 Good morning class I'm Wilkamp from Wilkamp Art School and this week we're going to be painting this a lovely little simple still life all we're going to be using is three paints titanium white, ultramarine blue and burnt sienna we're going to learn about warm and cool colors how you can balance them out together it's a really simple still life painting anyone will be able to do it we only use two brushes and two colors three paints how can you fail so the first thing to do is just to prepare a colored ground just to work on top of this can just be a mix of the ultramarine blue and the burnt sienna and white just to get a neutral to paint it onto your canvas you can also just use raw umber and white or burnt umber and white just to get a nice neutral tone to work on top of don't make it too thick work quite thinly just so you cover the canvas but it's still opaque enough that you cover over the white paint from underneath what we want is just quite a light tone that we can then work on top of but no white paint get rid of that canvas so that we can work our colors on top of that just click the link below to download the image direct from my website to follow along at home morning class so here's the judge just drawn out onto the tone ground I've used as before 3B pencil this just gives you enough darkness so you can see where you're going but it's not going to have too much graphite on there that will get mixed into the paint a few points on the drawing just to be aware of when you're drawing it out which can make a really big difference in the success of your painting because we just got the light sources coming from this side so this way the lights coming it's hitting this side and this is all in shadow and this is what's called a cast shadow it's very important to get this car shadow drawn in so when we paint it in it will give that illusion that this object is sat in light especially if you're working with warm and cool colors you're trying to get that feeling of lights working in your paintings it can be so key just to get those shadows into your work also notice how I've got this very sharp line here where we've got the shadow area that's inside the jug this is again going to be so key just to really give that feeling that we've got a light coming from this side and it will just make it feel very realistic also if you notice how I've laid out the jug I've put it so I've got a line here on the background which goes through this area here on the handle which is called a negative space that is a space between an object so if you're setting up your copy or jug twist it around until you find the shape within here looks really nice and also how I've arranged it so that I've got a line cutting through it so that I've internally used a technique called overlap as enough overlap the jug with the background this line is really going to help to bring that jug forward as the painting progresses I've also got this area here a shadow that I'm going to keep dark there's a little bit of shadow down the bottom not overly worried about that it's more making sure that we've got this area dark enough so that the jug really comes forward so I'm just going to lay out the colors that we're going to use for this painting and it's just going to be two colors ultramarine blue and burnt sienna this is just titanium white what usually fall down this much is just because I'm working on the vertical so these two colors are a really great limited palette to start with when you're looking at learning classical painting techniques because you've got the dark blue of the ultramarine and its complementary color is orange a complementary color is just something that is opposite it on the color wheel so if we have a look at these both together you'll see that the blue is here and orange is over here now burnt sienna isn't a very bright orange but it's within that orange family so we've got two opposites here so we'll be able to create a dark color between the two they'll tone each other out so be able to create some really lovely grays with this but the other thing we'll be able to experiment with is using warm colors and cool colors because of the burnt sienna being a warm tone and the ultramarine blue being blue which is a cool color so before we start I'm just going to mix a couple of tones with these two you start to see we've created is a very dark brown always black color from these two this is going to be great for some of these dark areas on the jug and that's what we're just going to put into start with so what I do with a brush I'm just using a number 10 round brush this from Raphael but it is anything that's just got quite a soft bristle to it you don't want it to be too stiff because some of the detailed areas on here we're just going to kind of wash in quite gently so I've just got some water it's very clean water it is a very dirty pot so don't be alarmed by that so just dip in your brush to the water to start with then with some kitchen roll I take off most of the water you see what happens it just helps to give the shape back to the brush and this just means I can now work this so I can just get a nice thin consistency that's thin yet opaque it's a really fine line between going too thin or too opaque with your paintings it takes a bit of experimentation and really don't underestimate how much of a difference it can make from being too thin or too thick can make a massive difference in the success of your painting so I'm starting and I'm looking at the whole image and I'm looking for the darkest area the real darkest part so for here this area of the the jug handle is very dark so I'm using the round on the areas where I want more detail where I want to make sure like that I get the the spout that that shape they're so important to make sure you get that in accurately so with a round brush you can always get more detailed than you can with say a flat brush or a filbert brush if there's any areas that go on especially if you're using student quality paints and they're not thick enough you can start to see a lot of the tone coming through from underneath and you start to work a bit on top of it acrylic stride so quickly you'll be able to work on top absolutely fine be careful when you're working on the bottom of the jug but you don't flatten it out a tendency when you're painting a jug is because you know in reality it's got a flat bottom is that you try and paint it very flat you've got to make sure you get this curve on it it will make such a difference in giving that realism to the jug now on the photo that I've got there's a line which is a crack in the wood to the jug sitting on you can by all means put that in but I'm thinking for this painting I'll keep it a bit more simple than that so I'm not going to bother about putting this detail in I'm just going to concentrate on the jug and bringing that all together in the painting I've just added a bit more water you can notice the difference has got a bit more flow onto it so I'm going to brush it more onto this darker part of the painting fact I think I'm just going to use a bigger brush just to show you how kind of quickly you can block it in so this just with a filbert brush it's not that much bigger in terms of the size and around but because of a little bit stiffer on the actual brush you can kind of really scrub it in a bit more it's a little bit of reflected light on this side of the jug so I'm just going to wash that in with water just so it keeps it quite dark just so I'm aware that it's there but what you don't want to do is try and overemphasize that too soon in the painting now we've got this real dark scene I'm just going to put in some of the lights into this area of the spout so we've got a tonal range the darkest areas and the lightest areas the one light areas we're not going to put in there is the highlights like the highlights on the edge of handle or a little bit of reflected light here on the edge of the jug because what they're often look like the best things to paint as in the most fun things to paint and they're often the easiest things to put in just at the end if you build up your shapes first and so it looks like the highlights is sitting on top of them it'll be so much more effective in your painting I'm just going to grab some of the white a bit of this color that we've already mixed okay I'm just dipping it in the water just to increase a bit of flow and because the light that's coming is cool so we've got a cool light hitting it I'm just going to add a touch of the blue to it okay that's quite nice and a bit more of the white paint just to go around that rim probably go over this again later so don't worry about it too much okay great click to subscribe above so you don't miss out on the next lesson this is Wilkamp from Wilkamp Art School