Find out how to Draw October (Oil Portray Simple 11 Steps)

Squeeze the paint from the tube onto the canvas. Try to squeeze out more light (warm) colors (shades of yellow, orange, ochre) at the edges and corners of the canvas, and in the middle add more (among the yellow shades) in place of the future orange pumpkin – cadmium red, and in place of the future green pumpkin – emerald, ararat green, mars brown. You can do without thinking too much about it, and just squeeze the paint onto the canvas in an almost staggered pattern.

Press the paint down with a u003ca href=u0022https://en.wikipedia.org/wiki/Painting_knifeu0022u003eu003cstrongu003epainting knifeu003c/strongu003eu003c/au003e

Use the blade of a office knife, which is held almost parallel to the canvas, to distribute the paint on the canvas in short strokes (work very carefully and to avoid injury, do not forget that the blade is very sharp and it can cut).

Next, with the same clerical blade, carefully distribute the paint from top to bottom in one motion. This leaves paint on the blade, which should be removed either on the edge of the canvas, where there is not enough paint, or wiped off on a rag. Try not to stir the paint on the canvas too much at this stage, but to even it out in one movement from top to bottom, and so reach the end of the canvas in parallel paths.

We divide the still life photo into four parts, to make it easier to maintain the proportions when transferring the picture to the canvas (I just bend the photo twice, lengthwise and crosswise).

Using a brush, the back end of the brush or a finger, we outline the outlines of the future pumpkins and the edge of the table.

Putting a sock on your hand or just a rag wrapped around your finger, begin to select (erase) the paint from the light areas of the future green pumpkin (at the same time, work carefully, gradually making the transitions from dark to light places). At the same time the darkest places are not touched at all. The most important thing in this technique is to select the paint from the canvas in short strokes, do not smear large areas on the canvas at once, and constantly change the soiled piece of rag or sock for a clean area, moving the material in your hand.

Similarly, lighten (select the paint) from the light areas of the future orange pumpkin, and also wipe the paint where the table will be. Work confidently, don’t be afraid to remove excess paint, because it can be added again later, but in a clean color!

Sixth step can be skipped and not done. I, on the other hand, took a sheet of newspaper by the middle and lightly touched the canvas with the edges of the newspaper, going over its corners, slightly muddying the paint and creating barely noticeable streaks.

We make a shadow under the pumpkins and in the hollows of the pumpkin itself. For this I made a mixture of ultramarine and cadmium red dark, somewhere I added dabs of brown, somewhere – Ararat green. I applied the resulting dark paint with a brush to the canvas, and then in some places I smoothed it out with my hand (you can use a dry brush, touching the canvas lightly).

Next, we make clean blends of paint on the canvas to highlight the lighter areas of the pumpkins (light orange, light yellow, light green, and even bluish green).

After that, use the brush to apply the light paint to the areas that we wiped beforehand. Try to touch the canvas lightly with the brush in short strokes, not completely covering all the areas, but rather creating ripples.u003cbru003eSimilarly, add dark green, emerald, red-brown, and so on to the shaded areas. The more shades you use, the smoother the tone transitions, the more picturesque your pumpkins will be!

Moving on to the sea buckthorn sprig and the berries on the table. I wanted to make the sprig not as dense as in the photo. I used a brush No. 4 and a dark transparent brown paint.

Doodle the leaves. They are a simple oblong shape and should not cause difficulty in writing.

We make sea buckthorn berries in the background, using darker shades of paint (I added brown to orange and yellow). By the way, the berries are very convenient to draw with a finger, as if putting a paint imprint on the canvas or with a semicircular brush No. 4.

In between, I drew a shadow under the leaves, berries, highlighted the edge of the table and the edges of theu003cbru003eleaves.

Next day, when the paint dried, I did a little more work on the berries. With a softer brush I smoothed the surface of the berries, brightened the berries in the foreground, put highlights (somewhere just with whites, somewhere in the shadows – diluted with whites with yellow and orange paint). I added even lighter color to some of the leaves.