 So now I want us to be able to judge the warmth that's going to be happening into this piece by putting in the blue on the background So if we start with some of the blue But we don't want to be you know, too blue So we're just going to knock it down a bit with the burnt sienna Lighten it slightly with the white So it's quite a dull blue Putting in the color inside The negative space of the handle just have a really good check of the shape is a great a great place to check how your drawing is on your piece Okay, great, and you can start to see already how the shape of the jug is starting to come out We haven't really painted that much We've painted a scrubby blue on the background then these blocks of dark and a little bit of light But you can still start to see how this shape is coming out We know that the painting is going to work really well So if you notice on parts of your painting any parts you start to see too much of the underpainting coming through Just going to put a bit more of that Dark just to emphasize that shadow side. Just so that's nice and solid Okay, now we're going to put some of these shadow areas in here next to the jug and just in the background So we can start off with the dark color So we've got a bit lighter than the dark, but not massively Just have a look on the actual painting So it's quite watery the mix that I'm putting in just so that you can help judge your eye to see if you need to go darker or lighter On this shadow area that you're painting in What you'll find is that often when you're trying to mix or match a color When you're just using a very very limited palette is you won't be able to mix it exactly What you're just aiming for is to try and get something that is very very close in tone to it Not necessarily something that is the absolutely precise color Because of the limitations of the pigments that we're using you won't be able to get Something exactly right with a right degree of punch or it might go a bit greenier blue But you've just got to get used to working just with these couple of paints and just see how far you can push them And how much of a painting you can create just using two colors So now for this ground color, we're just going to mix a few grays just with these pigments So you start off with a bit of the burnt sienna Notice how it goes very peach when you start to add white in to it So when you compare it to that it's you know really far far too peach So we've really got to cool it down and we start to add Some of the blue to it So it's a nice pale blue but you'll start to see if you put that on here It looks really you know, it looks too blue. You don't want it that blue You want it more of a neutral It's so good to work between these two colors just to get practice in neutralizing your pigments Okay, that's quite a nice warm gray We use him You just add a bit more of blue to him Yeah, just to cool him down Just put a bit more pigment out just take a bit of the lighter Color that we've got the warmer one Notice it's a bit warmer on this part And it's next to the cooler Darker blues that darker bluey gray. It starts to go dark still Add a bit of that into it And when it's still wet on parts just work some of the white straight on top of it And a bit darker on this foreground area It's often handy to have a darker edge or a darker corner on your paintings Just helps to send your eye back into the piece. It doesn't have to be very much But it just helps it so instead of your eye falling off here The darker side just kind of pushes your eye back in On this foreground part It's quite a sketchy. I'll keep some of that underpainting there And this you know, it does darken off into this area here I'm going to start to judge how our tones are going and say, okay I need to darken off that a bit Put this dark area inside Inside the actual jug and then we can start to bring in some of that real Warmth of the burnt sienna and start to see how our tones are working You might want to swap back to your Your round brush just for any of these details. Just kind of keep those edges Just keep it a little bit soft Okay, great now we can start to add some of that stronger burnt sienna into the jug and start to build on our painting from here This is Wilkem from Wilkem Art School. Make sure you subscribe above It's free to subscribe so you don't miss out on the final part of this still life video