Fruit Still Life in Oils Part 5 – Adding the Final Touches

In this final lesson we will be adjusting edges to make the subject more prominent and refining the textures we added in the previous session.

  • We will begin this final session by taking a look at any overlapping forms and adjusting the relative hardness of the edges.
  • A straightforward example of this is the line in the background that runs behind the lemon – because the lemon is well forward of this line we can make the line behind softer so that the lemon feels sharper and closer to us (as it is in focus).
  • I did this by mixing up matching dark and light greys that I laid over the background, then used a dry brush to blend these tones together – resulting in a blurry edge.
  • I then repeated the same process for the little jutting ends of lemon that sit slightly behind the main body of the lemon.
  • I also added another darker glaze over some parts of the lemon in shadow to make it roll a bit more softly into the dark shadow below.
  • Finally, I added some bits of textured shadow up into the halftone texture above the shadow edge, and then blended this shadow colour with a general yellow halftone colour so that the texture feels a bit more soft and bumpy (rather than patchy).
  • That’s it – the painting is finished, it just needs some time to dry and then it will be ready to frame!
Course Materials:
  • Small Canvas (stretched or board)
  • Easel
  • Palette
  • Palette Cups
  • Oil Paints
    • Titanium White
    • Cadmium Yellow (or equivalent bright yellow)
    • Burnt Umber
    • Raw Umber
    • Prussian Blue
    • Ivory Black
  • Various brushes (ideally a range of smaller and larger brushes, but whatever you have lying around will be fine)
  • Odourless mineral spirits
  • Linseed oil
  • Tape
  • Paper towel or rag for cleaning up
test