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Art Lessons: Still Life

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So now we are going to attempt to do a
still life and
apply our light logic and
our information we have on value, and
color, and shape.
A still life has been a common exercise
for
artists historically for hundreds of
years.
And it's very valuable to see basic
shapes, basic
color schemes and how light interacts on
objects.
In fact, Cézanne used to
hate drawing the figure because the figure
would move all the time.
And he always preferred doing fruit bowls
and still lifes.
And you can see that's why a lot of his
work,
his later work that he was famous for are
still lifes.
He would get very frustrated with models
moving.
Obviously his earliest works are, are a
lot of figurative studies.
There is a beauty in a still life.
So let, let's try to play with this and
experiment with it.
So obviously it's all drawing still so,
you've got the top of the apple, down
here.
You've got, oh and by the way I'm just,
I'm drawing with with a Prisma stick on
some really nice canvas actually.
This is a nice, linen, gessoed canvas and
this has been stretched.
I got this at an art store but, I don't
know why, it's really nice.
This is very, very archival.
So, all very good stuff and
obviously composition is really important
in terms of placement.
So I'm not gonna do a bunch of thumbnails
and
different studies with this because this.
Mostly about, just a,
just an exercise of, of, of color for me.
Oh, the banana comes up, over.
And all of this is obviously sitting in a
bowl.
I like to take some, some measurements at
first just to see the top of that banana.
This still doesn't
come all the way here,
like that.
[NOISE] And I'm just gonna kinda, give a
background.
I'm not gonna show the rest of that table.
And think about this in planes, this is
still,
at the end of the day this apple is just,
is just a tube, right here, in space.
This orange as well, is just
basically a sphere like this and
this banana is just a cone, and
it's all sitting in this bowl, like this.
And I’m looking down on it, so that’s why
prospectively.
[SOUND]
And this background is dark.
And the shape.
[SOUND]
Now, normally I would never just kinda
plop in the center of the canvas a bowl,
for a still life.
But I just wanna make sure that you guys
can see what I'm doing and and
if you do get your composition kinda like
dead center.
And that's really, that's not necessarily
a great thing to do, but
you can play with other elements like this
cast shadow, and
make the cast shadow, like, longer and,
and crazier.
To kind of offset how compositionally,
banal this can be.
Cuz you gotta really [NOISE] be mindful of
those kind of things.
All right, so let's start with this apple.
Really, let's look at the, let's look at
this apple and
see what's going on with it, cuz it's
really interesting.
Okay, so warm light will always cast cool
shadows.
And conversely cool light will always cast
warm shadows.
So sunlight usually is in the orange
field and that casts a pretty blue light.
Sometimes you could see it more than other
times.
You can really, really, really see the
light as blue, really blue.
Yellow, violet, you see casting violet,
and and the opposite is true.
So cool light, blue light you know, casts
warm shadows.
Let me get a couple of brushes handy.
And just start of just mixing some stuff
up.
So that apple, I'm gonna squint down, and
I'm gonna push my darks here.
So it's a little crimson, it's a little
red.
I kinda really just think about that shape
cuz it's like,
kinda like is one plane here.
This is the top plane here.
And then there's the side plane here.
And then there's that plane, like that.
So, the dark side is right over there and
that's very saturated so I gonna kind of.
I'm gonna put some, I didn't anticipate
this, but I'm gonna put some
Hooker's permanent down just to kind of
kill a little bit of the saturation.
From my, from my reds, just to do
some complimentary color mixing.
[SOUND] Just a little bit of that green
down.
Make it nice.
Gotta get some paper towels here.
Hm.
I'm back.
So [NOISE] let's see,
take that red down a little bit.
And that green really does kinda kill that
red a little, it's kinda nice.
So immediately, I'm looking into that dark
of that apple.
And I'm thinking about the shape, too, so.
That dark's right around there.
Ooh, yeah.
And if I squint down kinda
becomes one that shapes
going that direction.
It's going that direction.
It really is just a different value here.
And on the other side it's just a little
bit redder
[SOUND]
Like that, it goes this way.
[SOUND]
Down that way.
And there's that cast shadow.
I'm taking a little crimson, little black
and
a little green, maybe a little bit more
black.
I'm thinking about that cast shadow onto
the, that
apple right there from the orange right
there like that.
And then there's,
of course, the dark,
dark in that center
of the apple there.
Oh.
[SOUND]
And
that is obviously some more greens in that
apple, it's not like a pure red apple,
but kinda make some decisions about how we
wanna design it.
Like that, and that dark,
in here is very dark.
Right in there, like that.
It's very dark.
[MUSIC]
[MUSIC]
It's all planes, right?
So this is the side plane here.
And this is the plane that is lit.
And so just to kinda expedite things and
in a [NOISE] way,
just to show you to, to sketch things out.
I wanna show you that the light.
Their is a light side here and that light
side their's,
their's kind of the highlight.
That light side actually goes all the way
up like that.
And I think that, that there's like
a pure, pure cad red right here.
Like that.
So
you start seeing a little bit of form
changing.
And actually.
Like that.
So kind of treating it a little bit more
geometric than it is at first.
[SOUND]
Now on canvas,
it takes a little while for it to dry.
It could be almost dry.
[SOUND] Doesn't dry as fast as maybe I
like.
I wanna paint this fast.
[SOUND]
And
as you get into the highlight, I go, I'm
gonna add some yellow.
The highlight is kind of right in here.
It's just a lighter area right there.
Now, it'll keep going lighter in value.
But a little later.
[SOUND] I don't need this right now.
So I'm gonna put it down there.
But I'm gonna put it down, so it's not
lost underneath the abyss of my,
into the abyss of my materials.
[SOUND] Now just for contrast,
couple things I wanna do is add a little
background.
[SOUND] So I'm gonna add the backdrop,
which is really dark.
But more important than dark is it's got
to be cool.
So I've got a little [NOISE] blue going
on.
I'm going to add [NOISE] a little black to
tone it down.
[NOISE] Beli, believe it or not, a little
white.
Cool it off.
[SOUND]
Hm, somewhere in there.
It's okay.
[SOUND]
But I wanna get a good amount, so
I could just kinda [NOISE] block it in.
Or [NOISE] yeah, right around there.
So as I'm painting the background, I'm
also carving out shapes.
I know that that apple [NOISE] is right
about there.
And that shape goes back and down.
Whoopsie.
Down.
That's okay.
I lost a little of the edge there.
That's okay.
Cuz it might, oh, actually, I don't know.
I'm gonna lose that edge.
I might want to lose the other side, like
that.
Down, down here.
And then the bowl, gets hit here.
[SOUND]
And
[NOISE] kinda washing in [NOISE] in a
washy way.
[SOUND]
And,
you know, I don't have to [NOISE] get my
background actualized right now.
[SOUND] I'm just gonna get it kinda
blocked in.
[NOISE] There's the grey bowl there.
There's the orange here.
And the bowl there and the bowl there.
And there's the ridge there of that bowl,
I'll get that in later.
[SOUND]
And usually, since light is coming from
this side, coming from this side you could
either play with it in two ways.
You could, you could say that.
Because light is coming from this side,
it's gonna be lighter here and
darker here.
And you could also do the opposite and
make it darker here and lighter here.
To kinda play them and juxtapose that
against each other.
That makes for some very interesting
painting.
[SOUND]
So
I'm gonna mix [NOISE] some value up.
[NOISE] And I might take some blue.
[NOISE] Put some complimentary cad orange
in there.
Kinda desaturated it a little bit.
[SOUND]
Take some more blue.
[NOISE] So, just to
block in some [NOISE]
basic shapes.
[NOISE] Now, normally with something like
this.
[SOUND]
You wanna have like some decent
preparation but [NOISE] plus you're doing
it all primo which means direct painting.
Then you don't really have to.
Okay.
So I'm just getting it dark in there.
[NOISE] Now I'm gonna go for that orange.
That orange is kind of intriguing me.
I wanna kinda look at that orange all
around and
just take my cad orange [NOISE] a little
bit of my blue and kinda mix it in there.
And it's kinda a dirty, dirty orange, but
that's, that's my dark side here.
Right around there.
It's a value thing too.
Is that the right value?
I kind of feel like it is.
[SOUND]
Here down [NOISE] like that and
as it goes back in space.
Little lighter.
Lighter.
Just a plane.
Just a plane change.
Like that.
[SOUND] And you wanna get more pure, pure
orange.
Cuz that orange it pretty pure, especially
right here.
And the dark side just a little darker.
You know, in here.
Like that.
So, it's more in there.
And then once again, we'll get just to
play with it.
Get a little warmer.
The hotter the highlight, right in here.
[SOUND]
And that banana.
[SOUND]
And
you can see this background's going crazy.
[SOUND]
So
I'm gonna kind of block that in a little
bit more.
[SOUND]
Tone it, tone it down [SOUND] That orange.
[SOUND]
And that's nice gray.
[SOUND]
You're just building up, slowly.
[SOUND] Watch out for those hairs that get
in your canvas.
See that?
That's not good.
[SOUND]
I just like to build up my background
a little bit more.
[NOISE] Except I don't like to get hairs
on my canvas.
That's when your brushes are starting to
fall apart.
[NOISE] Gonna do a little
bit of a gradation of
light to darker.
Eventually, I'll get into that.
[MUSIC]
[MUSIC]
[NOISE]
Hm,
orange.
And orange is just so much more orangey
right here.
[NOISE]
Right there.
Just this really kinda beautiful an
orange.
[LAUGH] It's really, wish it would hold.
Right there.
Right there.
And then just to contrast that I'm gonna
kinda take this side
as plain into a little bit of a darker
plane here.
And then the other plain even darker.
[SOUND] And see what I'm doing is I'm
taking that orange and
I'm mixing in a little bit of the
complimentary blue to make it a little bit
more muddy, but that's feels better.
Kind of just sitting back their like that.
And.
That edge is not hard like that obviously.
So, you've gotta soften that edge.
And then as that little light that get
picked up right about here.
See that?
On that orange?
And this is obviously so loose that we're
not.
And we're not, quote unquote, there yet.
But, just looking for all those plane
changes, too.
So there's a, there's that change of
direction here,
change of direction here, change of
direction there, the bowl's back there.
You just wanna kinda hit the back of that
bowl.
So you're always drawing.
You know, it's always like drawing,
painting, drawing,
painting, drawing, painting.
Hm, you're gonna lose that side of that.
Orange shape here and go back in the space
like that.
And there's a very dark area right in
here.
This is all kinda drawing stuff.
Right in here, right there.
That I'm getting into.
You have to kinda merge the dark side of
that apple, which is this kind of like
the dark cast shadow of that apple, like
this and
differentiate that with the color of the
bowl.
So what I'd like to do is just take that
cast shadow from the orange.
And push that cast shadow into the depths
of the bowl like that and
a cast shadow is wrapping around the apple
see that
it's wrapping around that apple going back
to the dark side of that apple so
that what you'll see is as we start going
deeper into it.
Is when you see the cast shadow,
you will see a big distinction of pure
color here like that.
And that beautiful crimson black.
You're gonna see it like that, see?
Gonna go back, just.
It's gonna be beautiful, gonna be
beautiful.
You see it like that, so kinda wrapping
around.
And as it goes back to the dark side of
that apple,
you know, you're dealing with a, a
different plane change.
It's all about plane changes.
Now getting into that that dark side
of the orange you're kinda dealing with
something like that.
And eventually you could add your core
shadow, which would be right in there.
Your core like that so, and
also just be mindful of right here
as you do have your cast shadow from the
orange.
You know, just be mindful of keeping edges
pretty soft.
You don't wanna be too crazy.
Okay.
Now, let me go back into that background
cuz, I have to kind of get it to where
it's not dripping.
I just want it to really dark up here.
See that?
Really dark.
Just lost,
in fact it kinda bugs me even looking at
the sight of that canvas being white.
Sometimes I paint that out.
Sometimes I look on the side and I'm like
oh, no, it's so white!
And then I can't gauge the rest of
everything cuz my brain is
like going bananas, so I have to really
plug into,
plugging out and kinda plug myself out of.
Any kind of distractions, sometimes that
could be a distraction for me.
So whoops, got a little green in there but
that's okay.
Okay so
that's, that's kinda how dark I wanna get
it on that side.
On the other side.
Move it.
A little lighter.
Just to the grays.
I feel like there's just a bit.
More fun.
Now just gray.
I don't want my background to have any
pure color.
I don't want it to have.
Yet, I don't want it to be saturated yet.
I just want it to be, kind of gray and
backgroundy right now.
This is still,
I want people to concentrate on the purity
of color in the still life's.
So [NOISE].
[SOUND]
It's having black and
ultramarine take over my brush right here.
Like that.
And I'm.
Kind of pushing it away from that apple
like this and pulling it because I'm,
I'm drawing again, I'm carving out the
negative shape.
As you know, consult my negative shape
lessons which is really valuable because
as you paint you're drawing.
So, see my negative shape, carving it.
Carving it like that, carving it, carving
it.
And even that orange is not right.
It's like got it comes up, it goes back in
the space and down.
It's just amazing.
Like this [LAUGH] you're like, no,
it doesn't do that like why would that
shape do that?
But it does it and you have to really kind
of see it to experience it.
And when you do you look, you look into
stuff and your mind is
kinda blown with how many directions
things that we take for granted.
Shapes that we take for granted are
sometimes supremely,
beautifully powerfully, spiritually
shaped.
That orange has it's own shape to it.
And anyway so as we.
So you kinda black in that background.
You know, we're getting that nice
gradation from, from light to dark.
It's kinda beautiful.
And then then we wanna really kinda get
what's going on with this table, you know?
So I wanna take my, my other palette.
And I wanna hold it like you see the old
school masters hold it like this.
Because I wanna keep this, this color
palette.
Going and [NOISE]
I like some of this
color that's
on here, but.
I need a freshly clean area here because
really light is
kinda catching the, the corner here.
And then it's, it's doing two things.
It's gradating back this way, I'll just
paint on here for
a second, it's gradating back this way.
And it's also gradating back this way.
So light is radiating out from here.
[SOUND] So that's really important.
[SOUND] To know.
It's really radiating out.
So we can see.
[SOUND] That light is radiating out.
[SOUND] Then we kinda know.
Just like light is radiating across that
direction and
we can play with that later and we will
play with that later but right
now we have to really get down what's
going on there and I'm gonna take a big,
big bristle and make a kinda a statement
here and say that.
See that white right there?
I'm just gonna put it down on my palette.
I'm gonna add a little bit of yellow, so
I'm doing this and I got a nice yellow.
It's obviously too yellow because it's
gonna kill my kind of
pure color that I've got going on over
there.
But I'm gonna, I wanna do a nice gray.
Just a nice, kind of gray going on.
And I wanna gradate it from lighter to
darker.
From lighter to darker, so it's gonna be
lighter here and
it's gonna radiate out so that's
important.
We've gotta look for those things.
Sometimes, we gotta look for it.
Now, I don't know if it's gonna work, but
I'm okay.
This might not be the right color.
That's okay, okay.
But I, I like to also paint with a very
bold, big brush.
So I could make big decisions fast.
If I don't like those decisions, I could
go back and change those decisions.
So okay mm, yeah it's kind of that.
You squint down, you squint down, you
squint down.
Actually the lightest light is right here,
if you squint down.
Now I'm squinting as much as I can and you
could even see this if you take the camera
and you blur it like what are your first
reads?
Your gonna read the one, two, three fruit.
First and then you're gonna read the
table.
So that's why it's important to kinda
make sure that you're not going too light
on the table.
And there's always artistic license.
You can just always kinda do.
What feels right intuitively.
[MUSIC]
[MUSIC]
I'm just taking that dark background and
I'm just kind of getting it in right
there.
The background is the background right
now, so
we're not really worried too much about
what's going on?
Just getting, got to get something down,
you know?
I feel that's my darkest dark.
Softening that edge.
Cause I don't like to see edges back
there.
That's gonna really bug me.
I wanna just see a soft edge back there
like that.
Really soft, fading back.
Here, too.
I don't really wanna see a hard edge.
[NOISE] I wanna see it fade.
I want the edges to kind of exist on my
fruit.
And here, this shape's
going to be pretty important,
so, I'm going to go back
with a smaller brush.
I'm going to just kind of quickly
blacken that banana, or as my teacher used
to say the banana.
He used to talk like this and he would say
you really have to paint the banana
with conviction.
So, I did painted it with conviction.
So, the banana, or the banana,
is really yellow but if you really look at
it, is it a true yellow?
No, it's not.
It's kinda an earthy yellow, earthy
yellow.
So, I've got a yellow, if the camera could
see that, right there.
And, I'm actually gonna take a little bit
of black, which
makes it a little bit too green, so that
wasn't a good choice, I wasn't thinking.
But I'm gonna work with it, because it's
on my pallet, and
I'm gonna take this brush out of my hand,
because that's disturbing me.
You see that?
Right there.
Don't you fall.
Keep it there.
There's a lot going on right now.
This is the time of a painting when you
could really,
[LAUGH] you could really lose it.
Like this is I've done it before.
I've seen artists do it before.
It gets pretty intense.
And you could really lose it.
So try to kinda keep it.
Keep it going on.
I'm gonna take that banana color,
and I'm gonna really study that for a
second, see what I wanna do here.
So, that yellow, blue is gonna make it too
green, hmm.
That's really just light though, too,
it's got that light quality going on right
at the top.
So it's right in there.
Once again, it's a little on the green
side.
I'm gonna add a little warmth here.
There, I feel like that's a little bit
more banana-i.
And.
[SOUND]
Well, now I'm panting the orange.
So, it's really kind of tricky.
You really wanna really get what's going
on there, and it's not always easy
to get perfect thing, so that's kind of in
the ballpark.
Problem is, now, if you get that, that's
fine.
Now what's the dark side?
I feel like the dark side goes more
towards blue and.
And here actually makes sense, because you
squint down and
you have this kind of greenish quality
here.
All the way up and you then have a very
bizarre
brown that I don't have on my palette,
but really can get pretty easily if
you just take a little bit of this red,
a little bit of that green, and get that
kinda nice.
See that?
Kinda nice.
Shape.
Brown.
Something like that.
I don't know.
I'm not 100% sold on it.
But I don't really have to be at this
moment.
So I go back to my banana color and I go
kind of blend it in.
Actually with that brown, it doesn't look
too bad.
And if you could see here, you could an
see the jump from light side to dark side.
And if you look there, you squint down.
There's not too much of a jump from light
to dark.
So there is a plane change, however, like
that.
There's a plane change.
So it's kind of exaggerated, what I'm
doing here.
All the light's really a little
exaggerated.
And there's the plane change of that
banana is a lot more subtle.
[SOUND]
Yeah, you almost want to create a cast
shadow onto that banana from the apple to
give it a little bit more form and life.
Make it more interesting.
And that's fine.
You should do stuff like that.
You should take artistic license.
So this goes down to here
Then it kinda go up and up like that.
So you could see here
A banana.
[SOUND]
Is a little bit too dark.
So Im gonna hit the light
side plane more.
The light side is gonna be hitting here.
And eventually, I think I might cast a
shadow onto that banana.
[SOUND]
Like that.
Just something lighter and taking that
white right
there cause feeling like there's light
there.
Actually, it's kind of a highlight right
here along that ridge
and an edge light right there.
So there's a lot going on right now, in
fact,
there's a white light right here on the
corner that is interesting and
same with the other side of
the planes of the vine there, subtle but
it's there.
So, let's get that bowl in a little bit to
kind of gauges.
And I feel like that bowl can be, I can
take that same value that I use for,
I use for this background here and kind of
apply it.
It's a little dark,
I feel like it could be look like a little
bit of a grey violet.
I like that, I like that color there.
And that bowl is travelling here, so it's
dark, like that.
I'm picking up the bowl around here, like
that.
I'm picking up the bowl here and I'm
carving back into those shapes.
Always carving into those shapes, always
carving into those shapes.
I'm using my brush like a tool.
And that shape of the banana goes back
that way.
Did I kill that banana shape a little bit
much?
I think I did.
I don't like that.
I'll actually take that back out and get
the banana shape back.
Banana back.
There we go.
Nope.
Little too wet.
Banana back.
There we go.
Mm-kay.
Something like that.
So there's a ridge right there that I will
define later in my banana painting.
[MUSIC]
[MUSIC]
So here, I'm going to
grab my little brush.
This is usually for oils and this has been
carved by me.
With an Xacto to get it like that.
So when I paint in oils I could do stuff
like highlights in the eyes.
But I'm gonna use it right here because at
the outer ridge of that,
of that bowl, you gotta really think about
what that texture is.
And I'm holding my hand against the
butcher's tray and
I'm putting it down like that.
And as you could see, as you squint down.
You don't read it too much but it is a
read.
As you've got that light catching the lip.
You've got that light catching the lip and
turning into space.
Now here that lip is gonna be, it's gonna
be brighter.
So we're taking the brightness up with a
little yellow and a little white.
It's not saturated but it's pretty, pretty
catching there,
it's catching, squint down, squint down.
It's barely catching compared to the other
stuff going on but it is catching.
So it's not high of a read as some of the
other area.
But it's something and it's right around
here.
Now here I'm just doing it for drawing
purposes.
So I'm gonna go back to my bowl gray.
This is my bowl gray and I'm gonna come in
right here.
And push that dark there, in fact I’m
gonna actually
come in with a little bit of ultra-marine
and black like that and
I’m gonna push my darks in here like that
just a little bit and
push my darks and I’m gonna feather it up
like that, feathering it up, bam!
Maybe too dark, but gradating it down and
that lip of
that bowl the ellipse has to, number one
the ellipse has to be right number one.
Number two, it's gotta feel right, so,
just to kind of
get this area figured out, cuz when you
have tangents, areas of white like right
here that blue that's dripping from the
background that's now kind of
solidified with the hold on,
that blue, that solidified with that
orange, you wanna clean that up.
What happens is when you clean that up.
You’re gonna get a way better painting, a
way better understood painting.
I’m gonna clean that up just a little bit,
just a little bit.
See that and you’re gonna get a better
understanding of what’s going on.
That orange in here is gonna be a little
cooler right there and
now we're gonna go back to that apple,
which is crimson and
hooker's green with a little blackness.
That's not gonna be dark enough, I don't
think, just not.
So, I'm gonna add black.
Right in here, then you get a nice blue
cool tone.
Now that ellipse on that bowl doesn't feel
right.
So, eventually I'm gonna have to probably
just kill that.
So, you wanna kind of draw like this.
And that's okay, take that out, take that
out.
Get that ellipse right, that's important
getting that ellipse right so
draw it around, like that little bit
better like that so
it comes around down like that okay.
Now that bowl, that bowl is definitely,
think about the value of that bowl.
First of all where is that bowl hitting?
That bowl's hitting right where that
banana is, right about here.
So it starts right about here.
It goes down like that.
Same here, it's here.
And I don't really worry about drips and
stuff like that cause I always know that
I'm gonna clean that up.
Its like, yeah I guess it's like hearing a
song in the middle of a song or, you just,
you almost don't want to show everybody
what's going on because they're like damn,
you, that doesn't look good, that's just,
do you see his drips?
Terrible, just terrible drips, some of the
worst drips I ever seen, but guess what?
It's okay.
This is all gonna be okay.
I want everybody to relax out there.
I want you to know that I got this.
[SOUND]
You know what I mean?
Got it.
I'm fine.
Now that, bottom of that bowl kinda comes
right there, there.
Same dark, I'm just kinda plugging that
dark right there to there.
[NOISE]
And
to there.
And that dark is here.
It's all value, it's like this value, like
that.
[SOUND]
[MUSIC]
[MUSIC]
And
what the most disturbing thing right now
is is that white.
So eventually, we gotta just get rid of
that.
So that bowl's okay like that.
That apple's gonna go down this way, this
direction.
I'm gonna get a little highlight on that
apple,
just because I feel like it's time to
start gauging relative differences.
So, whoops.
I'm gonna just take titanium white and a
little yellow, and that's gonna be about
as light as you can get without getting
too cold, without being too freezing cold.
And that's gonna be right about here.
Now, take a little red, pure cad red,
around that and kind of soften that
highlight.
And.
I'm gonna pick up some light also,
on the other side of that apple.
I'm gonna pick up a little light, right
there.
On that ridge.
[SOUND]
And then, kinda soften it out.
Soften it out with some crimson cad red.
So it's not standing out too much but just
catching that lip.
And going back and catching that lip and
kinda going back and playing like that.
That is, not jumping that plain, softening
that edge right there.
Oh that's nice, just just, feels good.
Same thing here with this dark, just wanna
get that core shadow,
right here, so you could see the core
here.
As it comes down.
That's like almost a pure crimson, a pure
crimson right there.
It's very saturated but it kind of feels
like it should be.
And where that edge is right here, just
kind of blocking that in like that.
Softening here too, softening, always
softening edges.
And I wanna get that stem,
that stem in of that apple,
which is lit, goes down in there
comes across like that.
All the way.
The kind of, stem's
a lot, like that.
And actually that stem is casting a
shadow.
So that stem.
I'm actually going to kill that.
I don't like it here.
Wrong placement of the stem.
That's okay.
Artistic, artistic, faux pas.
So, so, cuz I misplaced it, I'm gonna have
to repaint some stuff.
Repaint here.
Not a big deal.
Paint here.
Come in with some darks on that side.
Here.
So, let me take that stem and
place it in the right area because I feel
like that was the wrong area of the stem.
Which is a little green brown, maybe even
got kinda a whole world of color.
Kinda starts more in here.
It's gotta be, gotta be lighter.
You can't really read it.
It's kind of just, if you squint down and
you could barely just read it here.
Like it reads here, then it fades out.
Then it kinda picks up again here.
That's really what's going on.
And in the middle.
[SOUND]
As it gets almost darker,
it's kinda just reading something in the
middle like that.
And what you're reading is that as where
it comes out, where it's light,
down but what you're really reading is the
cast shadow.
And the cast shadow kinda comes here to
there, like that.
And then fades into that dark, right
there.
See?
So, your cast shadow doesn't go into form
shadow.
So it just sits back like that, in space.
That becomes one point edge, like that.
[SOUND]
So, getting back to that bowl or
really that ground, you almost just,
well I'll finish the bowl then the ground.
Let me get that black.
[SOUND]
I'm
actually gonna use a different palette.
[NOISE] And a, I sell these for about
$1,700 so,
I could sign that a, for you.
A, that's not a problem.
Just kidding.
I don't sell those, I throw them away.
What a waste.
Okay, so.
Here we go.
Getting into the second round of the
bowls.
Here.
Bam.
Bam.
The bowls.
We are getting into the bowl area.
Just doing a little yellow,
black, white here.
Blue.
Black.
And getting a lot of that in there so you
could just see what I'm doing.
Just kinda one fell swoop of value more
than color.
You gotta mix it though because it
doesn't,
if you don't roll it on your brush it just
kinda doesn't show at me.
Squint down really.
That's going to be the best bet.
Now you gotta measure that.
Gotta feel like.
Kinda come all the way to there and then
down.
[SOUND]
Now here, it’s gonna go darker,
see that darkness?
You have darker.
You squint down.
It's all just dark.
And squint down again, squint down.
It's really dark actually.
So I almost wanna go like, way, way, way
darker.
And also it's not really as important.
It's not like the the fruit, for me.
[SOUND] It's all important, it is all
important, nothing is not important.
Well for me, the fruit's more important.
Where for you the fruit is important
because you do not
know how to paint the bowl.
But I do know how to paint the bowl.
I don't think so, you are trying to cop
out.
I'm not.
Okay, so you might have a little internal
dialogue with what's going on
with your head.
And if you challenge me I will rise to the
occasion.
So that's what's happening right now.
[SOUND]
[MUSIC]
[MUSIC]
Okay.
So, I took a little break to wash my
brushes.
Things were getting a little hectic.
And I'm back.
I have not put any paint strokes down.
Usually artists can take weeks, months,
years.
Days to do a still life sometimes three to
four hours,
I'm trying to do this as fast as I can for
you guys just to get it in.
So that you guys see my approach.
So just letting you know that this is
something that if I were to do
this kind of.
On my own it would be a lot longer of a
process, yeah.
Okay so you know, the background, the
background
is kinda fading out.
I’m pushing that a light against that area
there.
I'm putting some unbleached titanium white
down.
Mixing it in.
Pushing it out.
And it's lighter, going away like this,
from the, from the object going back, gets
darker.
So it actually gets a lot lighter here
value wise.
Value wise gets lighter and then darker.
And darker as it goes back.
[NOISE] So by the time it gets back there,
you know,.
We're over here, we're really, we're
really in the dark.
We're in the dark.
Okay so, that warm light's gonna cast a
little bit more of a cool shadow, so
I'm gonna trick this out a little bit and.
Kinda adds some, some more cerulean in
there.
Maybe too saturated but it feels okay.
[NOISE] If you squint down
that, that bowl.
That bowl.
And that cast shadow group is one shape,
so.
[NOISE] That, that that
apple gets very soft right
there as it goes back into space.
So.
[SOUND] Just a good note, so
that I can kinda soften it a little bit
but,
it's kinda get's really fuzzy all here
and.
Dips back that way actually.
And then
that way
like that
[NOISE]
now,
that.
Like I said that cast shadow might be a
little blue but, okay right there.
And, [NOISE] really loses.
[NOISE]
Softens
out there.
I take my little fan brush and I fuzz it
out a little bit.
[NOISE]
And
that's to [SOUND]
[SOUND]
[NOISE] Gotta get the back.
That banana back.
[NOISE]
That's kind
of a nice,
[NOISE]
there that
color's nice.
We can make it go a little bit.
[SOUND]
[NOISE]
That's
actually pretty
dark there.
[NOISE]
No,
whoa!
[SOUND]
Okay, so the most important thing right
now is really kinda finishing that, that
background, just getting it in there.
And.
Using my unbleached titanium white.
Some white here and, maybe a little on the
green side,
but [SOUND]
[SOUND]
[NOISE] That ellipse of the shadow is kind
of tough.
And it just feels wrong the way I've done
it.
So I've got my black, crimson mixing here.
The clusion part of the shadow is gonna be
darker,
be darker up top right here so, I gotta
make sure to, to hit that.
And really if you squint down you wanna
kinda lose that edge of the bowl in
that shadow, like that it's kind of, you
don't see it, and we'll figure that out a
little later.
Right now it's more important to kind of.
Carve out the lights on that table with a
little warmth.
With a little warmth,
maybe right in here, here, here.
That'll shape the apple there.
It's going back this way.
Cutting back in
the space.
And it's getting some tooth on there.
Now.
[NOISE]
That
bowl
it's gonna be dark and you're gonna pick
up a.
[SOUND]
You might pick up that dark
underneath here.
And you might pick it up as a warm
actually.
So you're gonna pick up just a little bit
right there.
A little bit right there is a warm.
See that.
And that'll kind of push it.
[NOISE] And the same token
you're gonna see [SOUND]
[MUSIC]
[MUSIC]
You
want to really get rid of all of that
white now, it's kind of just,
all it does is really disturb the eye,
it's kind of terribly an eyesore.
But before you do that, just soften these
edges a little bit, like I said,
you don't want the white.
There at all, this is bad.
But trying to do
this painting fast so.
Okay.
Now.
Getting the background in.
[NOISE]
Cuts up
there.
Back.
And remember, it's gradiating darker back
here, right?
So all that's dark.
That visual information is just wanting to
lose it as much as we can.
That's just completely unimportant.
So, we're basically staging this bowl of
fruit like that.
So.
[NOISE] It's gonna be,
kinda perspective lines.
Maybe couple of darks in here.
That shadow's blue,
but I guess, that's fine.
Just gonna throw some warm in there.
Make it interesting.
Here we go.
Now, I would not suggest licking your
fingers,
by the way, it’s just sometimes, I gotta
get something on there.
That's just, nothing's gonna do that
right.
Remember, that
ball is going
to be somewhat
in harmonized
with the.
Okay.
So.
Now we're gonna get to the edge here.
So, what we're going to do is we're going
to take a color
called deep hooker's green.
Called deep hooker's green and alizarin
crimson.
And in acrylics, here's another secret for
you.
In acrylics, that's the darkest dark you
can get.
I've tried them all.
Go write me, tell me, call me or whatever.
I've found another dark that's darker.
Really?
I'd love to see that.
That's it.
That's the darkest dark you can get.
So I would like to kinda hit a couple of
spots with that dark,
so that things can really sink.
No, maybe not yet.
Maybe that's too dark right there.
But, right now I just want to go over
and hit the lip of that bowl, and get in
the lip of this bowl, and then hit that
spot that's really hot on,
which is
right here on the porcelain, right?
That's hitting, right?
Is it?
Yeah, it is.
It's kinda going across from that.
There and it's riding the top lip of that
bowl.
Like that.
Just like this is.
And just like it does here.
Just a little bit.
Maybe too much there.
Di-di-di-di-bi-di-bi-dah.
Bam.
[SOUND] Too much there.
Okay.
So, let me get back to the rest of that
bowl because, it's a bit much.
And, really what we wanna do is get that
banana, the other side of that banana and
[SOUND]
accident, accident, accident.
Need to adjust immediately.
See that?
This is what can happen.
This, this swung around and got caught in
a clump of white.
So gotta really be mindful, clean our
brushes and
clean our, all of our brushes.
[SOUND] And.
[SOUND] Make sure we're starting fresh.
So right now, my goal is to get rid of the
white of the paper.
That is my immediate goal.
This is not a good thing to have.
By any stretch of the imagination.
So, I wanna get rid of that.
So, I gotta get that rest of that banana,
and
I kinda like the, that orange-yellow with
a little titanium white.
And to be honest, right in here.
Mm-mm.
I wanna kinda grey it out with some,
with some violet, I don't have a violet
here.
So what I wanna do is kinda maybe mix a
quick violet here,
red, blue [SOUND] Now take that red blue
and bring it here.
See that?
Just really fast, had to do that for the
dark side of that banana,
cause I don't have any violet on my
palette.
[SOUND]
Now.
Sometimes I just kinda take a certain
value.
Like a color rather, sorry.
Like this color of this banana, and I just
put it on to that orange, like that.
See that?
See what I'm doing here?
Cause I'm kinda harmonizing it in a weird
way.
And I'll do the other.
I'll mix in a little bit of that orange
right there, and
just kinda harmonize it in there.
Because in nature, we don't separate.
When we're painting, we don't like
separate everything,
like oh no, this is there, that's there.
We kind of group our eyes, group it
together, and then, as we look at it,
we can separate.
But really as a read, our eyes don't do it
that way.
Our eyes are reading things grouped.
So, I will really do that a lot when I
paint.
So everything is kinda grouped together.
[SOUND] And that's not really working
necessarily, but it will work, you know?
This orange comes down here.
And as you can see, it kinda losing that
edge of the,
let's get that pure.
Orange and a cerulean blue
and make sure that that might be a good
core right there.
See that, that's a nice, cool and
kinda softens it.
See that's kind of a nice, soft vibration
going on here.
If you could see what I mean.
Oh, no, no, no, no.
If you could see what I mean, until I did
that and
then you definitely could not see what I
mean.
Okay, so the orange, look at that orange,
the rest of that orange down here.
And I'm gonna get a highlight
right, kinda go white.
Right?
So that's a little too de-saturated, so
I'm gonna go poke a little yellow on
there.
And I'm gonna just see if that works right
in here.
That's better.
That's just better.
Now I would toothbrush it.
[SOUND]
Because it's got a texture to it,
so the texture stuff's not happening right
now.
I'm gonna hit that highlight right there
too,
just to pretend it's hitting there, too.
I don't see it.
It is.
I don't know what you're talking about.
What's happening?
Now, speaking of lights, I wanted to.
My hand is shaking because I only drank
about 14 cups of coffee, so,
I would not recommend doing that.
I've got a little bit of a thing going
because of the coffee.
Okay.
So, now.
Mm.
[MUSIC]
[MUSIC]
Now
there's another highlight right here on
that banana.
And it's right, I'm gonna step back and
squint my eyes.
Feels right about here.
And it goes that direction.
And somehow, falls off, kinda falls off.
And that light relates to the light on the
bowl there, I feel.
See that?
That light is relating to that and
that light is also relating to the tip of
what's going on there.
And I also feel it's also relating to
here.
So, I gotta get that brown on the banana
working a little better,
because those browns in the banana are
what really works.
So, I have to take my, my yellow and
my makeshift violet and make my brown.
And I feel like I need more blue.
And that was totally too much cerulean.
You dip too much and you pay the price.
So, there you have it.
Too much dipping, no good.
But now that I'm kind of here, I wanna
kind of tickle this bowl a little bit.
And tickle that ellipse and lose it like
that.
Kinda loses it, goes around, softens.
And I'm okay with all that that's going on
right here.
That's kinda softens.
And I almost, like, will soften that into
the atmosphere.
See that?
I'll take that banana color, that banana
that I just did right there,
and I'll use it in the background here.
Just kind of move it around.
Play with it.
Dance it.
So, here's my violet, and here's my brown.
It's a little warm, but I kinda feel like
that, that is actually gonna work.
Yeah, that's nice.
So, that's a nice brown right there.
Bam.
And we got that spot there.
It's a little on the black side, but it's
there.
There's a black, there's a brown spot
here.
Another brown, a little bit of a brown
spot there, here.
And then in here, there's the dark sides
of that vine.
Squint down.
You could really see it there.
And then maybe in here there's another
dark, so I'm taking that same dark and
I'm playing with it.
I'm taking that dark and I'm playing with
it all the way to that apple.
I'm kinda harmonizing everything.
So, this here is the same as this, which
is the same as this.
You know.
And I wanna lose that edge in there.
You know?
I, I like it, but I, I feel like it could
be lost.
Same with this.
Maybe this edge right here.
So there's that orange.
There's that orange and red.
So I got that orange of the dark side.
And then I have that crimson red so that's
a little saturated, but.
It's too saturated.
So I gotta take that crimson, add a little
black.
Right around there.
It's got that really dark muddy violet,
but
I'm okay with the mud right there because
I'm using it for other reasons.
And kinda just lose it.
Just lose it a little bit.
So and that's gonna get lost, but at the
same time, I don't wanna lose.
My.
My shadow that's wrapping around.
See it's a nice blue too.
A nice blue.
Now you get to play with colors as you
kinda mark all these down.
Now you get to play with more colors.
So we can even go more cerulean right in
here, on that side.
See that?
I'll even go brighter for you, I'll just
go a little brighter for you just to see,
see that right in there, see that blue, we
can take that and push it in there.
There's a lot of warm going on so we can
cool things off quite a bit that's nice.
And we don't have too, we could take that
out.
Take that out, it's a little dark.
Hm, maybe a little too dark there.
And that ridge, that orange ridge catches
the other side too so
I never really realized that until just
right now.
So that ridge catches another side like
that.
And, and
then just, kind of, softening those edges
into each other.
And I'm gonna do the same thing right here
for the banana and the a, and the pot.
There's just to much TMI.
Too much information.
So I feel like this, this and this,
we don't even, it doesn't matter, doesn't
really matter.
Does not matter.
Get rid of it if you can.
In fact.
[SOUND]
Just to soften that edge in general.
That edge is just too hard.
So, it's like we pick up.
You know, we've gotta a great pick up of
this edge here, which by the way,
I'd give a strong coral there so
that I can really make the reflected light
pop.
Like that.
See.
And it starts feeling like porcelain
a little bit more.
Go ahead and make that reflected light pop
a little bit.
[NOISE] Definitely lighter.
[NOISE] Like that, so
it's picking up that.
[NOISE] And this kind
of rolls around.
It's so thin.
We just kinda lost it.
And I would say to make it more porcelain,
porcelain I would just hit this.
There's a light, there's a light, light,
same here.
There's a light, oops.
[SOUND] And I would hit that same light.
It's just a little, warm it up a little
bit.
Make sure it's thick.
Cuz your, your highlights, especially in
oil paints, you want them to be thick so
they feel textural.
Like that just a little bit.
And well, you could obviously clean up all
this.
You can still see the drips coming
through.
But, for all intents and
purposes, you could really kinda leave it
there and say you could.
Then you could start pushing little things
like, see how much greener it is
over here you can kinda start pushing that
a, those color thing if
you wanna play with color a little bit
like this is just a little greener.
And we go back to.
Whoops.
You go back to the banana, and the green
in there.
Just a little bit.
It's subtle, subtle,
make those subtle changes like that so.
[SOUND]
Yeah.
Okay.
So, there you have it.
Pretty quick, relatively quick still life
showing you a little bit about, you know,
value and color and how to use it, and how
not to use it, and what to do, and
gradation, and cast shadow and all kinds
of crazy stuff you could learn from that.
So try it at home.
Just do a still life.
Have fun with it.
Play with it.
Play with color.
Play with different kinds of arrangements
and at the end of the day, don't worry
about it if it's the most beautiful thing
you've ever done, or the worst thing
you've ever done, don't judge yourself
like that, think about it as an exercise.
Think about it as something fun because
anybody could do this, and
you could definitely do this too.
[MUSIC]