How to Draw for a Painting – Still-Life Watercolor Painting Process

Hi there!

A while ago I worked on this painting of a pastry called Rozalach (which is insanely delicious!!).

I also recorded the entire painting process.

As I was watching the footage, I realised it would be great material to talk about DRAWING in the context of painting.

In other words, this is great content to explain how to draw for a painting.

so without further ado, here’s the video (and if you prefer to read – scroll on! 😉)

Drawing for a painting is different

Drawing for a painting is different from drawing when pencil is the final purpose in mind.

It requires to be as detailed as necessary, but not more than that.

With this process, I starting by marking the edges of the pile of Rozalach pastries.

You can see what these look like in the reference pic on the top left corner.

Once I finished indicating the edges, I was able to fill up the space with quick sketches, representing the shapes of the tasty doughy rolls.

This is the hardest part. Once you get those guidelines in, it’s only a matter of filling in the gaps with the finer details.

Here you see me filling in those details. The main things I’m looking for are strong changes in values (meaning darks and lights).

When drawing for a painting, this is extremely important.

Here is the final drawing!

This is a good indication of how a typical drawing that’s ready to paint will look.

Some prefer to be more detailed, while others prefer less details.

I will tell you what – I recommend experimenting with both. Trying different levels of detail has its utility.

More detailed – may allow for more realistic results.

Less detailed – allows you to practice using the brush more, and “drawing” with the paint (rather than just “coloring” the areas between the lines).

And now is my favourite part – The drawing is ready to be painted! At this stage I can already imagine the colors I’ll be using, and the transparency of watercolor (which I love).


List of colors:

  • New Gamboge
  • Quinacridone Burnt Orange
  • Pyrrol Scarlet
  • French Ultramarine

Here is the very first wash.

My main concern is achieving an even result that’s “flowing” properly, and a variety of interesting colors.

Sometimes I go really wild with my colors (especially with portraits), but this time I decided not too.

I was afraid the colors will make it harder to communicate what I painted (a pastry that not everyone will be instantly familiar with).

And so I decided to go with an interesting range of yellows, oranges, reds and some blues.

Notice how I also made sure to connect the Rozalachs with the background. The purpose is to ensure they don’t appear to be “cut off” from the background. We want them to look like an integral part of the setting.

I find this extremely important at times, especially with painting people as a part of a scene.

After that, I move onto the second wash, where we’ll put in the darker shades.

This immediately breaks the painting down into more discernible shapes that actually have a meaning.

In most paintings, I find this to be the most difficult stage. That’s because you really need to start paying attention to the drawing.

There’s one cool effect I think I was able to get at this stage.

The pastries are covered in sugar powder. To indicate that powder’s texture I made use of the paper’s texture (I’m using a cold-press paper for this one).

Notice the areas just under the Rozalachs in particular. I used dry brush strokes that will preserve the paper’s texture and create a powder-like effect.

And here’s the final result!

There was actually a third layer as well. Make sure to watch the full video to see it.

I’m very pleased with how this painting turned out. I love the color selection, composition, temperature and overall feeling.

I hope you enjoyed this quick lesson, and I’ll talk to you soon!

– Liron

ShinHan PWC Watercolor Review & First Impression

I recently published a ShinHan PWC watercolor review video.

I wanted to share it here as well, and show you what these paints look like.

My first impression of these is really positive. I actually I ended up purchasing 3 more tubes that I also share in this video – ShinHan PWC Primary Colours Review.

ShinHan PWC Line of Watercolors

ShinHan have 3 different lines of watercolor – the PWC (also known as “Extra fine”, the Professional and the SHAMI (which I heard is more suitable for children).

PWC seems to be significantly superior to the “Professional” line (a slightly misleading name), that is of student great.

PWC paints are better pigmented, have superior lightfastness and are composed of single pigments.

The Tubes

I got these in a free sample pack. It had three colors.

Ultramarine Deep
Pigment: PB29 (Ultramarine Blue)
Series B (A is cheapest, E most pricey)
Lightfastness 3/3 (high)

Permanent Red
Pigment: PR209 (Quinacridone Red)
Series A
Lightfastness 3/3

Vandyke Brown
Pigment: NBr8 (NBr stands for Neutral brown, Vandyke Brown)
Series B
Lightfastness 2/3 (normal)

I noticed these are very soft and nice to pick up using the brush.

I liked the way the colors look (when wet and dry). I also liked the mixes I got.

As I mentioned, this encouraged me to buy additional tubes (which I’ll also share in an upcoming post).

I hope you enjoyed this quick review. Be sure to check out the full video to seem ore of the demo itself.

ShinHan PWC Primary Colours Review

And if you are interested in purchasing these, here are some affiliate links to Amazon:
24 set:
32 set:

(It seems these paints can’t be bought in individual tubes on Amazon)

And this is it for today.

I’ll talk to you soon, and until then – take care! (:

Getting Punched in The Face by Watercolor | Liron Yanconsky’s Podcast – Episode 14

Episode Summary

Recently I find myself being “punched in the face” by watercolor. What I mean by that is that just when I think I “got it”, I create a few terrible paintings with completely unexpected results.

I experience this most significantly with landscape painting, or with scenes that require a lot of “interpretational” work, and simplification.

The Solution

I find an interesting way of dealing with this issue – I sidestep it.

Instead of smacking my had against the wall, I simply focus for a while on different things. These things are mainly composition and portrait painting.

These are two different areas where I feel more comfortable, or that I have more to learn.

Sometimes you can’t force your way to success. You have to allow yourself to take some distance from the obstacle, and then, without even noticing, you’ll find you were able to get past it.

I hope this helps and encourages you!

Let me know what you think by leaving a comment below (:

Artist Corner

In this episode I mention talked about Eudes Correia. Eudes is a fantastic Portuguese watercolor artist.

I love how he merges realism and a great sense of light and shadow, with some impressionism and looseness. He work in a style I find very unique, and I recommend you check out his work.

You can see his work on his website:

Also, I discovered him via Instagram: @eudes_watercolor


I recently got started with Patreon. My goal is to use the income from there to finally rent a studio close to my apartment.

This will make me x10 times more productive, and I’ll be able to immediately go up to 5 videos per week on YouTube.

Support me on Patreon


Most of my online presence is on YouTube, so if you haven’t I highly recommend you check out my channel.

YouTube – Liron Yanconsky

Instagram & Snapchat

Lastly, if you want to see some of my works in progress, as well as final pieces, Instagram’s where it’s at. This is also a great place to DM me with questions you may have.

I hope to see you there!

Instagram – @LironYanIL

Snapchat – @LironYan3

Creating Art Outdoors VS Indoors | Liron Yanconsky’s Podcast – Episode 13

Episode Summary

In this episode of my podcast I’m talking about creating indoors VS outdoors. I elaborate on how these are different, and what the benefits are of doing both.

I focus mainly on the implications for visual artists – painters, sketchers, sculptors and so on.

Working outdoors is messier, more dynamic, full of changes, distractions and so on. However, it’s much more immersive, and sucks you into the scene.

Working indoors is cleaner, more well-organised. But it does take you out of the environment to some extent, and “weaken” some of your senses and perception.

I believe you can get the most benefit by practicing to alternate between the two. This means working outdoors, and then indoors.

I also aspire to do both. That way my skills in one are will flow to the other.

Artist Corner

In this episode I mention James Gurney. He is an amazing artist and creator, most well know for creating the Dinotopia book series.

But the reason I personally love him is his tutorials on YouTube, where he paints mostly with gouache paint. This actually got me really interested in gouache myself, and I’ll probably give it a try in the future!

Be sure to check out his YouTube channel here: James Gurney

And you can also find me here (:

Support me on Patreon

YouTube – Liron Yanconsky

Instagram – @LironYanIL

Snapchat – @LironYan3

Quinacridone Burnt Orange – Daniel Smith Watercolor | The Paint Show 22

Welcome to episode 22 of The Paint Show, in which I’ll present Quinacridone Burnt Orange, by Daniel Smith!

You can check out the full episode on YouTube, right here:

Me and Quinacridone Burnt Orange

I got this paint originally together with the Daniel Smith Secondary set, alongside Carbazole Violet and Undersea Green.

I really enjoyed this set, and I think it’s REALLY worth it in terms of the price. This is why I originally reviewed the entire set.

Then, I reviewed Carbazole Violet on the previous episode, and next week I hope to review Undersea Green as well!

I slowly got to love each and every one of these paints, and I wholeheartedly recommend getting them.

If you are interested in purchasing Quinacridone Burnt Orange, you can do so here (affiliate link): Quinacridone Burnt Orange – 15ml Tube.

If you want to get the entire set, you can do so here: Daniel Smith Secondary Set

(If you buy using these links you pay the exact same price, and I get a commission).

Paint Information

Here’s some more information about this paint.

  • Pigment: PO48 (Quinacridone Orange)
  • Series 2
  • Excellent Lightfastness
  • Transparent
  • Granulating
  • Low Staining

As this is a series 2 paint, it’s not the cheapest. On Amazon it goes for about 17$ (and the set is 24$, so you can understand why I recommend that…).

I love this paint’s transparency too. I usually use heavier and darker wash from the get (not aiming for multiple glazings), but this one just may make me try some of that.

I also like the relatively gentle granulation texture, and the fact it’s more easily liftable, as it’s low staining.

If I recall correctly PO48 should be staining. I’m not sure what Daniel smith did here, but this one seems to be low staining.


Here are some things I show in the video review…

A basic swatch and a quick wet-in-wet swatch.

Mixes with French Ultramarine and Sap Green (which Daniel Smith recommends doing).

And lastly, I attempt to recreate the paint. According to information I found online, this can be remixed by combining a yellow similar to PY150 and a red such as Quinacridone Rose (PV19) or Maroon Red (PR179).

I didn’t have a suitable yellow (PY150 is somewhat neutral), and so I used a combination of Lemon Yellow and New Gamboge, and mixed it with Quinacridone Rose.

The result is pretty nice!

Pretty similar, right?


I really enjoyed making this review for you. Let me know what you think by leaving a comment under the video or here on my website.

If you want to watch the full episode on YouTube, you can check it out here: Quinacridone Burnt Orange – The Paint Show – Episode 22

And again, If you wish to buy the tube, you can do so here: Quinacridone Burnt Orange – 15ml Tube.

And if you want to get the entire set, you can do so here: Daniel Smith Secondary Set

I hope you enjoyed this one, and I’ll talk to you again really soon!

– Liron