A must watch demo of Daniel Edmondson: Free Oil Painting Videos Orange and Grapes Demo.
A lot more can be learned from these Free Oil Painting Videos Orange and Grapes Demos that i have. I just wanted to say that at the beginning of this post. I’ve a little bit of a break on this painting and now I’m going to come back and do a few more finishing touches to it. I just felt like I didn’t quite give it all that I could have. So the first thing I’m going to do is I’m going to put in some of the stems for these grapes, add a little bit of stem here I kind of like that. I am going to add some of these little berries and clean up some of these leaves and that type of thing. I’m not going to do anything too big and elaborate but I want it to look a little bit better than what I’ve got here. First thing I’m going to do is I’m going to start with polishing these grapes up and maybe create some variety. One of the best ways to do is to take some cad red medium and add a little bit of yellow oaker to it. To try and create this little oakery color that you’ll get on some of these grapes. Then you just come in and start to paint some of them. A little bit more yellow oakery than that. So we come back in grab some more yellow oaker and maybe work on a little bit higher concentration of yellow oaker. I’ll just add some work on these little guys here to try and give us more of that yellow oaker look. It’s a little bit strong, I think I’ve overplayed that just a hair so I’m going to grab my mixture again and I’m going to work it into it without destroying it, just to soften its transition. Although I kind of like this brighter piece here and grace it up.
Now, what I found too is I think that the highlights we worked on, so I’m going to take this kind of brush. It’s a five five zero zero size one (5500 size 1). It’s just a little round, and I’m going to pick up a little blue and white mixture. What I’m going to do is I’m going to put in a little halo underneath some of these highlights they’re just too strong without a sense of color. So, I’ll add a little bit of blue on them, underneath, although just a few of them. Softening that a little bit too, a little bit more of this bluish highlight. If your wondering what it is, this is going to be a halo for the highlight. It’s really what I’m going to do. Just to diffuse the abruptness of the highlight and make it look a little bit less like a marble, and a little bit more just like a straight on highlight. I’m going back to my sharpener. The brush looks like a little bit more like a pencil, and then just back in the center of those I’m going to put this highlight mixture again. I think I’ll give it just a little bit more richness that it didn’t have before. A little bit highlight right here this is kind of important. I like that better.
Now I’m going to take the edge of and pick up a little bit of yellow oaker, and a little bit of green, I love green, and make kind of a multi-colored mix. I don’t mix it real tight, that way I can have the benefit of having all these different colors come off. I want to do something with this stem. Make it look like just a little bit of a stem coming off from those grapes. Just happen to screen in a little bit of that same mixture and just put it somewhere on the stem pieces using short little straight lines, and then maybe right across there just to stay still. You don’t need to go to great works to make the thing look like a stem just bring them a couple of lighter pieces for highlight on the stem because the stem changes direction its kind of a highlight. Every time you have a plain change you’ll generally have a highlight in the painting. Same thing goes in this branch up here. If you would want to you could pick up just a little bit of not the brightest highlight color and put down just an edge of highlight. Just to make it stand out a little bit from the back. To show that there isn’t parts of that that do have brightness to it. To make it look a little bit better we could maybe darken a couple of those grapes that’s what we are going to do now. I’m going to a little bit of that illicerin mixture with a little bit of black again and I want to just darken a couple of these deeper ones down in here. Just to make it feel like the ones aren’t sitting on top that much anymore. Now moving on,
I want to whiten a part of this little leaf here because its blending in too much with the table top cover. So it would have to stand out a little bit brighter than that. So I’m going to lighten this one on the edge. If you’re looking at the picture one of the edges is a little bit lighter not much just enough to say: “oh by the way there’s a beautiful piece of blue on one of those grapes and that’s what we are going to try to get on there too. Someone told me it was a fungus and I don’t know if it’s true. See I like that a little bit more! I want to bring in a few more lighter leaves. Lighter but duller leaves that could be expertly or perfectly drawn it’s just something that we try to break up and give the eye something to focus on as it gets from here to there to there to there and there. Then lastly I kind of like those red berries so I’m going to go and put some of those in! So I’m going to grab some illicerin with a little bit of cad red and we’re going to try that first. So that’s it we are going to represent the shadow part so that’s a little too bright so I think we’re going to come back and re-state it by adding a little bit of black to that same mixture and what I want to do is put these strokes down in one stroke. Don’t come back and worry that paint so much by licking it over and over and over. Then I’m going to come back with that same mixture of cad red and illicerin only one more concentrating on the cad red part. Just add some of this to make these beautiful little color notes on this thing. If you notice there is one so it may take a little bit more darker of the mixture to this little red berry back in here and I like the way it looks! So I’m going to put it in. And we just want to put near these brighter highlights on them because it stays in the background. It’s part of the background information even though it’s not in the background so much its part of what we call background information. Let’s give it a tiny little highlight. And soften this edge ever so lightly without disrupting the brushstrokes we have underneath and re-shape it. Then add some highlights! Little dots there’s a think about highlights, they all have to relate so if your light is coming from the top left like this direction right? Like it is in the stem, all the highlights have to relate to that same direction right? So you can’t have a highlight on a grape on the left side then another grape on the right side it’s the same thing here, you can’t have it on these little berries on the left side but have it on this orange on the right side. So all your highlights have to relate to one another in order for your painting to have what we call structural unity. So now we need a little bit more shadow color on that table top. Then we just need to work on this table edge a little bit more. Just missed a little bit here as you see I’m using these tiny little brushes to fix problems. The reason that’s kind of nice is because it will allow you to preserve the brush strokes of what’s going on below without destroying those brush strokes. I just want these slices a bit and take cadial deep at a little bit of permanent rose just because it makes just a beautiful work of art. Just add some pieces of color and there where it’s kind of gotten a little bit mushy and a little bit of the other colors that blend through. Just because of the way I paint on them. Then we want this piece of paint right here just to set up an in front of it. But there’s a little piece of lighter value of the orange there and there’s a little bit of cad lemon, yellow deep and some white. Just try to create that and you don’t have to put that edge in everywhere but you just want wherever you need it to separate out and there it is. That’s all.
Take this edge on top that could be a little nicer as it could have a little bit of bluish color to connect these two light objects. Alright! And that looks pretty good! The last thing I really want to do is I don’t like that lip right there where it’s sticking out and I still not am completely happy with the transitions in that grape, it looks a little bit choppy. So what I want to do is I’m going to kind of start over with that said grape by that orange. I’m going to start over with that orange and I’m going to just sort of soften these brush strokes a little bit and those transition areas then just come back with a little bit of fresh paint, right on the top to where it looks a little bit fresher. Then again I’m using a mixture of cad yellow deep with a little bit of cad red what I want the brush strokes to show, on the other hand I don’t want to show so much that it dominates the form, if that makes sense to you. I hope so. We want to see that it’s an orange but we also want to see the brush strokes we don’t want to see the brush strokes before we see that there’s an orange. There! I think I like that better. The transitions are better nice little highlight. Sometimes you might wonder why do they use a blue and white highlight, you could have. I found that sometimes the blue highlight on an orange isn’t completely believable that’s why I like using the permanent rose with a little bit of white think of it as kind of a peachy type of highlight.These Free Oil Painting Videos Orange and Grapes Demo are also available for your viewing pleasures. Continue to visit more often and learn more about oil painting today!