Okay, I'm getting to the next layer of grease is painting. I'm gonna focus on painting textures and details. I begin painting parts of CV brand, the branches that you see here, I'm using a smaller brush, but today I find that looks crude. I think a small liner brush does a much better job painting such details. I don't mean every single branch, I just focus on major branches and a layout, because I'm gonna retain that at a later stage. I just want to have them as a guide.
And also I want to have that reflection in the video. begin painting small highlights and the reflections in the ways and I try to capture the Correct a shape of every reflection seals This is my second gray underpainting I have all my shadows being established in my previous layer and now I focus on the lightest areas. So the logic is to establish the shadows fills in and now I look at my highlights or the lightest areas and then I will be finding a range of tones in found in between those two poles of light and dark. So here you see me painting the lightest areas in the starfish I'm using particular strokes to describe texture of the starfish. I keep looking at the rotation of every leg in the starfish because it changes the direction of my strokes. I want to describe the texture on every leg and it differs slightly and also every leg has a different lighting.
That's what I'm thinking about as I keep painting. I keep layering texture right next to The previously applied beans it because it's much easier to mix the right value by dialing the paint meaning that I start in one area and I continue continue painting right next to that area. For instance, I started with the lightest paint and then the leg turns into the shadow. And that tells me that I need to mix darker pain to describe that I look at the center of the starfish and study it carefully to understand the pattern. And I tried to call it the all those lines that I see right in the middle of the starfish. As you can see it already gets quite detailed.
This kind of painting could be a finished product. At this point if I just wanted to finish it on painting and black on white. You know in the 19th century artists did a very refined black and white painting to glaze colors on top of that Now I begin refining all the shapes that I see inside the vase. Also, I'm constantly thinking about the anatomy of the base, and I keep curving my shapes even more than I think that I need to create volume. I keep touching up different parts of the vase, making some edges and darker painting software to create the difference between the values. She used to me painting the texture of the table, I use up and down and even stroke.
Just keep watching how I try to imitate this texture. Also, I soften some of the edges and I keep changing the value slightly to create create an even stripes that resemble this texture. I add strong highlights and in the reflections inside of the face I darken the areas around the highlights to make them pop even more And I started painting the reflected starfish in the vase. As you can see the values are darker than the starfish. That's how I create contrast because the vase is a lot darker than the starfish, but reflection itself is slightly lighter than the general tone of the blue vase. And then keep refining the values around the branches inside of the base Now the vase looks much darker and it also has a range of tones and And it has many beautiful reflections.
And that's still black and white. It's not even colored yet. I refined the shadow behind the ways the same way, focusing on values. So if I see that something is darker like the rain, I add some color there.