull and everything is kind of white and the blue in that also in there right it's really blue and orange but you get what i'm saying you do you do so we have a lot of really balloon oranges the compliment getting through there did i hit my drink my coffee while it was still heated yes if you don't think this is crazy and you're kind of curious to see how it works out hit the subscribe button what if you do think it's crazy it's okay if you think it's crazy okay you know what you've probably been through a lot right at this moment i just fell into this video and i think you're crazy it's okay is this is this a place where you would call a delineation between one party no no no no don't don't i'm just asking general questions don't ask general questions they're not allowed to take a little more yellow on the canvas i'm using a wet palette so this is a masterson stay wet palette i'm using um it's like the 12 by 13 i have the exact one in the description and the one i have comes with a couple um sponges so it's got a sponge and that's got the special weird paper and i have a lid so i can um rock from one painting session to the next and it also keeps my paint from getting right out this is the last layer you notice this is kind of significantly lighter than what we've done and i'm coming over just the tooth of the canvas this can be a little harder if you're painting on paper which is why sometimes you may want to texture your paper if it is not already pre-textured and you would do that like with a gesso and a knife or some you can like actually get smooth paper and texture it with mediums just so being a good one modeling paste being like a really good one i'll show you guys how to do that sometime but a lot of the papers like i recommend frederick's canvas pads it actually is canvas stretched canvas and so therefore has that what are we doing here we are talking about the light now are you dry brushing there i am very much dry brushing hair i'm not getting into my water i'm light pressure i'm just lightly dusting dusting dusting dusting surface and then where i have an area where i'm like oh that's a little bit of a directionality i'll come back with like this yellow into the grain grains that go into the green and yellow i'm gonna come back like this and just really make sure that my light is so super diffused it's just gonna be so all right i feel good about that that's maybe where we call a step that's a background my friends how much paint can a dry brush brush if a dry brush has no water a dry brush can brush the amount of paint i don't know how to do the rimey part and i really wanted to pick that up because that was a good he launched that to me so well wasn't it that was like a gift and i looked at the gift and i went but cute fun uh woodchuck reference aside um you want to go on your dry brush uh so you can see there's barely any paint look at that look at the brush that is dry i have some videos that kind of help you troubleshoot this stuff as a new artist and and again the magic isn't in the brush but it certainly doesn't hurt that it's stiff and scumbly stupid scruffy never never never never never never never never throw a brush out you never know you never know but i feel like this has got a nice glow into it that glows creating some drama and some basic good still life principles that are happening there all right we did that for a minute and sometimes it takes a minute guys sometimes it takes a minute the more you know oh my goodness let me see where you guys are at i'll visit you real quick because i'm there now um i'm going to catch up to the chat because you guys have been going how do you guys love robin b is sporting the new uh emoji um the color wheel emoji and then i have a new sippy sippy emoji for you guys that are an emoji club um so that's that's what it is that's the whole thing you can get emojis but i did draw so that's something um all right so uh lulabelle hall saying her mom is 4.8 name of carousel please okay guys this is the pioneer woman carousel from walmart it is the most active susan we know yes most active susan most active susan bill and ted bill and ted says she's an active susan and i shouldn't shouldn't disparage shouldn't hassle her should not she's she's her work and susan should not ah oh my goodness oh i see a little bell hall is throwing them up and then uh everyone is saying how tall they are listed whatever linda says it is not true she is shorter than all of us this is not an invader zim it is not the tallest i am the tallest you're the tallest you're the tallest actually i was while i was watching the interviews of meghan markle and prince henry i also watched that thing about lincoln that dude was tall was it well world with the hindmost not well world no what was it with the it was invader zam no no no no no there was a book was well world no it was definitely not well world it was definitely not well another one that had another character like i just almost turned it out right i was almost like listen you it was not well world don't you bring navra chang into it all right this is my hex and i will not have blasphemy in it oh my gosh the centaur hex was like everything to me somebody's going to remember what i'm talking about and be like wonder how many people here even read well who read well world did you read well world did you like a bazillion of them uh john is uh six foot four and i am five foot four so we're like a foot apart but he's shrinking i'm probably also shrinking but linda's shrinking faster if you were to ask her she's eight foot three it's a scooch taller than i am miles taller miles i can get to things in the cupboards much higher much higher honey is taller than all of us but nobody tells you that because she's already bossy in 16 so we can't tell her how tall she is in this step so i like to kind of paint objects you know and build them forward i find i like that layering effect is it necessary no you could paint all the tomatoes first and then kind of paint around them it's just what's comfortable to me i'm going to take my number eight uh cat's tongue here yeah which is just a point in filbert you could use a filbert you could use round you could use a break you are not stuck with this brush unless you want to be just trying to get them all sold out because we can then move on to the next brush that's actually true they should be very worried um so here i am oh i went to the wrong thing john's like please don't difficulty in our life i'm gonna come right here there is nothing you know i'm just not the girl to mess with i'm not i never have been i tell people and they were so nice and they don't believe me and i'm like i read 10 so sweater for when i was a kid did you i did i don't know why i did though i think i don't remember why i did i had a good reason i had a good reason at the time that his lip has gone so i'm making a soft gray gray comes in 10 scales not 50 10 10 is all you need i don't need 50. don't need to get weird up in here though if you are i support you i'm not here to judge unless i'm an art judge then i'm totally here to judge we're going to put a little brown into that mix and we're going to push this into the background and we're just going to paint a few little folds of on our fabric right pull this down get a nice soft covering in the fabric i want kind of a different texture and feel than i had in the background of the wall definitely want to bring a little bit of fabric forward i'm going to fold back here because you know like you do i'll let that dry for a second i just want a soft gray and come into my yellow and i'm gonna mist everything because even though i'm in a wet palette we've been running the fireplace all day yeah and i forgot to put a humidifier back here it's true you did yeah which is my nice way of saying i'm gonna come right and i'm here the toe of the brush and i'm going to just start to paint bowline it is a little bit brighter back here is it yeah because there's little light going into it the way they lit the still life allowed the bowl to be bright and cheerful i'm going to turn my painting some and that gives me that nice little ellipse inside there now you may have noticed perhaps you did that the fold of the fabric is a little bit brown black and so i can come here very easily and put that in a little bit of a fold of a fabric this will go better than the peaches don't worry i had a weird paint painting it's just it went pear-shaped on me a little bit of a fold there the space between this light fold and that is pretty it's a very light difference i don't know we're really going to see it that much between this two just add a very light gray but that's all i'm having to do to kind of get the sense of that there i don't have to worry about too much right here because i've got stem i've got stuff it's just more important that i get value yeah these will really show along on the edge of my brush and these will really show as we get the tomato and in more objects and the bowl itself becomes more painted but until then i'm going to come over here and say that there's a fold in my fabric that goes this way right and then there's a bit of my fabric coming up i'm going to curve my brush and it back because that bit of the fabric there is on a roll which is actually really true it is on a roll i want to paint the roll and i want to paint the top of the fold here if you're ever trying to get better at your value and it's been a minute since i've done it but i probably should get back into it you should do still lives and the still life you should do is folded stuff folded towels kitchen towels crumpled paper crumpled aluminum foil because these things ask you to see lights and darks and the way lines work together to create form that sounds like a pretty cheap way of doing it too it really is i mean you could spend a lot of money in art school if you want it's also okay but you know what they're gonna do when you get there put a bunch of trash on the table until you paint it so you might as well just do that at home you can skip that section they'll not only put a bunch of trash on the table and tell you to paint it they'll tell you to say thank you for the privilege it has been arranged in a very special way so excited when we got like bones or something we'll have to talk about the abuse that art students are suffering right now at the hands of their instructors nobody's speaking up for them so i'm adding shadows and i'm just starting to create that sense of form that's how we're going to paint whether you're painting a dress right or you're painting a folded napkin this is what you're doing it's always this never something else let me get into my brown a little bit because we've noticed that we put rounds kind of on the background a bit right i'm gonna add the brown hair part of the brown fold and then a little darker brown kind of on the inside there's a bit of a curl here i am taking advantage of the fact that i can paint a little messy on the pitcher side because i'm going to bring clean line on the pitcher side down so that gives me some opportunity to be a little risky just keep putting that right here take a deep breath guys you've got this it's just incremental this is nice all you've got to do is the new painter is really try to look at it and see what's light what's dark that's what you've got to do all you got to do is be patient with your process and not get too mad at yourself when it takes a second to get there me too it's not particularly different for me either you don't have any secret skills i have years of experience if that's a secret skill time in grade i have a lot of really bad bad still lives behind me many of you coming by were like is this one of them because it feels like this is one of them but it's not i promise it's good by the time it's done everything works out in the end if it's not working out it's not the end continue to very incrementally add dark values here and you can see that it's starting to be fully folded fabric really is starting fabric seems to be one of those like you know um a little bit more advanced topics for artists it is but it's a good one to take on if you can because i've just added a little bit of black and then i'm gonna soften it through here with the brush and so i'm just trying to define and create a fold now what will happen is you will get to a point of diminishing returns especially with acrylic where you need to let the paint rest a bit so you can kind of come back and add another layer to build up that density the wonderful thing about that is that guess what there's other stuff that needs your attention right now like the top of this fabric needs a little bit of extra white white a little bit and coming through here this little bowl a little bowl i'm going to actually put a little bit now of my ultramarine into my gray a little ultramarine into my gray and the reason i chose that is there's a slight blue cast to the gray over here because these things are reflecting up there's reflected light so when you're doing any painting you have these things happening but they're obvious to you in a stillway i'm going to just make sure i've got the belly of my stella kind of correct i've got a i want to make sure that my little bossy bit looks correct there we go i'm just looking for that line on the vase a little more blue and a little more black i'm going to also try to come under here and speak to the curve of the bowl under curve of the bowl nice over the bowl there's a sort of wonderful patterning here to get into actually i should probably dry that and sketch that in with chalk and then follow that in i'm gonna dry this all right make sure that between those layers thoroughly dry all that stuff up that's what she's checking i would have thought that she wouldn't have taken that long to dry this but there she goes okay now i can push back so what i'll do is i'll take a chalk pencil and i will make sure that some of my structural lines are considered and i'm actually going to give myself a nice lip that is consistent right so if i'm like this lip which is the same everywhere comes down about that far then my divots in have to be more like this down here to look correct and we'll want them to face in and this way they're going to kind of come from each other that way sometimes it does you a good service to check this kind of thing right sometimes it really really is your friend take your chalk pencil and go where is this object and what do i need to pay attention to you can always come back right you can you can always come back give yourself a chance by using your chalk tool to think about what you've got now i will actually get into either a smaller brush something a little more controlled um maybe uh num a number four round have something like that and i will do some more of the detail painting with this and then get back into some of the blending and everything as we go so we know now that it's going to be like this yes it's a painting it doesn't have to be an architectural wonder and remember that it's a painting it does not need to be an architectural wonder but there are some things like like when you're painting cars one of the reasons i'm always so reluctant to paint cars is there's just some things you have to do right or it's just not going to work yeah it's true and in when you're painting a bowl or anything that has distinctive you know for sure structure you've got to get it so i'm going to get white i'm going to be working my ultramarine blue my black and my white to create a grayscale representation of what i'm seeing like over here the shadow is more on the left side i'm just wiggling the brush what do i wiggle the brush i'm trying to diffuse a line while still painting what i see and i can always get into a lighter area right slightly lighter a little more blue slightly lighter you'll be like later you'll be like this is my favorite thing i painted in a really long time when you finally unlock still life you will have one of those moments in your painting you're like this is one of my favorite pieces that i've done still lives you know they [Music] they're here to uh there's something in my eye help us see put a little reflected light right here and then maybe a little more white there's some very interesting highlight happening over here i want to talk to that a bit and then i can get into this dark color with blue down here on this part of the base oh yeah if i need to just like with those little scoopy things scoopy things being a very technical term don't doubt it um i need to just think about how thick something is and that it's essentially the same thickness everywhere yeah i'm adding a little highlight there and then there'll be like a really intense little reflection right there you will need that and again maybe a little highlight here we're just playing with these values now it is off-white up top but it is still kind of a white so i've got to find a way to show that this object is white while painting very little of it actually white not a fun challenge when you have to show that something is white when you're gonna paint very little of it functionally and actually white kind of dry brush here really light up top like along this little lip i need to add water to my brush i will trying to capture capture capture capture you got this it's okay to be reflective and still in it it's okay to be still in your still life that's all right we don't mind we know what's going on it's a still still life it is still still life and sometimes your still life will be still it's a little too bright for that area so come back interestingly enough i do see a little bit of green in that reflection so i want to show that there now i'm going to come in with different little bits of color in my white reflection because white sees a lot white is never white unless it's in the snow almost there's always if you've got anything sort of ceramic or reflective where cast light can have an impact you will be in a minute painting what is going on even here there's just almost really weird casting from the tomatoes that we have to talk about okay i'm adding a little that tomato yeah a little bit it's in the gray we haven't like left it wow shape really comes in yeah and i use dry brushing a lot just to soften something you know and then i can always come back if there's like where i feel like there's a highlight i've got to like on this side of the ridge is there a highlight maybe on this side of the ridge is there a highlight maybe softening using dry brushing the reason it's softening using dry brushing kind of works is that you've got your shading in there but if you want to soften it you come through with a little bit of dry brushing and you'll notice that it just diffuses it just a touch yeah that's kind of key there i'm going to get a little bit of my red and yellow and i will go ahead and let it get into this gray just a little bit right there i like that all right let's call it a step because that was a lot and we need to eat coffee really good keep going as we go because we're only going to get to this beautiful still life if we just do the layers you got to do if you want to do the crime you got to do the time which i think is generally i'm not sure sociologically as you can see it but it's a great statement for painting if you want to do the lime you gotta do the time yeah maybe i'm gonna let you eat my coffee i'm not going anywhere i'm not going anywhere why i don't know because now all my paintings are a million hours long but it really what it is is that i'm trying to teach you guys a lot of skills and techniques and um the joanie is bringing up that this the scoops in the bowl they resemble an archway but they do they're like you know that beautiful white ceramic and there's those little moments in them and that texture plays against everything else that's happening uh tammy says hanging in there ducky uh lulabelle says the bowl looks amazing at amy's like humans are weird you know which i have to agree with all right ah crafty jen says magic i swear hope that was for me that might have been something awesome that you guys do together in the chat because honestly you guys are incredible isn't this just wonderful so what we're going to do now is we're going to come back over here for a minute what i find in painting what i do for myself like right now as i'm doing a painting two paintings three paintings a day um is i i give myself a mental rest maybe not a physical rest maybe because i'm going to another section of the painting i'm going to miss my paint here for a second um you know maybe it's not a physical rest per se because i'll go to another end but i give myself a mental rest where i disengage from something for a minute i can come back to it super easily i can come back i can visit it again i can look at it again and evaluate later right so it's without stopping because sometimes we do get up and we walk away but i like to just kind of let go i'll go over here now or i'll go over here now if there's spaces in the painting that will let me go back and forth and there is in this one and again i knew i was being tricky when i picked this particular subject because it looks so simple i knew it was going to be like this because this is where this is where you learn to be a star this is but this is where you learn how to paint um value scale with each other oh karen thank you for throwing up the um theresa m is going uh for the emoji and janet jane is saying good pasta that she's had and then amy over you know i swear cinnamon reads my comments they're always these random comments that i don't always that's so meta in that moment wasn't it i'm sorry i have a really good cackle and i tend to fall into it but it may not represent who i am well so many you can kind of see where we're going right we've got a shadow we're going someplace we're just going to build up build up build up build up all right let's get back into these folds of fabric that are happening over here and i guess i will have to leave you guys for a second and get back into my reference when you come back even with a good one of the first paints i would upgrade an upgrade means by like a a higher quality of paint is your titanium white because the when you have better titanium white you will have more pigment and that pigment will help you work just a little less hard to get the results you're going for you can get into other colors later like i think everybody's got kind of a pretty good phthalo blue but not everybody has a good white and if you want if you want a good experience you've got to get into a good way i'm going to just very lightly i still want this in shadow but i want it to be light so again we're dry brushing as another way of creating a delineation of value and it's also specifically kind of nice on fabric because with fabric when you do this it really lets it the texture show through and then that kind of plays to fabric and i can always kind of another thing is i can on this white fabric i can go into the ultramarine blue which gives me a slightly shaded white that will read a little bit shadow but not be shadow how we're doing a little bit shadow it reads a little shadow not shadow moon mr wednesday i don't know i'm okay with the depiction of odin i think i was much more of an odin fan yeah that i knew like i didn't know i was like fond of norse gods until i started watching and then i was like i don't feel like that's an accurate depiction of a norse god you don't care i don't know i think that fat thor was good oh fat thor was the best thing ever all he'll thought or i'm sorry i know that's a weird thing to say my daughter and i say that whenever we watch the avengers we're like all hail fat thor it's the best thor i mean except for hephaestus in the foundry no even still i'm just tapping and kind of you know how do we how do we find how do we find it now here's a weird thing we can do sometimes we can go in and get a little yellow watch this we're going to do something kind of what because sometimes light comes back doesn't it just did this in some clouds today about that kind of gray light why did that light go so gray i don't know but i painted it anyway pushing that back a little bit into the background dry brushing powerful tool just keep playing you'll find it you will find your moment you well and then you will be like i just got some water which is not something i've been commonly doing here pull this a little bit just holding a little fabric a little white fabric and come back over with a little bit of this yellow and white and see where i told you you're just going to look at something for a minute and then you'll see something else that you want to talk about yep you will you'll see it you'll be like a little bit up into the blue it's still in shade but it's just lighter it's a lighter shading that's what you've got to do sometimes still in shade notice that's just life and you'll see it you'll know when you see it know it when you see it little gray and then if i get into this right there's this sort of like weird even hair reflection coming up so weird reflection for sure it just happens weird reflections happen i'll take my black hair and i'm going to come underneath this i know i'm also going to have that kind of under here and i might as well put it in now the dark the dark oh got the shadow in there sometimes things have to shadow you can always come back and as you probably figured out highlight or dry brush or do things you can but you'll need to have some sense of what's happening when you see me do that lighting it'll sort of line them a little bit a little bit we are not going to leave them lined but we did line them i guess that's sort of the shadow it's kind of yeah i'm going to kind of tap this out it's a little bit waterier and then i'm going to bring this here and i may even come and sort of like look flush it with my finger ah that's a that's some splendid skills that's just a way to get there you know you need to have it you know you do do i you do do i you do okay i i didn't know it's not optional whatever you've got going on that part's not optional all right there we go all right there we go we may also need to get towed we have tomatoed we have tomatoes and tomatoes i'm going to come under my with my blue mix wrong button there it is there we go it has to be under that fabric has to be a lot of other stuff but that's got to be there in order for it to layer correctly yeah i'm going to be doing a lot of that through here there's just no way around it now while i'm here right this is all having kind of a rest i'm going to get my dome my round blender and i'm going to grab a little bit of my uh burnt sienna yeah and a little bit of my yellow sometimes even a little bit of white a little wood i don't know it sounds bad but we are going to pull a little bit of wood that's you know that's what you gotta do when you're painting a little bit light pressure not i'm not pressing are heavy okay that's me doing are you all right because the dog just ran this way i just dropped stuff did you drop the mic no the mic is very expensive and attached to several cable clamps that keep it from falling but you're not that was that was a universal hook tool all right just getting a little bit of that so wood has a lot of color a lot of texture it's orange it's got yellows in it it's got browns it's got blacks and we want to like kind of play with that a bit so i'm gonna at first i'm gonna take my black a little and i'll come here and make some little loops some wood grain that i'm going to begin to speak to go up and loop in and it does not have to be perfect at this stage we are starting out he's the beginning lots to do where we just begin so again with the black the pressure is quite light it's easy for me to come back and lighten but i've got to get some stuff in first i'm going to dry this okay got to make sure when you're putting those little layers in there that thoroughly dry between them because if you don't it will pick up the under colors and can muddy the next layer you're putting on so especially when you're putting highlights like if you just put down some black paint and you're wanting to put a little highlight over it it will immediately pick up and make it gray which you don't want so if you dry between layers that's just a you know example of what will happen so make sure you thoroughly drive between layers then you don't have any of those problems and you can have all of the cool layering of colors cool layering of colors it's always fun because that's what we do i'm gonna take a little bit of my red over to my yellow i'm gonna make some oranges as you do and then i'm going to get that involved with my brown and a little bit of white i have a different personality that come here it's real tough you've got to just sort of have a very light touch um you don't want it to be white it needs to be distinct color but we're going to be doing the blue over it okay that's why we're bothering to get it in now i like to build my wood up with layers doesn't mean that i won't come through with some detailing it creates a little narrative but it's important that that it has personality and character i can see that super big deal wow it really came together it does it comes together pretty well i get into my orange a little more to the yellow when i need to lighten it i can always get into the burnt sienna which honestly like once you have other colors in there it's so strange how like brown is not enough firming the little grain there a bit you can curving the grain you can painting the still life you will there is absolutely do and try in so just trying to show some texture and personality in the grain when i have um a surface that i'm like yeah i really like that that's working for me i'm going to come in here to my brown and black no gray brown and black mostly black and just create the delineation of the wood texture i'll wiggle up a little wood and at the end of the wood we're going to call it a stage because that's a lot to take in shadows in the wood ah that makes those those uh little you know wood uh what do they call those rings the little rings of the tree the cut the wood grain yeah john's being funny because we used to do woodworking so he's very aware that it's a wood grain sometimes he likes to see if i'm like awake it's just not my show he's like i'm just pretending not to know things well some stuff i don't know i know like some of it like i know i know you use a brush to paint but i don't know which one like i know it mostly doesn't matter which brush you use because you can paint with anything but people still like what brush are you using i'm starting the shadow that i know is going to be underneath the cutting board no they're serious what brush are you using i'm using a number four round are you being funny no oh yes but no what now i do often use my finger to blend out a shadow called rouging that a number two index it's my most colorful communicator finger my finger of colorful communication that i no longer use because i'm a mum if you pretend i've never used it too that's the fun of being a mom i've never used it ever mom have you ever never whatever we heated up i didn't get back to it in time and i think that's a subtle clue or perhaps a not so subtle clue that i should reheat her coffee on the next step which you know i don't mind doing it's one of those things that hot coffee makes the paint go better but this is pretty i was surprised that wood table came in there it looks all shadowy and imagine it'll be nice as the wood as the uh blue thing comes in there all right this is what we're gonna use what's that guess what we're gonna use is this a step this is well once i re let's resketch in our little cutting board thing and then once we have re-sketched in our little cutting board that we painted over ah i wasn't sure what that was the cutting board you know it was a cutting board i thought it may have been like a blue towel a very structural blue towel i don't know hi i'm the most structural blue towel i to be honest i wasn't looking at the reference picture so i was just looking it could have been anything good about it it's just i'm doing the scoop in here i'm just showing this because you know you guys might be having to put yours back how do you do that how do you find those lines again right so by demoing me finding the lines maybe it helps you find the lines yeah cutting board that makes more sense and now when you put a little i mean there's a towel here yeah so i didn't know it was just another like you know blue piece of fabric but that makes much more sense you know just play with it and try to get general you don't actually believe it or not sometimes it feels like you've got to be perfect and things but you don't got to be perfect all right let's give this a photograph call it a step and we will paint in a cutting board and the shadows on top of it maybe the rope i don't know i don't really love the robe so i may not do the rope sometimes um in an image sometimes i look at something and it just bugs me if it bugs you in the photograph it's not gonna get better in the painting right if there's a weird fence that wasn't beautiful in your reference photo uh you're gonna have to substantially change it or remove it from the painting but it's it if it wasn't cute then it won't be cute now you know like when you have a puppy if it's not cute on a puppy it's not going to be cute on a 140 pound dog even though they may still be cute because he's so cute and then the smithy faces but they're still there 140 pounds they're jumping on you and they're knocking you down and that might be a lot so yeah so sometimes when you look at something if if you're not saying wow i really love what that is you may not be more fond of it from the painting point of it and that's something to think of is do i feel that this is improved by the active painting or is it just that it was there and that's their trash can and i don't really need to paint the trash can on my beach scene you're allowed to remove the trash can from your beach scene it's completely allowed that's like literally the definition of your artistic license here i grant you one right now i'm giving it to you this is your artistic license please take it and use it amply and all you want it gives you permission to just do what you please on your canvas and nobody gets a vote unless you want to give them one but that's entirely up to you your artistic license feel free to drive your art car wherever you want to they've been giving an artistic license where they can do what they want blue board so if you do the full 30 when it's like down low then it's scalding liquid hot magma coffee starts to blow on it a little bit let me see how everybody's doing before we move on to the next segment this is a weird day in my painting world it's a day of painting it's a day of painting i have a few people who are still hanging in with me who knows why thank you for being here it's gonna be gorgeous in a minute it's at the underpainting stage it's at the underpainting stage with the liquid oh tamara is having an arthritic uh act up and i'm so sorry and you know what um you don't have to type we will just send love and light and healing vibes your weight is not fun to deal with arthritis at all yeah uh christine's like i might i'm not using the cutting board or i might reshape it yeah if you're not loving it reshape it that's totally okay that's your artistic license drive right and here's what unlike in a car when you make a mistake and you crash and it's very serious if you make a mistake in art it's awesome i i challenge you to see it like this when you make a whole fire mistake in art you're like if you've ever come back from your pain i'm like oh i don't know what i was thinking that's the best thing that could happen because now you know something about what doesn't work and and and you can see things that did work and what doesn't work and in your next painting you will be a stronger better artist it's a lot like getting in shape without the pain those muscles get stronger but there's hurting along the way this is no hurting interesting no hurting i don't think you think it's interesting you think you want me no i do i'm gonna continue with my number four and i'm going to leave you guys alone for a second well uh not like alone like i'm gonna continue to teach the painting so we're going to do a little bit of our blue our phthalo blue and ultramarine blue we like those as a color you know a good bit and it might have a pitch of white in it right so it's sort of off-white come here and paint in this forward lit and painting this forward lip maybe a little more blue on this inside turn and what i love is this number four brush is like i am the shape of the lip which is really helpful a little more white for the turn coming up the side so my lip is maybe exiting my canvas and that is okay it can do that it's allowed and back into maybe a little more of the blue where it comes forward in the shade and then i've got quite a lot back here that's much darker right now i will be coming back with black with shadow i'm just putting stuff in right now just knowing where it is where is it getting it squared up getting it squared up where it is where it is where it is there we go so we've got kind of that wonderful edge that's lovely that's terrific i'm gonna grab uh my cat's tongue and my two paints my phthalo blue and my ultramarine and some white and a little more weight than even that paint the top of a cutting board i'm not going to take out the shadow and that's why i'm turning here i want to leave my shadow on there leave your shadow under your towel now i am gonna have a shadow under my tomato and enter my jar but it's okay that i start to craft this wood craft your wood on your painting craft it beautifully make sure it's in the right place dry brushing here as well a bit yeah this is this is that stage where you're like what do i have and where it is where does it go okay starting to be a little bit of that a little more phthalo into the blue and phthalo mix and sometimes a little more white even more we're going to kind of do a little rough bit here a bit rough so we've got a nice surface but here's the thing there is a lot happening on this wood isn't there there is a kind of uh too much water on that brush there is a bit of an edge and the wood is a little aged as a patina it's okay to talk about these things i'm on the number four round i've mixed a little brown in my orange again and i'm now painting um some of those little edge details that i have now chip my paint a bit my paint can ship around the corner too yeah doesn't have to just chip one place it can ship a couple places if i want to chip on the front i'll get a deeper brown right where i'm here i want to definitely be a little a little rougher with it i need it i need it to not feel uh super planned maybe a little bit of a white and a blue mix there much lighter i have to put up some more white in a second this is like anything else that you've been doing today now it's important just kind of light a little darker there kind of like definitely going to be darker here looking kind of good now i can go into a hog brush or my little round brush since i've had my round brush out i definitely want to take advantage of the roughness of this never be afraid of that right that's nice and that's sometimes important too to be like able to say well that was really nice i liked that now that was really lovely i liked that around the front with more ultramarine blue come around this side here again this is just this blender i'm just curving that little neck there oh there we go add a little white making rough elements you've got to make your rough elements there's rough elements there's there's rough characters on this board i'm gonna get into my whites put some more out do some highlighting um some dusting some stuff to give shape and form and then also some shadow so i really like this space here i want to definitely highlight some space there so i'm going to get my white and a lot of that over to my blue but i want it to be a light value okay then i'm gonna paint into my tomato a bit don't feel bad about that tomato we'll come back tomatoes not sorry or sad i feel like there's this beautiful run of and i don't know if you can see it from behind the tomato to the corner here on the board a highlight of light might even get a little yellow into my white shocking i know and it's easy for it to go a little green but i'm not i'm not too worried about it and then maybe another little kind of light there and so i'll play with that trying to make sure that i have good light shadow because we need it you could pretty much use any brush in here you wanted any brush just whatever gives you control where you need it whatever gives you control where you need it what you're seeing me do is cast a little shadow all right that's what we're doing we're finding the light find it but you gotta be okay now i'm gonna get into my number four round a little highlight on that wood that also means that i need some very distinctive little shadows a couple places so i'm going to take my blue and black and i'm going to come underneath the board that's a round brush isn't it it's a number four round i'm taking a number four round around the board i'm gonna glaze that's where the paint is transparent like we talked about earlier a little shadow there definitely going to glaze a little bit of a shadow here and then underneath this part of it make sure that there's a bit of a shadow casting down there under here definitely want to cut out i mean these things do tend to tie so i don't want to lose that i'll start with the shadow and then i'll add highlights to create the perspective on the whole because right now it's just a black hole it's just a black hole right now it doesn't really help any of us it's just just to hold a hanging board on with a little blue right here and i create a little value in there right a little highlight right there yeah that's now it's a hole it's all it's a hole it's a hole in the bottom of the board shadows while we're here because i mean we're here so this is a great time to put them in so i'm going to take a little of my black and blue and i know that i've got a little bit coming back here and a bit of an ellipse of one coming forward right because you ha you're going to have a cast shadow like already this blop looks more like a significant blop this blop looks more significant than it did before and i'm adding now coming under my vos which will have an even more significant shadow and creating that little light that comes from behind the tomato across that right that again is so dramatic and one of the reasons why i wanted to show you guys how to paint this here i can also take this moment and glaze very carefully with my brush across that so now you see the vase we're kind of casting a shadow yeah on everything that's what we're going for that's what we're going for oh my goodness let's call it a step and let's paint a vase after this you guys love the beginning of that though starting to see it starting to see the direction we're going know and that's the thing look i get it still lives can be like what why are we doing it what's it going on hang in with me i've got you we will get here because it'll be step by steps there's traceables we're going to write it out yes it may feel like a lot to take in but the resources for you to do it are here and they're free and not some weird extra fee that you didn't expect you're going to have to do you need the resource we really try to do it if you need the resource to complete the lesson i try not to charge you guys for it try not to put a financial barrier between it right try not to put a financial barrier if you want to help me out you know we've got emoji club we've got the patronage and that's really cool but you don't have to do that to get your base resources okay now we're gonna dry this and we're gonna kind of try to redraw in our vase okay kind of see it again just make sure you get a little a little uh dry man that's starting to look like a board sitting on a table top with a little glass there next to it i think it's gonna look great get the tomatoes and the bars all put in there it'll look pretty good we're gonna get it in we're gonna get it in let's see so i'm going to take a t-square ruler and i'm going to come here and say that i need to make sure that the point of my vase is going to be at a similar position to the vase that will do a lot to make sure that it looks like it was professionally thrown rather than are too artisanal to drink out of because sometimes our vases can look too artisanal to drink out of i just want you to see this i just want you to see this line coming down so that's why i'm picking a different so can you see how this line and this line help the vas feel like it's oh that's like a real thing that we're doing here off here right off here we're going to bring this line up and it's going to blend back here because there is a perspective twist on the handle we kind of lost it a little bit in painting the background but we definitely want to put it back right and then here we have this coming back bring your lip around and you can see we're painting in sometimes these structural lines helps us come back and find our actual space so in the handle i'm going to grab some very light color and i'm going to begin by coming up over the top with a very light color things from here like once the fruit starts coming in once the tomatoes which are fruit by the way start coming in the rest of the piece will fall into place and you will be like and if you do this you will be able to paint so much more stuff when you face the life challenge and face that you shall my friends now this deep shadow is kind of like right there and i come into my blue and uh start to paint in a little bit more of the handle as you can see we do i don't want to paint out all of my shadow here so sometimes you'll see me move it up be like no no you had a little fold of fabric and we don't want to lose that as i come up underneath i'll go into my darker blue and black and already you can see that we've started to turn the stem that's really what it is coming down this far end will add just a bit of a shadow on the far end coming down and then as we come back up a little later we're going to add some highlights that will help it really pop away from everything else the back of the base a little bit of a blue kind of shadow and then right here again that we'll speak to in a minute i also like to put one right here i'm going to get playful with it in a second and then there is quite a lot through here i'm just taking my number four round and the other reason the line it yes i'm going to blend this but the nice thing about the line is it kind of sees when will the shadow end and when will the highlights start to come in right and that's important to know and now they kind of know the chalk check you understand why i'm kind of like tomato tomato we'll sketch it in later all right our shadow is our black and ultramarine blue i'm using my round blender here and we're going to start to paint that in cover that in and the reason i'm using something soft is on ceramics a lot of times things are they're not rough like the background right so i want to be able to softly pull this stuff in looking good yeah it kind of comes in real fast it does but you've got to start somewhere you've got to start somewhere a little bit into the blue right a little bit of a blue streak down there we're starting to think about what is our picture what is my picture what does it want i do not know well we don't really know what the picture wants but we will find out as we paint it i'm going to get into my brown a little bit kind of soften the shadow in the picture now because it doesn't really it's not really quite this dark there's a little bit of it that's darker that we can see back here at this far lip but really the inside is more of a kind of off-white beige still a shadow for sure not quite as much is it now i'm going to put a little white paint a little closer to me so i'm not working as much to get to my white on my palette and i may also just dry this layer real fast so that as i build up i get those shocking pops that really helps when you can get those those late you know those clean layers on the highlights that makes a big difference in the in the puffiness of it so just make sure you drive between them i find it interesting that you use blue instead of black or gray to make the shadows well we will get a little black in there but right now if you can even see the blue is it's nice right you really see it beautiful and then we will put in some of our our payne's gray a deeper mix here in these shadows but shadows have several bit there's a reflected light in shadows things are never just a shadow just a highlight there's always more going on another reason why you as an artist are benefited by getting into still life i'm going to get some white here and i'm going to come along the lip with my number four round and start to pull in that you see that right there when we do this getting it to look like very reflective ceramics is going to be about getting a nice evaluation of beautiful reflections in here and then hitting a couple of hot pops of white brush this back here believe it or not if you look right around here there's generally a reflection on the inside of the handle do you see that handle come to life all right there we go there's a bit of a bright intense highlight inside that handle that inside handle pay attention to these little moments they are what makes what you're doing it's like i'm gonna put this back here this little bright spot of light coming through that's a big deal on the bowl you need it um there's little there's bright hot reflections happening there way before we ever get to the beautiful tomatoes there's a lot to do and then you start to realize that maybe the tomatoes are not what the still life is about but maybe it's about other things for you and that's always a good kind of wonderful experience let me come here and this maybe this is a little bit brown and white and i'll add a little water to it because i do want it to flow but now i can just rub with my finger a little brown there orange and yet so very little white isn't it if i need to i will give the crisp edge and there is a crisp edge that's always needed in this space and i will come in and give the crisp edge to that outer line of the pitcher it does need it and it's okay that it does a little bit with my phthalo blue and blue uh ultramarine blue and mars black coming there you know i'll get into the black black for sure underneath be afraid of it needed where it's needed blend it out a bit but i don't take it into the blue there's just a bit of that black you see that you definitely definitely want a deep shadow under the picture just like we're going to want bright highlights we will want bray highlights where they're necessary and i really like a blender on this especially if you're doing cell life especially if you're doing uh ceramics because you can see it gives us a much softer diffuse space and in in acrylics right you know sometimes what they'll say to us is like you know it's hard to do acrylics like oils it's not really they just didn't know the tools very doable and even though you know maybe the blends are a little easier to get to sometimes um i find that because the dry time on acrylics is so fast i'm not even into that much extra time over oils get into my little brown in black and white let's get a little of our red over here a little bit of that kiss of red yeah important stuff right there don't skip it a little bit right there and guess where else there is let's see if i can find it up here you think it would be right there but it's not it's where the light is hitting it's those tomatoes reflecting back into the picture yeah that's what's that's what's the big reflection now i'm going to come in here and again right here you want to have the highlights i'll miss my palettes so i do we do want to have highlights i can't use my brightest highlights until the blending of the pictures in lily was asking is this considered wet on wet um so sometimes when i'm when the if the paint that i'm painting is wet and the paint i'm painting on is wet and it's blending through that method that's when i'm wet if the paint underneath is dry and the paint i'm going to taking over it is dry it's dry brushing even if it's a soft diffused dry brushing because i used a blender brush which if you'll notice the paint underneath is definitely dry but the diffused blender brush is letting me create a better kind of sense of you know ceramic now back along the lip you're white and that's why you've got to leave room for your brightest whites oh yeah because if you don't then you won't have it now this is a gotta get enough paint on there i'm gonna have a little bit right there a little reflection there definitely come under here right there at that edge the face will tell you where these go you don't have to guess it says in fact reflective surfaces like this are such a blessing because they really tell you where the hot spots are they really share with you what you have to know there you go what do you guys think you didn't even know it was that cool did you this is my favorite one right there because when the tomato was on oh okay all right let's call this a step that seems a good step now this is the point where people start coming back because they're like oh wait it's a painting i thought it was a crazy woman with a youtube show that's my favorite if you have been going along going i thought it was a crazy one with the youtube show i didn't know she's going to get to a painting hit that subscribe button because you don't want to miss me doing this mayhem again do you because you get to do it with me you get to be the winner i do have a very i do have what do you mean you thank you i you know what i work very hard uh and this is gonna sound crazy to do clickbait bait the right way and my clickbait is i'm gonna try to come up with a project you really really really really really want to do and then i'm going to actually deliver that project that's my goal so whenever anybody says that that that really means a lot to me because i'm always trying to make sure that the unspoken i was called the unspoken promise to john of a thumbnail i would say if we have a photo reference i'm like where is the unspoken promise of this thumbnail right what are people hoping to paint from it what painting are they hoping to get out of themselves and out of me in this moment because i don't do piano with a painting at the end where it's all about me i do it all about you and um i'm up at night and up in the morning and i look up stuff and i'm always about that you just totally got me on my soapbox didn't you but it does mean the world to me because hey i really work at it speaking of soap if you go to our website there's something that you can buy a brush soap you goof i could use some fresh water sir you could sharpen my chalk and i'm going to i really sharpened it i'm going to dry my painting a little bit i can't leave if you're going to try your painting i know all right go ahead you just do your thing so it's uh so she's got her she's just drying that off all right i said anything like that all right you all done yeah i think so so what did the pencil sharpener say to the new pencil what did the pencil sharpener say to the new pencil you're pointless you are my favorite human gina that's really on that's how basically how he asked me out terrible humor just made me so happy i'm going to think about my tomato the wonderful thing about your tomato huh clean water i'm going to sort of sketch this in i'm going to make sure that you've got a nice little your tomatoes don't have to be perfectly round and the only thing i could have done to make this a better still life is use heirloom tomatoes which would have been an even longer lesson but i think if you ever want to put a still life together and you're thinking what kind of vegetables or fruits should i use use the weird ones use the weirdest ones that's what you want now i've got a little tomato kind of back here he's gonna be sitting over there thinking about his world of course we've got this little fellow right here doing little tomato things so that's a nice little that's a nice little grip of tomatoes right i think so i'm to just use my little dome blender again because i'm into it today let's take a little bit of i just want to start getting some tomato colors on here a little bit of red and yellow come around around here as i go back i'll get a little more into my cad red cat is like the best tomato color because it's so warm if you don't have this or you can't afford cadmium you can get hue if you can you can get pyro red or naphthal red medium what you want to know is which one is your warm red brushstroke i think is a big deal on topics like this i'm going to use my purple for shading and i use purple for shading red things because while black does work and it does shade and you get great tonality i find that purple retains a wonderful depth of color i don't want to be mistaken for one of the crazy crazy people say you should never use black and painting and i never use it did it hurt you once what happened i was what i just need to ask a follow-up question too i'm like what happened jump up what did that to a paint do to you you did something now i'm gonna get into my number four round on occasion and that's to give my tomato a nice sharp edge see this edge here i need i see you twix i know it's been a long lesson i love you i'll be done soon we do treaties there's still some anchovies left talk about lovely leftovers lovely leftovers she knows it's there too she's like could you finish this i can smell it on the counter and i know when it's over i get a treaty so i'm just using my number four you can see to make sure that i have a nice edge right now i have an apple it's a problem i know i'm going to be putting a stem here and the shadow that the stem will be coming out of i like to do as fun back to the dome number 12 princeton round blender everybody at princeton should send me a thank you card but honestly guys i'm sharing this with you they don't pay me anything they don't even know me it's just a really good dumb blender and not too expensive but you know what you guys have been saying can i do a makeup blender a lot of you say yes i have not tested all the makeup blenders but i'm going to provisionally say yes just based on how enthusiastically you guys have enjoyed it this is a slightly oranger more to the yellow orange because again tomatoes are you know they're orange and i'm going to pull it out if you'll notice like this kind of allows for some artisanal some artisanal hmm blending because it kind of makes the streakies i'm actually kind of a tomato master that's true we're preferred to be good at but i kind of blow peaches but i've got to do a peach redemption video soon i like the tomatoes but i really get the tomato i like to eat some i like to paint them they're so wonderful to me you are so beautiful to me can't you see dusty so i just dust and glaze dust and glaze so what's underneath isn't wet the layers that i'm look at that tomato so i'll submit this fruit it's the fruit it's the fruit i love the best but i do really love it they're kind of fantastically imperfect little creatures and they're so tasty with their ooey goo seeds and oh would you paint a still life like the other thing i could have done besides doing uh heirlooms on the still life to make it even better slice one open and let the seeds kind of goo out that would have been great we would have been here for six hours but that would have been great i see you're hiding what am i doing you i'm hiding the orange mixes yep that's his jaw i taught him are you putting me in front of the tomato would be mean to them why don't you just move the picture in picture for a second or me wait look i'm not important push push me to the side push you over there push me over there i don't matter anyway there we go gonna bring us slightly brighter runner uh kind of yellow over here you'll notice i'm building it up slowly i'm i'm taking my time take your time your tomato deserves your respect okay back to harry and megan who thinks that we need a chicken coop cam huh well they kept visiting the chicken coop and she does rescue chickens now these rescue chickens i think live in like a 14 million house but the chickens who've significantly improved their lot in life i want to see how the chickens are doing i want a chicken coop camp like we could donate to the chickens since they're no longer on the royal payroll right i don't know how that works i don't know how it works and we could donate to the chickens and we could patron the chickens i would patron harry and megan's chickens i know nothing of royal chickens you don't know anything he's just trying to keep chickens out of our own house i'm going to get a little more into the kids so a couple places you do want to really get some cat in here see how we're doing for the glow because i do it for the glow if oprah if you're painting with me you should advise her to like like really like upgrade the chicken coop make it like a luxury chicken coop palatial even like palace chips and then we could like maybe there could be like an automatic feedy button like you put in money and you can feed the chickens kind of like um this sounds like hunger games but without the pain and horribleness this sounds like too many chicken plans i just thought about okay so did i stay up till like two in the morning thinking about these people i don't know and who i you know would have nothing in commons chickens look at that very beautifully thought about tomato yeah that's how that's how a tomato do now underneath my tomato i'm gonna take a little bit of blue i don't want any any uh white in it i'm gonna come underneath on the toe of my number four round and we're going to talk a little bit about a deeper shadow this is the darker truth of tomato that you don't know i'm going to use my finger because i don't want a hard edge shadows very rarely have a super hard edge yeah it's a well shaded tomato you're like she brags a lot about her tomatoes it's sort of unusual for now i'm also going to i like that tomato in a minute that will be a super important bunch of uh little weird purple lines this is just purple a little bit of red it'll matter now i'm gonna take my green and i'm gonna get my brown i'm gonna mix them together and it's still not dark enough i'm gonna come get a little black in it over here in the corner i guess you could do halo blue as well and we're going to say some very important stem things i'm going to take that green and i'm gonna go up about a quarter of an inch and i'm gonna curve back i will highlight a minute but not yet it's not ready yet the stem is like awesome so i'm just actually being attentive to it the trick is that first line of stem has to be a little it has to be a little weird forward here them you know i know it's on the vine why do i do such an evil laugh when i paint well it's like because you like to paint good i do it does feel like i'm getting away with something when a painting really comes out well there is a bit of a no one can stop me now don't stop me now i'm having a good time having a good time [Music] i have never sung well enough to get content id'd like ever that's okay like ever i don't mind it's okay this is a painting song i mean a painting show and the other fun thing about all of this is these little weird whack-a-doo little leaves look at these go who wouldn't want these these are so fun they bend around they do do such strange things such strange things say the leaves so that little stem is happening there and it's feeling super happy we've got this nice little green and brown as it goes and it goes i'm gonna get a little bit of my cat yellow over here i think because we need some it's still off green but it's a little more on than the one with the black and we're going to come along the top catching value is a big deal i'm gonna find the will places that the highlights are sort of like where the wild things are yeah yeah except for paint except for painting get to find where the highlights are now that wasn't yeah that was like oh no that's not the highlight and then i'm like oh yeah you are the highlight like that you know you do i gotta be careful how i talk or i'm gonna end up being kicked over only fans you like it do you like it sorry that was an off-color joke i think it's okay what they used to call it in comedy when you said like crazy things um [Music] i try to remember from you i don't know i don't know i'm trying to remember from the marvelous mrs maisel because they try to educate us about comedy history i'm learning i'm learning i'm just you know what i'm learning more about my day every day guys the steadicam operators in that show are awesome yeah they are like john's like actually found out enough to reach out to them in their own groups like you are so good well it's wait i know it's work related i'm not saying it's not it's just yeah i'm adding white to my yellow and green to pop some very bright highlights if you'll notice not every part of the leaf needs it but some parts do and when it does do you want to leave that leaf alone unattended unhelped unaided in a world of cruelty no you want that leaf to know it's valued wow that's really just don't bring a little green back here so what i'm doing is making sure that these little stems and things have shading as they should have because i'm kind of good at what with tomatoes my secret skill you never even knew you watched my show all the time you're like i had no idea she had so many so many tomato moments potato feels so please do not kick the bees of the internet the one thing i could have painted right now to explode all of the internet is a potato and i don't want to because it's not it's not it's i just don't care that is not the potato hill is not the hill i choose to die on so i'm adding a little bit of a purple this is for a shadow that will in a minute be a very wet highlight will feel almost like like a water drop in a second highlights there [Music] so i'm going to do a blue and white highlight yeah wow you just keep adding more and more to it i do i do i like it i like it sometimes i like it sometimes i don't add a little kind of orange here a little orange the end of this little moment over here a couple spots there you can always come back with your dark colors and exaggerate anything that you need to okay let's call this stuff and i'm going to paint the back tomatoes because there was a lot of tomatoes taken that was a lot of tomato for you guys to take in i got a step it is a step this is a step and then we'll finish these back tomatoes and then you will have a still life that you're going to put on your wall and go i cannot i used to do five days for these do you guys remember it was like five days to do still life and now we're like boom sitting sitting for me it's okay if you take five days so i'm not gonna be like telling on you or mad at you or something it's all good how are we doing are we kind of impressed do we love it do we love it do we love it maybe less we love it do we love it looks good right it just takes a second to do the work you know and there's you can paint loose and there is nothing wrong with that at all you can paint in a more tight considered style like this and there's nothing wrong with that at all i like to show you guys both you guys can figure out a way to get in and out of a painting okay so wonderful tomato is it not it really is a wonderful tomato let's continue painting our hot tomato same tomato different tomatoes this this these tomatoes these other tomatoes i thought we would be on to the other tomatoes did you hope well i thought we would it's been a long night were you hoping i'm not really hoping you know and come here this is again my number 12 blender when i want to make a tight edge with this i simply kind of do this wiggle bit and notice that i can get a very tight edge i probably will still bring my um number four round into the mix just because it will give me this right here this edge right here so this a little more red up here now i know i'm gonna there and then let's go ahead and also give ourselves a slightly more considered edge here as you do and then we'll get back in with our soft brush for that tomato we feel that we love so much tomatoes all the fun is to paint do you love them i do i'm mixing my purple in my cad red for you purple and your cat red you mean it's here you've learned purple and cad red super power now in this tomato right here we kind of see that it's got the stem up top so maybe i'll put a little bit darker purple there and we know that it's going to be here kind of coming off you know right i'm going to bring a little bit of my cad right over my yellow if any purple's on there it'll gray out which is perfect when you're trying to paint a very bright tomato in the shade and while in the shadow it's not really shade as much as a shadow and you can keep blending it forward but not lose the muted tone that you're super dependent on in this state now coming over here you know this tomato might be a little bit brighter because it could be getting to some of the light right we don't know we don't want to judge this tomato oh too much yellow has that ever happened to you it's not it looks okay yeah i just dusted in look at that if it was a color that i was already kind of thinking i was going to get into a space i won't worry about it too much i will just dust it in and where i need my purple i can get into it to do my shading brushing that back up there's quite a lot of shading between these two tomatoes i'm going to take a little bit of purple and again kind of accentuate that shadow i can always blend and you know kind of push it away but it's nice to at this stage think about the fact that it is there and it is happening i'm going to rinse out and wipe off my brush and come back and do some brighter oranges and yellows the diffuseness of this brush really helps me get through [Music] into my red how you guys doing i'm watching you blend and it's looking pretty good it does look good i'm gonna get uh my number four round i'm gonna get kind of a lighter yellow and i'll come along here i just want to make sure that we've got some of that so there's this sort of implied little roll on this tomato don't want to lose it highlight and if you do diffuse the edge of your pot don't worry you can come back don't be stressed about that you've got especially if you've got fluid paint or white paint left you can always come back and we've got highlights to hit on the tomatoes at the end so you're pretty good about being able to get back in there and fix it up brushing down like a little bit of a interesting highlight here the other thing you can do with this brush is kind of stipple out and then therefore create a little bit of unexpected shading in relationship to that isn't that lovely i'm using a little more cat right here they really start to look like little red tomatoes not quite little red corvettes but it's something you can see really quick how just a little bit of shading does so much a little bit of cad red there a little bit right there i'm just dusting a little bit of cat right there just a little cad red places that you need it it's just a very distinctive color everybody paint an apple but only we paint a tomato if i get it too yellow right which i have a little bit you just use the brush to soften it out this kind of highlight comes from off here and you can drag drag it sort of directionally around what is also wonderful about the top of this tomato here is we've got this great stem so once you like you're like man i know what i'm doing when i want to blend with my brush you can see kind of just do that but it still leaves that nice little shadow in the middle there yeah nice thing to do your tomato will never be mad at you for doing it a little bit of highlights on our tomatoes too much of highlight too much too much we don't mind because we can always soften it from underneath our our tomatoes very serious serious shadow can't wait yeah that's a very serious shadow blend it with my finger because it's diffused it is diffused though not confused it is defused very striking thing to do right there and i did it now let's let this be a whole thing and then we'll do the stems and the highlights yeah okay let's dry it stems and then highlights okay all right all right try it and then stems and then highlights that's what she said i'm sure i'm going to take a picture in this next step though that's okay okay 10 not too bad long class but not too bad four steps long class but not too bad for steps but hopefully you guys are starting to see how something gorgeous like this even gets built right because that's the big thing how do you build it how do you make this happen if you don't see the steps you can't get there but you really can do this there we go oh my goodness i see yamini and ashley welch and karen you guys are hanging in and jane's like this is wow i'm so glad you guys like this this is just a really beautiful piece and again still life still life still lives the life it is such a good exercise and understanding how paintings work artists like to do them because they sell really well but also because they really really help us understand the process of painting i'm going to take my burnt sienna into my phthalo green and i'm going to add a little mars black to make it as dark as possible make a little stem kind of coming up i think it's just interesting to be worried about it the stems like this are weird they just are they make strange journeys everywhere they go because this is sort of green on green it is important to get this initial value set worked out all right i love this we're gonna give ourselves some weird kind of leaves going off that way little leaf coming up there you want that dark green all right because we need that dark contrast but beyond that i'm going to say in this one instance because it's against such a dark background go ahead and touch some of it with just a little black line because you're gonna need it to see it you're going to need it to see it and i'm going to take my yellow and it's just into my burnt sienna and phthalo green right so it's not the black it's just sort of that off green yellow and then we're going to come here and it is in the shadow for sure but you still got to have those same contrasted moments no because of the location and the fact that it's similar color sets it may not show as much but it doesn't have to be complete camouflage as you see with what we're doing here does not have to be complete camouflage see how we do under the white yeah i have to be everywhere just enough so that we see little pops of light that are happening even here in the back look at that go now much like before i'm gonna get a little bit a little bit i'm gonna take my purple because you just said your little accents on them yeah i like to do this to exaggerate the um a little bit here and i'll just flush that out exaggerate some of the highlights the water because what happens is the water kind of collects the condensation collects plus there's a reflection can't however get that effect unless you're willing to get the shadow into it a little the shadow self under the stem here getting into my purple for that a little story of the stem coming off there pretty nice pretty okay pretty good get a little bit of our white in our ultramarine blue kind of an off weight at first i am kind of wiping off extra pigments there's just a dusting of pigment and that's so that some of what is there can show through and then i wanna i'm gonna get a little bit of my yellow and my white it's a little bit of an off-white also make sure that there's sort of that there just in the background right a little bit of shading kind of a big deal but here's where it gets real come into our white of our brush see those lips there that drama there a little bit right there and a little bit right there guys guess what we just did let's look at it from a distance you painted it we painted a still life of a whack-a-doo tomato look at those beautiful lots of different textures and materials we had folded fabrics we had pictures we had bowls it had sculptural elements in them we had strange shadows which was great this great background texture and of course the tomatoes themselves which were a lot of fun to paint i kind of find a detailed brush so i can sign but i might have washed all my detail brushes i might actually have washed off oh there here's one i can get away with so how do we think i think it looks great be happy with that i'm gonna make a kind of color that will i like my colors it is important that uh things show right but you don't want um a signature that detracts from the whole piece because you worked pretty hard to get here guys and so you don't want to destroy the whole piece by picking something that is so disjointed from the composition that it just makes your eye look only at the signature and i know i say that every painting and i've said it for 1500 paintings but if i've saved 1500 artists from doing that because i i know a lot of actual collectors and they will not buy paintings sometimes because of the signature really and that is why i beat that drum i don't always talk about it because i don't want you guys to panic out there but you know when you get into that kind of level where people collect multiple pieces and you know it can it can be one of those things that affects the sales so just be thoughtful it doesn't have to be perfect i don't have the most perfect signature in the world but i do have a signature that does not pull the eyes so much that you couldn't get the piece what do you guys think did we promise on the thumbnail did we deliver on the promise of the thumbnail yeah i think so i think so too i think it turned out really great we painted tomatoes so like if somebody said it couldn't be done haha it has been done you have done it and you guys have done it so this if you haven't done all my still lifes this would go very beautifully with the classic still life on the 16x20 that has grapes and i don't remember the weird flowers that were in it and wine i've got one coming up with pears and dried hydrangeas that are going to come up in a little bit so you could literally have uh three really rather wonderful still lives i think to enjoy realistic ones like this type of traditional classic still life though i think this is modern a little bit because of its subject matter pitcher and tomatoes kind of like it's kind of like how you show out you go yeah i can i can do that right and people will love it especially because of this stuff i think it looks great i will see everybody i just i got to go to the chat to see what everybody's saying because i'm i'm behind and it's awesome and how beautiful this is and they really want to thank you for doing this and it just turned out really good so if you love this and you want to see more still lives be sure and thumb up this video and leave a comment and let me know because i tend to paint what you guys ask for so if you want it a bunch of you have to ask for it it's totally okay to get together in groups and make a plan i don't mind we're like everyone let's ask her for this but if you're interested in something and you want to see more you've got to let me know acrylic april is coming up april 1st if you want to paint better in 30 days i hope you will join me for that journey it's a daily painting every day for 30 which is what i'm going through right now except several times a day ah be good to yourselves really seriously be good to yourselves this is your life your life your one life maybe you incarnate but very few of you can remember that so it might as well for obstacle purposes be one life i don't know the answers to the big giant universal questions but i do know right now this is your moment all right so your present it's everything so take care of it and treat yourself like you love yourself good to yourselves be good to each other and i want to see you at an easel really soon bye [Music] hello my friends release your stress it's not about perfection it's [Music] we have why don't you come with me

Channel: theartsherpa

Views: 23,351

Keywords: The art sherpa, step by step painting, Art sherpa, acrylic painting, painting tutorial, acrylic painting for beginners, still life painting, still life painting acrylic, still life painting tutorial, how to paint still life, still life, still life painting in acrylic, acrylic painting techniques, acrylic still life, acrylic still life painting, acrylic still life painting for beginners, acrylic still life painting techniques, acrylic still life step by step

Id: VLzUv2KCHXw

Length: 185min 5sec (11105 seconds)

Published: Tue Mar 09 2021