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For the drawing, I used a primed canvas on cardboard, oil paints Master-class and Ladoga, synthetic brushes (five and two), a bristle brush (ten).
A step-by-step process
First, I outline the contours of the future still life with a pencil. Pencil is better to choose hard, as soft pencils leave too greasy lines and dirty the canvas.
Then I start to draw the background. For this I use ocher, umber, brown shades and purple for shadows. The paint is applied with a wide bristle brush, which, due to its stiffness, leaves on the canvas lines imitating the texture of the tree.
With the same wide bristle brush I cover the central objects of the drawing with the primary colors.
Lemons paint over with a clean yellow paint from the tube, and mix it a bit with the English red. I also cover the leaves with emerald green in a mixture with blue cobalt.
As already understood, the subbase (the first layer) of the picture is dark, and the lighter shades (including glare) will be applied already at subsequent stages.
I'm starting to draw. I take a small synthetic brush and alternate light and dark tones "point-like" imitate the friability of the lemon peel.
For light lemon tones, I used cadmium lemon and cadmium yellow light, for dark tones - English red and ultramarine violet.
In the same way I paint the texture on the other lemons. I try to draw lemons is not identical, so that the picture as a whole does not seem boring and monotonous.
Each lemon has its own "character", transmitted by color, saturation, the location of shadows, features.
In the first session, the paint does not lie very tightly, the picture seems a little pale and inaccurate. Therefore, as soon as all the items in the picture are more or less outlined, I leave the picture a little dry until the next day.
At the next session, oil paints are much better "seized" with the canvas and you can walk through the painting with finishing strokes. Once again I prescribe a porous texture on lemons, I compact the shade with a purple ultramarine.
Titanic whitens put glare on the fruit, especially on the most lighted areas.
I prescribe the texture of the tree. I mix brown paint with blue cobalt and a fine brush, I paint bands and curls that imitate natural "patterns" of wood. I alternate dark lines with light ones, mixing ocher with white.
Finally, I prescribe leaflets of lemon lying on the edge of the table. Light sections of the leaves - a mixture of cadmium lemon with emerald green paint, dark - a mixture of cadmium blue and purple ultramarine. Whitewash loosely on the leaf edge.
Still life is ready!
When the picture is completely dry (about 4-5 days), it can be covered with a thin layer of damaging varnish for gloss and brightness. In the meantime, I leave such a more peaceful option.