I bury mix a string of dollars going from buress black to the purest white. It creates a range of tones that I'm going to use in my painting. First time it's either black with just a little bit of brown tomorrow to warm it up. And then I keep adding a touch of white to create a different shade. That's how I ended up visit visible range of tones. Black and White under painting is the old masters technique.

Black and White under painting establishes correct value scale. And once this underpainting is totally dry You can layer colors on top of black and white painting. And so I'm often asked why bother painting and black and white if you could just skip it and paint in full color immediately. It is possible it's another type of painting, but when you just begin learning to see values as opposed to colors, and to develop shapes correctly, this is the method you need to learn. Also, it depends on the technique, but a lot of times when the glazing, it's much easier to make a complete on the painting in one color, and then begin glaze on top of that. I'm gonna show you this technique in the end of this video.

So I live pinged by following the shadows and the darks first. If it gets too heavy, I use my paper towel to wipe off some of the pain to keep it more transparent and light. I begin a layering different shades of gray, depending on the values that I see in my life. For instance, the bottom part of the vase is very dark and that's my reasoning for using much darker gray pin as opposed to the side of the vase which is much lighter. And so I'm using a lighter mix of gray paint when I apply gray paint Over this brownish layer it has brownish undertone. And so this gray paint looks very bluish or even greenish depending on the light.

It's all in illusion that I keep filling in the ways and when I switch to a much darker or a much lighter paint, I tried to soften the edge because glass is soft, it's elusive reflections change as we move looking at the gloss and that's why edges must be very nice and soft to create that illusion. I also use a very nice clean and soft brush to soften the edges. along the way. I carefully observe the abstract shapes that They see in the ways and I tried to simplify them and focus on the tone of every shape painting. As I begin painting the starfish once again I focus on the shadows first and mark those shadows with the same paint. And I mix Gray's thinking of my tones of values that I see in the shadow part of the starfish.

As you can see I'm not sloppy and I'm using quite a small brush to fill in the shadows carefully. Once I get to a lighter part of the sea Shall I clean up my brush and charge This lighter color and begin painting there. As you can see, I begin creating volume painting and black and white. The more precise I get, the more volume the starfish is going to have. Basically, I rely on my practice and observation skills to make the correct value for every section of the starfish. I began to feel and in the background at the same time as I keep painting everything else, values in the background affect what I see in the foreground.

It also affects the edges. That's why I keep painting everything at the same time. I rotate my panel a lot to Bligh paint using the correct type of stroke. Placing the strokes in the right direction is very important to create a volume. I want my background to have a different kind of stroke. Not to confuse that with the objects themselves.

When I paint the shadow on the wall behind the vase, I attempt to make the edge much softer than I am going to have in the vase itself. That's how I'm trying to create the difference between the shadow and the object itself. When you're painting the shadows or you know the cast shadows that you see under the objects, they need to have a much softer edge as opposed to the object itself. A lot of times it's just much easier to paint and to play to place the right stroke and make the edge nice and the oven by rotating the panel And once again, if you aim to become better at painting realistically, you shouldn't be sloppy. You should really try copying everything that she has see, by observing values and applying, you know, keeping your drawing perfect and applying strokes in the right direction to capture volume of every object.

As I keep painting the top part of the vase, I'm thinking about symmetry. And I'm trying to be as perfect as possible, painting the rim of the blue vase. I also began failing and smaller shapes found using a larger shape And I land the edges of the transitions between those values. Always remember to continue painting on dry surface. That means that every layer that you put it needs to dry out completely. It's important for several reasons.

One of them is archival, because European sink could crack over time if you don't follow this role. Another thing is when you use glazing technique, it's so important to have a dry layer. So when you start glazing color on top of that the previous layer is not going to move I keep painting smaller abstract shapes found within the ways using my small brush. And when I want to blend the edge I use a different kind in a different brush vicious, clean and soft