Beruflich Dokumente
Kultur Dokumente
Basic
Still
TEC
ited
by
&CHEL WOLF
Q U
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Basic
Still
Life
TECHNIQUES
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Basic
Still
life
TECHNIQUES
edited by
RACHEL WOLF
Ohio
Mask-
Techniques. Copyright
Still Life
No
rights reserved.
part of this
in
Hong Kong.
All
in
including information storage and retrieval systems without permission in writing from the publisher, except
by a reviewer, who may quote brief passages in a review. Published by North Light Books, an imprint of F&W
Publications, Inc., 150"
98
9"
96
Dana Avenue,
94
95
Cincinnati,
First edition.
Basic
still life
cm.-
p.
techniques
Includes index.
ISBN 0-89134-588-4
painting -Technique.
1. Still-life
ND1390.B27
"51.4-dc20
I.
Wolf, Rachel.
II.
Series.
1994
93-48568
3/1
3l19f02<,?99 fS-
CIP
Sandy Conopeotis
Interior design by
text originally
appeared
in the original
Albert Greg.
in previously
initial
It!
this
page numbers
book.)
40-41, 42-43).
68-71 (pages
viii,
Bill
James; pages
2,
102-105) by Jane Lund; pages 25, 114-117 (pages 72, 98-101) by Richard Pionk.
44, 48, 49, 50-51; pages 110-111 (pages 94-95) byjubb, Kendahljan; pages 54-55 (pages 92-93)
by William
Wright.
Glow
Lehrman, Lewis
Barrett. Energize
Moran,
Patricia.
ii),
by Ted Goerschner;
Falk.
Pike, Joyce.
Still Life
Direct Approach
54-55, 56-57, 114-115 (pages 12, 14-15, 16-17, 18-19, 36-37, 73-77, 80-81, 82-83, 84-85, 86-87).
79 (pages
Stine, Al.
3, 5,
1991. Pages
5,
Woolwich, Madlyn-Ann
C. Pastel Intrepretations
2,
6-11).
108-109 (pages 114-115) by Foster Caddell; pages 102-103 (108-109) by Tim Gaydos; page 90 (page
William Persa; pages 100 (page 106) by Mary Sheehan; pages 92-93 (pages 116-117) by Anita Wolff.
Opposite
title
page:
Goerschner,
24"xl8\
oil
on canvas
v) by-
Stars
William Persa
20"x2<?'
ACKNOWLEDGMENTS
pastel on paper
Joyce Pike
Doug Dawson
Richard Pionk
Joni Falk
Scott Prior
Tim Gaydos
Ted Goerschner
Mary Sheehan
Ted Smuskiewicz
Bill
James
Kendahl Jan Jubb
Charles Sovek
Al Stine
Carole Katchen
Anita Wolff
Jan Kunz
Madlyn-Ann
William Wright
Jane Lund
C.
Woolwich
TABLE
of
CONTENTS
Introduction
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
BASIC
DEPICTING
LIGHT
MATERIALS
GETTING
STARTED
AND
SHADOW
Everything
Setting the
Painting Three
UNDERSTANDING
COLOR
Scene
Dimensions
Materials for
Arranging the
Setup
Painting
Materials for
Pastel Painting
Design and
Composition
Background
and Negative
Defining the
Form of an
Object
A Strong
Shapes
Make Your
Drawing Clearer
The Primary
Colors
Enhance the
Illusion of
Depth
Hue, or Family
of Color
Strengthen the
Composition
Tonal Value
Painting a
Intensity or
Saturation
Painting a
Whole
and
More
Value Scale
Starting Out
With Oil
PRINCIPLES
The Basics
Painting Groups
of Objects
Space
Still Life
Massing In
Shape and
Gesture
Beyond Simple
Assemble
VALUES
Foundation
Watercolor
FORM
Composition
Using Value to
Create a Center
of Interest
Learning to See
Doing a
Preliminary
Shadows and
Drawing
Mood
26
38
The
Palette
and
Color Wheel
12
52
Chapter Six
SPECIAL
Chapter Seven
Chapter Eight
Chapter Nine
DEMONSTRATIONS
DEMONSTRATIONS
DEMONSTRATIONS
Difficult
Beginning With
a Neutral
PASTEL
Basket of Fruit
Working From
B&W Photo
Tone
Casting
Fruit
Transparent
Index
IN
118
Subjects
IN
WATERCOLOR
OIL
TECHNIQUES
For Some
IN
With
Shadows
Interesting
Studio Light
Luster
Surfaces in
Watercolor
Iris
and Hat
Designing With
Black
Rendering Fine
Detail
Reflective
Surfaces in
Watercolor
Bouquet
Setting in the
Reflective
Pretty
and
Yard
Daisies:
Painting
Enhance Mood
Reflective
With Contrast
Surfaces
Surfaces for
Pastel Painting
Creating Value
Transparent
Objects in Oil
Patterns:
78
88
Two
Views
Subdued Color
for Intimacy
Layering With
Fixative for a
Glowing Surface
98
Still Life
Jane Lund
22"x20"
pastel
INTRODUCTION
Still
life is
traditional
etc.
results with
This
of the
We
still-life
book
all
artist
subjects.
In
one
It is
still-life
to paint
painting.
offers instruction
medium
and enduring
and encouragement
to
all
painters, regardless
have assembled
this
best teachings
all
on
here.
still-life
In the
first
chapters,
you
still-life
pastel.
knowledge
quality
we
that
call "talent."
effort will
will
subjects.
in
oil,
The
latter part
watercolor and
elusive
Chapter One
BASIC MATERIALS
Everything You '11 Need
equipment we use
all
for paint-
fects,
there
is
no magic
in
them. They
Good
and equipment
when we were
by
all
mystified
and confused
We
were
more experienced
painters
gadgeteers and
become
collectors, with a
it
easy to
might be useful.
ists
keep
all
in their paint
we
art-
painting. Instead,
we
rarely use
usually stick to
it's
fun to collect
and
and learning
your
home
ef-
to use them,
it's
to work, preferably
boxes or on
more
than one or two of them on any one
their studio tables,
in
activity,
and
it
will
be
eas-
It
also helps
is
it.
also important.
The
by
is
ideal lighting^s
pastel.
life-
your equipment
Having the
Despite
with creative
that
had accu-
choose
tools
all
roundings with
im-
one
turbed.
Many
careers
on the kitchen
artists
but having
A good, round
in
your
own shadow.
to
be painting
Ordinary fluores-
good color
warm
choices.
for
It
you
to
make
can be a real
in cool
cent
light.
in familiar sur-
watercolor brush allows you to paint broad strokes with the side of
some finer detail with the point.
Basic
lighting.
Still Life
Techniques
Charles Sovek
24"x30"
oil
on canvas
Rowayton, Connecticut
Basic Materials
a space dedi-
Materials for
The following
terials needed
list
includes
all
Painting Surfaces
Brushes
Painting
Oil
the ma-
oil.
You need
dozen
at least a
flat,
bright
through 12
4, 6, 8,
tivity to
different colors
look
First, let's
colors.
They
all
and brushes.
of suggested
at a list
from
a per-
just the
with).
2,
no.
5,
6 or 7 square sable
soft-
round
highlights unob-
and
rigger
A brush washer
Oil Colors
strokes. Silicoil
*
mandatory item
for
makes
cal)
paint. Sizes
the
all
way up
to
around
bottom especially
with
will
it.
are from
1 1"
x 14" to 16" x
20".
do
paper
ideal to use
it is
cause of
weight and
its
Plexiglas,
fragility.
is
White
suitable
for
You could
Palette
light
both purposes.
Plexiglas cut to
also
field
fit
you should
Ideally,
palette
black
nut butter or
brown madder
cadmium orange
cadmium yellow light
cerulean blue
washer, your
*
isn't
yellow ochre
them out
Thalo blue
oil
with a coiled-up
at the
bottom.
a
last
painting equipment
in the
first
cleaning
jar
swishing
and then
water.
Make sure
that
no excess
first
and reserved
mixing of paint.
is
When
the
covered, sim-
and you
in-
work on
Painting Knife
much
flat
palette, use
for holding
Brush Dauber
manipulate than a
one
It's
paper
warm
inverted handle.
a larger
Payne's gray
Be sure
do choose
cobalt blue
If you
two of them,
time by
pal-
brush
brushes one
umber
sap green
jelly jar
raw sienna
burnt
all-
or cardboard beneath
a jar with a
Naples yellow
permanent green
makes
is
cobalt violet
burnt sienna
Vs-
Brush Washer
gradually, as desired.
crimson
book
alizarin
easier to
palette knife.
an
tuna or
cat-
or
brown
distracting to
warm
judgment
Basic
Still Life
Techniques
on the
natural
larger palette.
Tan
objectively (especially
on
when working
white canvas)
made
window
building or
ful for
is
from
particularly use-
new
a clean
mixtures.
Medium
Use undiluted turpentine
a painting
a canvas.
for laying in
Some
useful
mediums
are
&
oil
some
in
that
is
brushes Wood-distilled
tine
is
less
gum
turpen-
quality
to use a high-
paper towel.
Brush Can
Charles Sovek
12" x 12"
oil
on canvas
Atlanta, Georgia
Basic Materials
This
is
a watercolor of artist Al
studio setup.
Stine's
tools
look
at the
brushes,
HB
a
pocket knife,
needed
much
less
expensive
on
water con-
watercolor
which
you
and
some
handy items
tercolor painters.
They should be
fibers,
& Newton
good
The following
selection of brushes
Brushes
is
job
when purchasing
ing
afford.
done but not so many that choosthe right one becomes troublesome
when
means
recommended
painting.
Use
a 2-inch
Robert Simmons
skies. This
Basic
Still Life
Techniques
If
fibers but
three red-sable
flats
'/2-inch, a 1-
and
rounds nos.
four red-sable
and
12, 8, 6
4.
The
larger
Keep an
paint-
ing; small
painter's
oil
2-inch bristle
lifting
out
and
and
grasses.
First,
which tend
for acrylics,
you do use
use synthetic
acrylics,
brushes.
Second, you should clean your watercolor brushes thoroughly after every
Make
painting session.
rinse
use.
to
them
Many
in clear
it
use
artists also
in the bristles.
rinse out
all
a habit to
may
that
linger
the soap.
way
brush holder,
on page
illustration
taped to a piece of
5.
such as
as
shown
few moth
time, put a
cardboard.
problem
is
way
to use
If
This
is
a good way
to transport
for a long
crystals in their
in the
Transport them
stiff
container.
verti-
to
hair.
combat
Of
this
your watercolor
Basic Materials
and
your
brushes. For
in various
When we
speak
we mean
sheets of a particular
500
if
140-pound paper.
called
The
less a
when
140-pound
it
wet. Paper
need to be
The heavier papers can be
held down on the drawing board with
lighter than
will
stretched.
large clips,
used unmounted.
The standard
is
22" x 30".
size
watercolor sheet
full
is
half-sheet
commonly
Watercolor
in blocks.
gether on
all
to-
work on
when
7"
dry. Blocks
it
come
from
in sizes
in a variety
of
Watercolor papers
come
These are gradated washes of French ultramarine blue on 140-pound Arches cold-
and 112-pound
tape.
As you can
much
see,
the color
lifted
lifts
(left).
strip
is
of
off the
board more
cleaner whites.
in several
smooth paper
it's
made by
been subjected
ture.
to heat in
it
more
has not
its
manufac-
a distinctly tex-
tured surface.
Some techniques
will
supposed
to deposit color
on
the
On
the
and wipe
Basic
Still Life
Techniques
outs.
lifts
Palettes
You can use anything from
plate to a butcher tray for
plastic palettes
AJohn
your palette,
surround
works
that
and twenty
well.
a large central
dam
dinner
number of excellent
made just for water-
color.
The wells
mixing area
it
by a small
be used
for
so
ette is airtight,
at
the
pal-
end of the
Also,
mary
composed
of two
cadmium
colors), including
It's
good idea
pri-
violet,
on one
side
you want
to mix, not
days.
colors.
to
hunt
for
them.
where
to find
Winsor blue
Hooker's green dark'
You need
olive green
cobalt blue
that
The
ver-
colors in the
lid.
warm
Payne's gray
pri-
damp sponge
in the
\\
contrast even
your
cerulean blue
Winsor green
alizarin crimson
cadmium red
cadmium orange
cadmium yellow pale
lemon yellow
cobalt violet
burnt sienna
burnt umber
umber
raw sienna
brown madder
rate
list
of colors to the
warm and
a cool of
cool,
tending toward
ment
to paint a watercolor,
and
pig-
dig-
process.
Basic Materials
alizarin
be*
textures.
you pay
for.
pastels,
set,
to put to-
tels
Start
Easel
It's
work on an
better to
On
table.
easel than a
falls
it
way.
Drawing Board
Try a piece of Vs-inch Masonite.
Masking Tape or
Clips
Use
This
Bristle
This
if it
is
Brush
handy
for
rated out to
It works
on paper or sanded board.
use.
start
that
you have
set,
may be used
to
pastel
on
cut a
slit
in the
expand
middle and
a dark,
Fine Sandpaper
This
new
it
so
light
at
the
it is
receptive to pastel
again.
on
a porcelain plate
10
If
vou
value of each
Basic
They have
stick.
Still Life
Techniques
of heavy winis
is
rice flour
pieces.
The
made
are
breakage during
partic-
light value of
dow
Keep
middle and
placed in a basket
set.
stick of color,
the paper so
paper and
needs to be removed.
equally well
and
travel.
To use
the pas-
dump
vou
re
readv to work.
Methods of Application
Pastel
flat
powder, sprinkled on or
You
way you can
mix
Pastels can
be
working one
stump or
tissue.
Removing Pastel
If
some
become
velop.
slick,
is
analogous colors
so filled
that the
moved by
gently sanding
re-
them with
Complementary color
will
remove
its
sandy
Small spots of board eliminated by
surface.
little
finger
Fixative
is
it is
it
If you
loose
enough
open areas
to
result,
fall
on the
back.
pastels.
Canson has
Basic Materials
the texture of
a screen-
framing.
are going
German
is
smoother.
will
work,
etching.
try
Tone
washes of acrylic or
casein.
11
Chapter Two
GETTING STARTED
Setting the Scene
An
artist
and
still-life
if
you plan
objects are
You shouldn't
to paint
among your
try to
tools.
tools,
still lifes,
it
before
paint
ral
joys of painting.
objects
If
is
and
over,
you
bored and so
flo-
need an
will quickly
will
If
become
to
will sell
used
in a painting. Collect
an assort-
all
about
means
size,
let
yourself be
enjoy
it,
it
just
Any
24"x30"
and
understating others.
oil
12
Basic
Still Life
Techniques
in-
wrong with
painting something many times if you
spired. There's nothing
Joyce Pike
and un-
but by
prices.
trans-
reduced
opaque and
ings, think
An
ob-
your viewers.
collect
at
one of the
paintings, you'll
What you
still-life
Finding
or
correct.
because
Joyce Pike
some
it is
is
bad habit
in
your setup
to get started.
you decide
flowers, be selective.
ter quality
mix
will
real
Buy
few of
ent manufacturers.
to
start.
to collect artificial
and
It's
also a
artificial
bet-
differ-
good idea
flowers. This
realistic.
ment for a
show Joyce
still life.
Her
Getting Started
to
the
13
light
source
Where
idea Inspiration
success of a
alone
isn't
is
still life,
If
let
shadow doesn't
bal-
the
light,
Example
left
1.
the other
is
striking influis
light,
part
the
shadow.
Still Life
Techniques
start.
three examples
shown here
Example
2 has
as appealing as
work.
good color, but the objects are too far apart. The purple cloth
make things a bit busy by covering up a needed resting spot for
Basic
All
lost in
word
is
This has
tends to
14
exist.
and-light pattern
at the
is
You can do
all
light
but inspiration
important to the
The
is
Example
3.
The key
Example
2.
left
makes
.41
left,
now balance
better
complement can be seen in the decorative drape on the table. The small colorful bowl to the left brings both dominant
and complementary colors to the left
edge of the canvas. The larger bowl adds
light
it is
and design
needed
in the
to continue the
the eye.
Getting Started
15
like actors
on
at-
in a
bouquet are
all
on the
be
in
need
where
set
and
lights,
some
areas to
and the
lightest light
come
off-
make
together to
visual trip
its
erything needs to
make
work together
to
a perfect balance.
for this
use a limited
composition was to
number
of
lilies
with no
lilies.
Placing the
large
was placed
If
to the front
and the
vase
A
left
corner to break up
the tablecloth.
right side
there.
The
cast
on
all
the lower
the light
on
shadows on the
Remember,
cast
shadows are
ows at first.
The painting
more light than
16
is
warm and
dark.
high key.
Joyce Pike
30" x 15"
oil
The midtones
Basic
Still Life
Techniques
stiff
formal
lilies.
more important
play a
in
rative
it
the busy
is
background
a busy-
shown
at a different angle.
to the left
bend
eye to travel
ter tulip.
The
is
tulips
downward from
the cen-
color.
The white
cup with the cobalt blue pattern provides variety and also works to break
The
tiny blue
duck
in front of the
dark vase
sits
on
show
where the
on
als
The painting
is
overall
hue here
is
Tulips
Joyce Pike
24" x 18"
oil
complementary
plement.
ing
is
It's
tulips as the
com-
is fresh
and
vibrant with
its
bright
colors.
look
is
warmth on the
all
enough
tablecloth to break
up
the cools.
Getting Started
17
Happy Wanderer
This
You
for you.
on
them or
may be
in front of
the
shows,
it is
and has
to
color,
you
is flat
will
and
need
all
to
fill
If a
one value or
too
much
figurine
negative space
on
and scattered
wisteria blossoms
on
poppy and
is
flat,
but
ble, so Pike
the
few
the tablecloth.
to
fill
negative
relatively
empty or
full
of objects, but
you must make sure they work by planning your composition well. Don't
leave
it
to chance.
part of this
make
it
problem.
ready to go on
had everything
this setup,
on her
she put a
easel.
Then
seems
to get as excited
changed
canvas.
to a 30"
40",
in the
were very
colorful, so she
used several
all
their color,
which
it
to
Colorful Fruit
and Flowers
18
Joyce Pike
30"*40"
colored
oil
Basic
Still Life
Techniques
ta-
ilija
class.
background
The mat-
left
demonstration for a
background
edge
be carefully considered.
done
as a
ful
little
roses.
the brightly
Venetian Glass
Here,
we
and even
When
this
it is
flowers.
problems.
glasses
If
to the edge
would have made the
down from
small,
vas. If
it
Pike could
is
little
if it's
for a place
of the table,
to the glasses
The
left,
empty space
is
where
erly,
composition
working prop-
is
composition.
larger size.
Venetian Glass
Happy Wanderer
oil
Joyce Pike
24" x 18"
oil
plane
much
Joyce Pike
12" x 9"
to the
background was
background.
Getting Started
19
Building a Stage
The photos on
page show
this
how
to
arrangement or
still-life
setup.
If
your box
a bit small,
is
craft
easy
bottom with
matboard or
it's
You
manager.
Place the
side of the
is
in
box so
one
shadow. With
this setup,
you can
sunny plane
rangement.
form
makes each
You can
light
easily recognizable.
Once everything
is
in place,
photo-
so quickly
flowers
know
it.
ref-
erence, you have the security of knowing your arrangement will last as long
as
vou need
it.
in
shadow.
It is
now ready
to
floral arrangement.
20
Basic
Still Life
Techniques
to re-
and
the other
Here
and
their
shadow made an
interesting
Here (below)
done from
is
Kunz
Getting Started
21
work from a
simple still life you can set up on a table. Use a floor or table lamp for a
light
strong light
some
effect.
will
Prepare or obtain
panels.
You
will also
need
bristle
and dark
values.
first
come accustomed
with
rags.
oil paint.
to using
This project
your brush
is
a study,
not important.
STEP
surface using a
little
painting
medium
still-life
source
shadow
STEP 2
STEP 3
Put
in
light
STEP 2
STEP 3
Brush
22
areas.
light
adding dark
STEP
from one
it
thinly.
Basic
Still Life
as you see
Put
in
more
lights
together. Use
Techniques
between them so
To show
full
same
middle and
For
this
umber and
that
effect.
try
the
changing the
Remember
to squint as
you
them
vertically
straight lines.
Use
be concerned
if it
looks
unfinished.
white.
rately
judge
its
value relationships.
Add a
setup or
Work from
Make sure
still-life
third,
middle
tone, to the
two
aligning
val-
STEP
Start
and
STEP 2
STEP 3
Brush
thinned-out
oil wash.
these
tails.
little
de-
main shadow
areas.
in some of the dark- and middlevalue paint to begin to build form. Then,
important edges.
each other.
STEP 4
STEP 5
23
Assemble a
Still Life
In this project,
you
your
ble-
will
as
still life
you draw
it.
of 18" x
2-i"
though
this
you can do
newsprint paper.
demonstration
this
assem-
will literally
is
You
a sheet
(Al-
in pencil,
same exercise
in
any
medium.) Depending on the complexity of the objects you chose, you will
need about twenty minutes
to finish
this exercise.
draw
object, place
draw
it
it
it.
Continue
is full.
Notice
STEP
Draw two
or three
still-life objects.
how
lines
around each
around
it.
STEP 4
24
STEP 5
Basic
Still Life
Techniques
STEP 3
STEP 2
Add another
object
and draw
it.
STEP 6
drawing
is
complete.
STEP 7
Stop
in
Getting Started
25
Cbapter Three
DEPICTING FORM
Painting Three Dimensions
major task
velop the
>kil
to
is
to de-
still-life artist,
in a
as
how many
good number
students
It's
and
of watercolor paper.
just
Massing
In
its
First, a
the
need
in
jectives
in
ceed to mass
exercise
this first
first
marks on
complete composition.
of professionals can be
untouched
not, try a
cise,
how many
art
jects.
mals
burnt
objects
on
guidelines.
Work
pigment.
Draw
as
you
paintings
on Greek
woodblock
ists
as
and the
pottery,
power inherent
all
reveal
the graceful
of shapemaking. In our
bottle.
Choose materials
plementary
that are
com-
Work with
sionist
highlights or cast
serve.
indi-
fluo-
rescent lamp
still
is
workable
An overhead
is
but
window
or skylight.
the passage
more
powerful
just painting
splits the
If
all five
light
to capture
shadows or
is
objects,
accurately.
Complete
Exercise
Critique
more
finish.
Now step
ger than a
26
accurate?
Is
Basic
Still Life
Techniques
If
own
in the art
century,
artists
who,
just
after learn-
in-
Photograph of the
massed
subject.
in with
Depicting
Form
27
form
der,
tactile solidity
This principle
and
seems
to
only one of
proach
many ways an
artist
is
become
if
need
form
is
thoroughly
tac-
dimensional effects of
light
and
color.
Exercise
Add white
in the last
exercise or replace
ones.
and
to the
burnt umber or
all
Rounded
them
Oils are
right
meant
from the
to be used opaquely, so
start,
applying
it
with generosity.
in a pale, flat
wash
Now brush
approximate the
to
you and
feel
one of the
objects. Explore
them
where
the area
Remember this
section that
The closer
farther a
form
a form
is
you use
to you, the
to paint
it;
the
is
Complete
shadowed
a lighter
manner.
in
If
is
all five
done
your painting
objects in a similar
farthest
is
is
five
is
falling,
from the
is
light
is
usually seen as
The
fifth
and generally
light
falling,
where no
is
On
how
most sculptural
al-
The reasons
method used to
solidity.
a shape with
flat
from the
light.
it
moves away
How
flected light
mapmaker on
28
What
light sources.
Basic
Still Life
is
the
area; this
darkest value
Critique
direct light
source. Fourth
shadowed
as
Object
Keep
rule:
a bit
the object.
focuses entirely
is
light
a picture.
painting,
reached hand.
can ap-
lit
Techniques
Your
by a
darkest.
falls
on them. Those
re-
facing
light will
be
Photograph of the
subject.
:::.;.,
Depicting
Form
*****
29
Painting Groups
Once
Objects
solidity
tile-
off
equipped
is
tac-
ac-
more than
well
to-
Your objective
unified whole.
is
to
forms appear
is
common
often
become engrossed
in a particular
out
like a Rolls
Royce
at a
effort stick
construction
piece of
a can
fruit, a
it is
artfully
incorpo-
position
more
if it
interesting.
sight.
Try to work on
You
Choose four or
down
even upside
a third.
Exercise
on its side or
makes the com-
might
until
form,
cast
scale
variety.
you paint an
mere study
tube of paint or
like a
fully
remains a
Critique
Study your composition.
jects
combine
to create
Do your
ob-
an overall
A group
of forms as
of various
home
been toned
a light gray.
to paint
appear only as a collection ofparts
until you compose them into an interest-
C:
will
ing arrangement.
30
fo-
site.
object,
large jug or
the grouping as a
evenly in a row
ror.
unified.
of a picture
group.
painting er-
in a
and
them
Basic
St n.
rechniques
c
away
an interesting
Still Life
and
and view
The lay-in for this work was done exactly the same
Bottle
Charles Sovek
IT x
interest.
oil
silhouette.
16"
in
on Masonite
collection ofZolton
Sorwalk, Connecticut.
Depicting Form
31
push
ing or taping
subject.
Backgrounds tend
to
be the
many stu-
ting
it
it
and fashion
little
until
flat
lav-
you'll find
that
dle gray
a unity
into a far
more complete
monotony of the
artistic state-
home
material.
table.
some
let-
up the
The mid-
and
foil for
showing
Exercise
empty
card-
will
two
be
adja-
maining
down
re-
of the box.
If
bottom
a box,
same
show where
your
the val-
ues lighten and darken. By approaching your setup from either side rather
more
in-
surface
is
covered.
ment.
the
sense of touch to
massing
and
two previous
in the
few dominant
model and
exercises. After
begin to
as a sculptor's tool
broad planes of
Critique
Does the background of your composition overpower the objects in the foreground, or have you achieved a
satisfy-
Do your
forms appear
solid, contributing to
an integrated
ing balance?
lost yourself in
will
still lifes.
32
Basic
arrangement
to
choose from.
Lay
in
bold patterns of value until the painting begins to take shape. Working with
down
to
a large
Depicting
Form
13
Building on the
home
unified.
how
34
will dictate
Basic
Still Life
Techniques
lay-in, start
defining the
Autumn
A classroom demonstration
Still Life
Charles Sovek
Wx20"
oil
overall ?nasses.
on canvas
collection
ofArmand de
Torrington, Connecticut.
Grandis,
Line
up
all
have
make
presented. You
just solved
many
Depicting
Form
one
is
artists
clear in
and
your mind.
35
jects to
line
most importance
drawn
that
correctly. This
as loading a
it
is
of ut-
even object be
is
composition with
detail.
Your viewers
how
will notice
if
some-
A clock was chosen as one of the obshow you how carefully each
and angle
is
drawn. Every
elliptical
from eye
seen
in the
is
clearly
to painting.
is
the
still life
36
still-life
is
proba-
for the
painter to master.
Basic
Still Life
it is
right.
Techniques
is
bly the
as
right."
drawing by building
a box
where the clock was to
be placed. Then she drew a plumb line
started this
in perspective
And watch
those ellipses!
the vase
the
surement of height
relative to width.
This gave her the correct angle for placing the ellipse.
est ellipse
because
it is
farther
from eye
where
ject easier to
reading of height
how much
be
A'.
knew
an
will
This
izontally
From
see
level.
Pike
rect reading.
is
relative to width.
thumb (that's
term came from). After
called a rule of
box
make even
at this
for color
still-life
and
objects;
Joyce Pike
40"x30"
oil
an accurate drawing.
Depicting
Form
37
Chapter Four
SHADOW VALUES
LIGHT AND
A Strong Foundation
If
that
mak-
in
We
values.
chapter three. In
this chapter,
we
will
in
on which
a painting
dium
gray,
that
pared to see
is
When
we see
built.
drawing me-
A black-and-white photograph is an image that also shows only tonal value. All
the different colors have been changed
how
have to learn
terpret
to see colors
you
and
in-
paper, the
is
we need
begin,
lighter than
then be rendered
make
make
black
it
darker
between the
and darkest.
process of rendering
this
is
to
make
contrast
you
and
will
translat-
color's
name, such
as yel-
do more than
Intensity
its
see.
and
or dullness
clarity
relative brightness
Value
Some
You
will
just
clearer
will
need
each
in turn.
in the
Clearer
be
trast in tonal
value to
which shape
is
adja-
sufficient con-
make
it
clear
two adjacent
to
merge
likely
will
appear
as
will
become confused.
to
at
cult to see.
Hue the
depth and to
conscious
little
illusion of
close to the
thought.
them
enhance the
is
white or
it
as lighter or
Your goals
to identify
ing
to think about
you need
tify'
lights will
To
into values,
and some
lighter.
The key to
two
actually appear,
lighter than
is
one looks
into grays.
involves
if
have to be
is
and darks
structures
If
lights
rainbow, yellow
in the
the
on
differences
make
in
value but
if
your
in
you
make
Tt)e
far
drawing on the
left is
confusing
cent.
it is
clearer because
there
is
distinct
38
Basic
Still Life
Techniques
Remember
many
but
factors,
One
the
at
clarity.
Contrast
this rule:
contours creates
alter
it is
depends on
often an arbitrary
rea-
left
left
your drawing
in
will
in
seem
Al-
this
If
you want
to
make
the right
things darker.
right, the
Following
when you
to
interesting because
it
is
no value
contrast. The
one on
little
darker
similar values.
want
make
to
more
what shapes
cide
is
Make
Tonal values
will largely
ing
major role
will
determine
be seen by the
tract
seen
first,
will at-
Light
and Shadow
Values
19
DEMONSTRATION
Value-Pattern Sketch
For
ony
pencil,
one
STEP
need an Eb-
stick of soft
(6B or IB)
spend
arrangement of
your composition.
entire
minutes develop-
thirty to sixty
The focus
drawing
in this
is
on the
and darks
in
flat
pattern of lights
because
it
sign.
It is
habit of seeing
and wanting
The
things as objects.
to
STEP 2
draw
side of the
left
Don draw
separate objects;
is
it is
the tonal-
critical to
distinct
at as
it
't
and
see.
and
darks.
the suc-
you
artist,
Two
one
blue, the
need
to
be considered
as
may
STEP 3
make
lights
lining everything.
and darks.
define edges. In
aries of objects.
the last
on
a wall,
moments
ofyour drawing
add only those
your sketch
(and yes,
details
edges, finally),
lights
and darks.
It
may help
to look at
drawing. Be
like,
as
tive.
you
"There's a large
light
one
-2J
40
Basic
Still Life
Techniques
selec-
DEMONSTRATION
Gesture-Value Sketch
Use one
a sheet of
need
stration. You'll
Char-Kole and
stick of black
this
STEP
min-
is
...-,
demon-
thirty to sixty
This
:.
its
side
&*
to
darks,
and draw
that,
edges
more
work
make
Vfa
& ?&*3
"~V.j
and
STEP 2
Don't over-
a very useful
--
way of
it-J
iST'
it
-*/',}.
strokes.
J?
tinct
mm
making
make broad
Don draw disedges. Don draw
Kole to
details,
MP
and
it.
is
"
for a clearer,
attractive drawing.
Squinting
$N
',
't
't
many
As
artists
we render
as lines
What
on our drawings
Mm
are
we
U^*><?
line,
and
it is
sometimes
difficult to rec-
STEP 3
is
a difficult exercise to
we
it
do
in
shapes
lines
drawings.
It
and add-
ing smaller
shapes.
We
must
at
the details.
workouts
the brain!
Light
and Shadow
Values
il
DEMONSTRATION
Charcoal and Chalk on Gray Paper
You'll
to
com-
adjustments
in
will
make
more
depending upon
first
one
stick
2B
need
also
do
interesting, clearer
and
to
is
making
bles a black-and-white
film,
photograph of
light
light
become
light grays
or white.
intelli-
STEP
around
way
in the center.
STEP 2
and dark.
The Char-Kole
other, letting the strokes blend on the paper into the shades of gray you need. Ignore detail. Your objective in this phase
is to eliminate the gray of the paper by
covering every square inch with grayw >f
42
and
eraser.
This exercise
will
more
kneaded
You'll
it
Basic
Still Life
Techniques
in
composition. Include
all
background
as well.
the shapes in
ground and
Take the
lines all
tails.
STIP 3
make
sional?
How
How
can
How
can
can
make
more depth?
drawing clearer'
create
the
STEP 4
and nuances.
may not
really see
to distinguish
what
is
make some
lights
what
is
white
farther
away.
Light
43
is
always right
other. \XTien
may
In
will
in
be
painting
all
light
comparison
itself.
will
lights
be dark
In a high-key painting,
painting,
all
Even using
a partial
range of values,
When you
form,
are
modeling a particular
it
lay-
darkest dark.
the
Or you can
and go
in
establish the
to
roundness or
that the
middle value
remember
William
C.
Wright
40"x30"
watercolor
is
flatness of a par-
be established largely
Red Sneakers
Scott Prior
48"x60"
oil
main
and shadow on
of the
is
which Prior
By looking at
this
Basic
Still Life
Techniques
and remember
home
lar
squeezed from
a paint
have dark
home
values.
five
To become
home
values,
it
will
trace of a previously
If
in
in
the contrast
it's
canvas.
We
are going to
fill
each of the
white
(fifth
it
Study
Does the
consistent.
Is
weak
contrasts?
problem areas
until
dif-
membered names
it.
If
and compare
Exercise
to the tones
your compositions.
difficult.
make sure
be useful for
any
free of
mixed value. Be
scale,
your brush
nearly white in
is
careful to
to clean
re-
Black
Dark gray
Middle gray
It's
Light gray
White
let
each value touch the next rather than leaving strips of white canvas in between.
Light
and Shadow
Values
i5
jersey
and even
field,
from
ment
Subduing
same
and
field,
its
surroundings.
secondary segment of
composition by framing
it
middle-toned piece of
ble overlap the
fruit
shadow
one
or vegeta-
with a patch
is
a device painters
The
principle
have used
is
The aim of
ture a different
in
this
lesson
is
segment of the
to feastill life
mainstay
in
same
five
composed of half
fruit
this de-
focus, pattern
until the
up according
arrangement
is
set
in
shadow, lighten
soft
gray, leaving
featured pieces offruit. This takes attention away from the overpowering
on the
fruit,
terest.
home-valued pieces of
on two
light
painting
appears,
first
fruit.
Re-
background
a center-
is all
that's
it
needed
to
form
second
frying pan, to a
dark form
light-,
Exercise
of
final ad-
still life
One
large,
need to slightly
on the shadow side
values dis-
dozen pieces of
the tones
to plan.
easily un-
all
all
point by surrounding
ing tones
lighten
point.
for centuries.
on
your time
with contrast-
the values
all
fruit
The
darken
of the
side of the
just a
from
light
the
worn, leather
from
On
left
one
light-
fruit
When
same
difficult
spotlight effect.
keep
its
light-
still
the composition.
ploy what
to
is
The solution
artists call a
is
to
in
em-
passage. This
random
paper or cardboard.
dominant
stance.
There
light back-
still
remains
one
46
will
be placed.
111.
last
tance.
hindrance, because
Basic
Still Lift
this
is
more
up
empty stage on
all
of the
to slightly
techniques
emphasize
sion of space.
in
your pictures
illu-
pieces offruit.
TJ)e
emphasis on the
light
home
values of the
,-
Light
and Shadow
Values
47
Carnations in Winter
when used
as
shadow,
it
helps to de-
shadows
in the
How
fall?
light
will
very
tend to appear
On
mostly
will
How
is
William
C.
(left)
William
Wright
39"x29"
watercolor
watercolor
Both of these paintings are of still lifes in sunlight. Each one is an arrangement of
colorful domestic objects on a tabletop. Woe main difference between the two is the
value of the shadows. In Chocolate Brunch, the shadows are comparatively dark,
and
those dark shapes against the very light areas of the painting cause a dramatic
is
light
and
and
the
airy.
the other
in
shadow
ows add even more drama and mystery. If shadows appear to be encroaching on the main figures or objects, the
EXERCISE: DARK
Paint
Many
ows
artists
to create
add strong
more
ever,
it's
or draw a simple
still life.
SHADOWS
cast shad-
interesting divi-
How-
Repeat the
be
in the
still life,
but
this
All
the
shadows should
Repeat the
still life
making
well.
48
Wright
C.
28"x21"
Basic
Still Life
Techniques
all
the
shadows very
dark.
Wf
tt
'
ff/m
j^^^^B^Jf^*
WWXiHWWiwn
'
"
'
Sideboard
Deborah Deichler
15V4"x30W
pastel
dramatic
in
become
dark against
light.
Nice
Pat Mahony
8>/4"x9"
watercolor
Cast
and gouache
window
soft
interesting shapes.
Light
and Shadow
Values
49
DEMONSTRATION
A Dramatic Reality
\\
hai
paintings so powerful
totally real to the
1
is
eye and
jar the
mind.
make
pause and
sense, strange
make
try to figure
Deichler
is
the viewer
brilliant at
capturing
bit strange,
reality.
light-
detail
the image.
Some people
think Deichler's
work
dering of
detail.
ings.
STEP
is
and texture
is
really there.
is
the key.
"Volume will appear flat without value. Even flat paper on a flat wall
can be given a sense of volume by an
She
says,
edge of value."
From
and
value
dust.
pear even lighter because they are surrounded by dark shadowed areas. With
pastel, she obtains her darkest
darks by
reds,
STEP 2
She moves
down from
ily,
with
much
smearing.
STEP 3
on where the
ing.
Once
goes back
50
Basic
Still Life
Techniques
light
and
Humidor With
Easter Basket
Deborah Deichler
43"*31"
pastel
STEPS
Here,
you can
see
how
than
STEP 4
if the
Where the brightest light is falling in the painting, Deichler has carefully
modeled each form. In the shadowed areas, she simply suggests the
forms and details, and that suggestion is enough to complete the image.
Light
and Shadow
Values
51
Chapter Five
Color,
a
like
many other
basic structure
things, has
on which more
falling
sity
and mix
good
color.
and More
somewhere between
and complete
inten-
full
neutrality.
However,
By determining
how
subtle
it
appears to
yellow,
belong
to.
This approach
is
more
it
does not
especially
neutral
on the color
mixed
to obtain the
secondary colors,
and
vio-
make up
the six
no
more new families of color made beyond the secondary colors. However,
the six basic colors can be
gether to
make
mixed
to-
different variations of
it
is
to
will
primary
blue.
sin-
cadmium
red light to
alizarin
crimson
much
in mix-
as the reds.
Cobalt
liant
yel-
to use a
yet
make
and
You have
di-
mixture or
you
will
will
it
yellow-green
like viridian
mium
it
yellow
light
is
bril-
green
warmer
yellow,
cadmium yellow
pale
violet,
blue
mixed
unbroken ring of hues will
52
Basic
Still Life
and
together,
result.
Techniques
an
rn
Different colors can have the
same tonal
Tonal Value
on
value.
somewhere
make
its
its
surface ad-
vance or recede.
Intensity or Saturation
Since
Even the
lightest
yellow
is still
darker
That
is
why
is
many
we
color
colors in nature
see
neutral gray
the
is
do not
much
ap-
of the
somewhere between
a pure intense hue. To
and
variations, a painter
intensity or saturation
to brighten
white
when
added
is
them out of
Many
a small
to lighten
their
different
amount
of
of a pure hue.
and bring
deep darkness.
est
you mix
and
its
bright-
When
reduced by adding
with
Common
to-
it,
being changed.
site is
warmer or
is
opposite. Here,
violet,
red to green,
etc.
purpose be-
its
added
If
enough of an oppo-
Reduced
Full Intensity
Intensity
53
Hue
Seeing and recognizing the correct hue
or family of color
mixing
is
is
the
step toward
first
it.
is
red are used as a background for support and balance to the stronger red in
When
the apples.
always put in
starting a painting,
some
of the background
it
Premix
all
the colors
on your
palette to
stage.
They
will also
this
provide you
ther mixing.
I
Value
Only by using value can you construct
form and create a feeling of
light.
^^^^^
Be-
shown.
is
clearly
is
Some
background
first flat
for interest
and
in the
unity.
to
still
gives
The
background
together but
H^^^^^^_
colors of the
harmony
enough contrast
Intensity
Variation in color intensity along with
warm and
picture
final
its
warm
on
ange-red color
lighter areas,
is
an
or-
of the apples.
54
Basic
Still Life
Techniques
_^^fl
Wheel
appear on the
on the palette
as they
color wheel
is
their relationships
its
on
proper
the circle
with
its
same orange-red
place
red
do
on the color
light. In
the
circle as
cadmium
Lay your colors out on the palette just as they are positioned
on the color wheel for easier mixing control. Keep the war-
mer yellows and reds on top and the cooler blues and greens
side. Place your white in the corner.
on the
blue.
kind of green
when mixed
to
some
with yellow
Cadmium
Light
family colors.
manner helps
color mixing.
If
on the
give
Yellow
Pale
Yellow Ochre
palette in
you control
Raw Sienna
in
the
Burnt Sienna
Viridian
Green
on the
color circle.
Cadmium Red
Cerulean Blue
Light
Cobalt Blue
Terra Rosa
Ivory Black
Venetian Red
Alizarin
Crimson
Ultramarine Blue Deep
pigment from the opposite side of the color wheel. When choosing pigments
together, first determine their position on the color wheel.
to
mix
55
DEMONSTRATION
Rich Color With a Limited Palette
The Palette
Joni Falk normally sets out a
palette.
She mixes
be used
for
a variety of grays to
warm and
variety of purples
cool variations.
is
also prepared, as
all
keyed to colors
&
fairly full
small pan
Newton's Liquin.
It is
for
medium because
it
gets
of the demo.
\t
color
lifting
STEP
Initial
is still
wet,
some of
same col-
als,
the
ors.
the
thumbnail
monochromatic "sketch"
enables Falk to concentrate on values
This serves as the original
sketch. This
and
little
highlights
STEP 2
in,
Falk
it
shades of Un r
touch of green is
premixed violet. A
added at the center of each blossom.
Gradually, she builds up the pattern of
lights
and darks
56
interest.
Basic
Still Life
Techniques
up
been placed on
smooth
it
light
in the
ex-
the arrangement.
intends.
green leaves
on some of the
ground.
its
irises,
and
few more
catch the
at
light,
and
A few
to
round out
bright yellow-
coming forward
left
againsi
STEP 3
in-
With these darks in place, she moistens her brush with Turpenoid and begins
lifting
will later be
how
effect.
will be
moves
STEP 4
white
ing
lightest
now brushed in
and warm gray.
shows through at
with shades of
The underpaint-
this stage.
as
its
now adds
as the
added and
blended with the shadow tone, and the
background is extended upward and
shadow. Yellow-green
is
around.
57
STEPS
tion
lets
at
r ight
center
is
Tlje cluster
roughed
in,
of viothen
of values.
The bright light striking the picture
the highlight
on
ward through
then
left to
the
background at
softening values at
vertical
is
moving up-
the bowl,
left
and
top.
By
right, this
more important as
resses.
and more
to the
ward
lit
daisy at
left.
STEP 6
Bringing
It
established, Falk
and green-
left.
Tfjen,
and
58
around
it.
Basic
Still Life
Techniques
STEP 7
arrangement, Falk
soft,
is first
Blended with a
mid range grayish green it becomes
scrubbed in at top
lighter
tions.
as
it
left.
widens out
in
both direc-
11
be recovered
later.)
iris
at
left is lifted
brushed
in
added
these.
in,
STEP 8
Highlights
kle.
the values
soft,
feath-
shadow areas,
suggest-
ing
large
and
added gradually,
in
both size
and
color.
and yellow-
59
STEP 9
much of the
- s
show against
of the
rest
uMr*
&
4n
too,
the
^HI^^HEbS^I^
**'.
m2 ^j^v*
'-
S-
background.
The painting
colored, so for a
warmed many
is
predominantly cool
of the whites
and
the
background.
The process of highlighting
and add-
-''"
-'r
Bfc>
shaded
core values.
it
floral arrangement.
The cloth
is
also
it is
struck by
re-
owed areas.
and
blues soften
60
Basic
Still Life
Techniques
--
-.
.'>." <.
on canvas
61
Hopi Treasures
Joni Talk
12" x 16"
oil
on canvas
The brilliance of color in the kachina doll breaks it free from the restrictive confines
of the limited palette employed everywhere else in the painting, bringing this composition to
life.
is
and kachina
62
Basic
Still Life
Techniques
Petals
and Clay
Joni Fa Ik
5"x7"
oil
on canvas
painting belie
and power
diminutive
its
of
size,
size,
no doubt about
the
TalC_
Summer Radiance
Joni Folk
36" x 3(5"
Joni Falk
oil
on canvas
This
reality, it is
contrasts.
and
in the
an analogous
warm
blue color
is formed by
and the folds of the cloth
moving upward to the pink
strong vertical
at bottom,
daisy at
top.
The viewer's
on the
entering
eye,
left,
follows
to the repeated
right.
White and
warm character of
the composition.
63
DEMONSTRATION
Building Color With Lines
Many
artists
James makes
process
initial
to James's practice of
warm
Bill
itself.
tal
to
bouncing
From
a dis-
up
dances with
vitality.
STEP
is vi-
In this
in the
in.
STEP 2
He works
in the
background to get a
bet-
ered pattern
and
shadow and
glasses.
64
Basic
Still Life
and pink
vase are
Techniques
first
still
used
is
to the fin-
color
James draws
add sparkle
bright colors to
strokes, but
down and
when
no stroke of
STEP 3
James
starts
working
in the color
on the
table.
STEP 4
He
starts
adding color
left
completed. Final
touches are
is
corner
is
added
to
Blue
and Gold
Bill James
18"x27"
pastel
nderstanding
<
olor Principles
is
in,
the painting.
Still Life in
worked
and
the table
and
Chapter Six
SPECIAL TECHNIQUES
For Some Difficult Subjects
the
using in
still-life
the ones
painting but
will
will study
be
some of
We
We
will also
look
at
skills
well
compositions.
STEP
STEP 2
vase.
Transparent Surfaces
Watercolor
Glass vases and jars
may appear
ingly easy.
The
trick
in
is
diffi-
jar as
you
at a time.
method
is
the same.
/A
STEP 4
Mix a
Now
it 's
time to
add
the stems
Kunz has
and
You can
color on the
see that
Finally,
ter
these shapes.
66
and a
light
touch to
STEP 3
and a
shadow
lift
stiff brush.
Basic
Still Life
Techniques
Be sure the
contour of the
high-
vase.
V%ir
V
~5-
t:
\^
STEP
-.
STEP 2
Warm
approach
This vase
is
STEP 4
STEP 3
now and
to the next.
then
lift-
shadow -
Special Techniques
67
Reflective Surfaces in
Watercolor
Successful painting
is
largely
need
to forget
not
make
in reflective surfaces
may
You can do
STEP
You
The shapes
depensee.
it,
and
it's
fun!
Carefully
draw
shapes you
the
may see.
This teacup
is
cream
STEP 2
side.
They
may
to
STEP 3
Now for
squiggles
shadow
you
shapes.
Add
and aliza-
rin crimson.
68
Basic
Still Life
Techniques
to
re-
what
this
Detail of Red
and White by
set
of problems to
Patricia
Detail of
Chrysanthemums
in Oriental
vase with a completely different set of tonal values. Glass seems so hard to
paint because there is often a very complicated pattern of light and dark,
The pictures on
this
artist,
Moran. as seen
the
Beauty of Flowers
With
Oils.
surroundings by reflecting
pot
better,
more
"silvery" color,
than getting
picking up a
lot
and isn
't
it
was
the
know
highly polished, so
it
isn 7
of its surroundings.
low-rose color.
as direct
Remember
light. It s like
is
Basic
Still Life
Techniques
moonlight compared
70
different
closer.
to sunlight
sit
Be sure
on
it
WFM
*
?^t
Wr
K
STEP
77;/s
step-by-step
STEP 2
Moran.
First,
placed.
Using oil
same
''
.*
WW
The flowers are one step ahead of the vase. Notice that
the glass vase and the bowl are progressing at the
rate.
JN
STEP 4
STEP 3
the
vase,
more
be a problem.
Special Techniques
71
,.
show how
by Richard Pionk
still lifes
and
it.
and the
val-
Working on
the stronger
shadow
notice
strokes, creating a
more
interesting
surface texture.
In
bounce
to
on sand-
seem
to
Because sand-
to build
it
enables the
up intense color
artist
Bittersweet
and Apples
(top)
Richard Pionk
19"*24"
pastel
Reflection (middle)
Richard Pionk
I6"x20"
pastel
Richard Pionk
9"xll"
pastel
72
and sandpaper
Basic
Still Life
Techniques
how
sample of brushstrokes by
Joyce Pike.
lowed
will
Below
artist
To
or long-
You
ferent finish.
to
flat-
will
need
dif-
to practice
where. Contrary to
common
is
when
it
and
for
dripped
is
down
interesting for
some
back-
to see
up
how many
in the
brush-
will
a controlled
sometimes
make
leaves, don't
realistic leaf
rendered
A more
prevent
many problems.
Better Brushwork
Demonstration
In this step-by-step by Joyce Pike,
drip,
where a large amount of turpenwas mixed with the paint and al-
will see
tine
this
STEP
how
you
It's
very
First,
are purposely
provide a tone
tion
on which
brush,
draw
to build. With
in the outline
a small
of the pitcher
plumb line
draw the
careful to
ellipses correctly.
STEP 2
need
can be-
fol-
to a finished painting.
belief, the
the thin
distant areas
most
to pattern as
Here
Special Techniques
is
STEP 5
Load
y4
STEP 6
brush.
Basic
Still Life
TJje
shadow
Techniques
is
placed
amount ofpaint
in the
STEP 8
STEP 7
found
brushstrokes.
to soften
an edge
to create lost
and
Add
rosettes. If some
little
only a few
weak, don't
STEP 9
make a finished
painting- that would defeat the purpose of practicing. Here
you can examine the loose, direct brushstrokes.
Practice subjects are just that. Don't try to
Special Techniques
75
place
pull
ing. It's a
it
directly
down
edges are a
have painted
If
you
moving the
statement.
or push up,
lightly.
sharp, soften
little
flat
too busy.
If
them by
and scrubbing
background.
It's
best to
when adding
add more
this,
beaded
stroke
effect.
Do
if too many
this
with one
both brush
brush,
finished petals.
76
Basic
Still Life
knife
where the
and the brushwork on the backlightly soften
brush and
work wet on
manner, the
Techniques
a team.
where each
is
best used.
done with
Practice using the knife for flowers with only a few blossoms.
First,
loaded with Weber Floral Pink plus a touch of white, she used
single, direct knife stroke to create each petal. TJje brush was
and
leaves.
Special Techniques
Chapter Seven
DEMONSTRATIONS
IN OIL
DEMONSTRATION
Beginning With a Neutral Tone
For the
first
demonstration, begin
Many
and
it's
good way
to
understand that
a light effect
on ob-
To
untouched on
28"x36"
oil
79,
you
at
Pastel Shades
your eyes
Pat Moran
On page
and
Basic
Still Life
Techniques
shadow
fully
If
in establishing the
STEP
STEP 2
shadow area, and a vase offlowers is already appearing. You can see how the shadows explain the object.
and
to
become
a tonal picture.
Now
to take
color.
STEP 4
STEP 3
By observing from
this
standpoint
there's
shape. This
is
added to
the turps,
and
the darkest
you
see with
your eyes
half-closed.
Demonstrations
in Oil
79
DEMONSTRATION
Fruit With Luster
glass.
Touches of the
and
This painting
is
busy with
sorts of
fruit
and whole
all
fruit, a
fruit is alive
much
color in
the flowers.
The one
luster
is
ruby glass
glass, the
The darks
STEP
is
ways need to
ing
it
is
strongest in the
delicious to look
at.
fruit,
mak-
A few flowers
seen
di-
details
in
vice
loose and
The color
more
exciting.
STEP 2
artist
intended
didn
't
The composition
finished painting.
or finishing.
80
The brushstroke
come
Because the
rect
When
in the
versa.
was etched
the flowers
is
ter
Basic
Still Life
terns.
The easiest
Techniques
is
way
to see
is
to
work
work can be
started.
Each object
Joyce Pike
24"x20"
oil
is
is
warm dominating
look the artist
cool.
foliage
is
near the
Brushstrokes
light flowers.
Demonstrations
in Oil
81
DEMONSTRATION
Iris and Hat
As the
artist
selected objects to go
iris,
she
first
hat
tie in
iris.
The
complement, repeated
yellow hat.
in the gray-
a place
to go.
STEP
STEP 2
Lay
tary colors
without
is
In.
Each object
detail.
is
loose, direct
and
color
placement
82
Basic
Still Life
Techniques
and
and
make
Iris
STEP 3
where the
gether. In
a floral
arrangement
itself.
40"x30"
oil
is
planned so
iris is
the eye
a focal
moves down
to
the hat, then to the pearls, completing the trip through the
of color or value.
and Hat
Joyce Pike
and subtle
The color and value balances are set. At this stage, as long as
you don't make major changes, you can finish as much or as
little as you wish. Step back frequently and take a good look.
It's a mistake to start having such a good time that you forget
to check how you are doing.
Demonstrations
in Oil
83
DEMONSTRATION
Pretty Bouquet
This setup was used for a
lesson.
workshop
makes up
a pretty
roses, daisies
and
violet gladiolus,
bouquet: mums,
a
few
one
stalks of red-
in the
bouquet
for color.
light
The
of the
it
artist
chose not
STEP
STEP 2
Toning the Canvas. Toning the canvas first allows you to see
relative values more clearly. Using ultramarine blue thinned
with turpentine draws in the correct placement of each object.
Use an oil wash of red-violet grayed with sap green. Here the
dominant hue is violet with only a touch of yellow complement, seen in the centers of the daisies
hues throughout the painting.
84
and used
to
gray all
Basic
Still Life
Blocking
what
In. This
missing
is
the detail.
Each object
is
color
cool
and darker
Techniques
Pretty
Bouquet
Joyce Pike
24" x 18"
oil
daisies.
Demonstrations
in Oil
H5
DEMONSTRATION
Setting in the
Look
Yard
make
some concrete
bushes and
steps, sev-
a retaining wall
on
the
to
character.
things yourself.
will
make
it
clear that
outdoors.
This
interesting compositions.
The contrast
is
up
summer
day, use
your lights
warm
On a hot
warm lights. When
on an overcast day,
will be filtered, so
make them
cool.
86
Basic
Still Life
Techniques
Setting in the
Yard
Here, a few
in the background,
to
added
to
Joyce Pike
the ones in the pitcher on the wicker table. The embroidered flowers were
30"x40"
oil
Once everything was complete, a few final touches of light were added on the chair,
table and matilija poppies, and the yellow centers were completed. When viewers
bit
more
this,
they should
want
to
Demonstrations
in Oil
to
a finish.
Chapter Eight
DEMONSTRATIONS
IN
WATERCOIOR
DEMONSTRATION
Basket of Fruit
A basket of
for learning
fruit
how
is
a perfect subject
to paint
still lifes.
fruit are
and pro-
STEP
/
si-
to
underpaint
do
the
88
Basic
Still Life
Techniques
STEP 2
and
want
light
along the
Now
cadmium
sienna. The
crimson to
this
mixture to
slightly cool
shadow
side that
have no reflected
and are 40 +
light,
remember
ally
light
cast.
Demonstrations
in
Watercolor
89
STEP 3
Work
in this
fruit. First,
it
side
After the
shadow
90
Basic
Still Life
Techniques
STEP 4
First,
some
in-
re-
and pat
to
it.
draw
and
alizarin
away from the light with alizarin crimson and burnt sienna. Use a darker
value of these colors on the shadow side
tail.
ment
is still
wet,
it
detail sug-
gesting
paint the
It is
tex-
Demonstrations
in
Watercolor
91
DEMONSTRATION
Casting Shadows
William Wright thinks of his
paintings as abstract designs of
dark and
light.
He
uses strong
ows
that
become
as
much
a part
themselves.
When
for a setup,
that
have
textures.
bounces
light
or
and color
deep shadows.
In
some
"
Family Setup
into
William
of his
39"y>29"
C.
Wright
watercolor
make
STEP
shadows.
shapes
drawing
lays out
STEP 2
de-
tails.
He
always starts by
first,
using
where sunlight
falls.
The light
from
4*
si-
.'J*'
model
col-
*r
9*
last.
^"^-W
STEP 3
More
and
Basic
Still Life
Techniques
same pace.
STEP 5
add
From
composition with
isolated bits of color, the painting becomes a cohesive
Demonstrations
the
in
window.
Watercolor
DEMONSTRATION
Designing With Black
Kendahl Janjubb specializes
cate, decorative
in intri-
bal-
if
off,
Jubb
is
is
away from or
to
arrangement of
negative space
movement.
textures to provide
cial.
on
it
lot
more importance.
as drama and uses
starts
terns.
as
it
has. Black
heavily to provide
brilliant
an
*
J
*:
*y T4
STEP 2
Working color by
the yellow
color, she
adds
most of
red.
pink petals.
Arrange
fill
all
still life.
Draw
the outlines
anced
in the
composition'
If
94
Basic
them?
Still Life
Techniques
else in the
and
more depth
'?
STEP
re-
In
/'
and
treat the
is
composition
<*
STEP 3
Sow
add black
to the
will
wJw\m.
cv
in the negative
space.
Kendahljanjubb
25"*22"
water color
STEP 4
more
Colors get
intense
and
the flowers
rounded by
black.
By comparing Step 3
you can see how
the composition
is
ground.
An
element
is
gle peach
interesting compositional
and
the
a design with
many
adds harmony
in
shapes or textures,
Demonstrations
in
Watercolor
95
DEMONSTRATION
Daisies: Painting Reflective Surfaces
STEP
To paint any
may find it best
re-
you
your
to
see.
Set
up
ette
STEP 2
W'insor red,
boge.
pear
letting
them ap-
the background.
add
the area
color, letting
and
your brush-
STEP 3
Underpaint the lightest value of blue on the vase and lid. Add darker shapes
as they appear. To paint any reflective surface, think only of the shapes
see and reproduce them as carefully as possible. Use raw sienna, new
gamboge, burnt sienna and rose madder to suggest the gold color on the
you
cups.
96
Basic
Still Life
Techniques
STEP 4
and add a
cooler
Make
and
the rectangu-
the
side.
amine
the color
and
and
they
become manageable.
STEP 5
Rewet
vase
is
the
itself.
demanding
too
much
still,
attention,
add
vase.
and
into the
one another. Now for the final appraisal. If the background drape
less important with a glaze of blue and rose madder. To s
lost in
make
it
leaves to intersect
Demonstrations
in
Watercolor
97
Chapter Nine
DEMONSTRATIONS
IN PASTEL
DEMONSTRATION
Interesting Light in the Studio
Richard Pionk
is
New York
his studic,
beautiful
where he
still lifes.
sets
life,
paints
method of setting up
working from
up and
Pionk has
He
artist,
maximum
is
fects of light. In
one
ows
the light
come
and the
because of
source of unchanging
light.
The lower
from the
Another
give the
STEP
a skylight.
on
is
his
method
to color.
of
Working
builds
their softness
up
his colors
and
brilliance of color. In
between workings of
lightly
with
with strokes
fixative,
pastel,
he sprays
He warns
that too
darken the
liberately
it
off
much
spray can
pastel. Occasionally,
he de-
and spraying
it.
His thinking
is,
more drama.
STEP 2
with me-
Basic
and correct the drawing with charcoal, wiping outand smoothing areas with your fingers. Concentrate
Block in
dium
98
one of
is
the
part of the
if it
left to
light
brighter as
in
He
focal point.
his studio
on
ment and
Pionk chose
ef-
chiaroscuro painting,
lines
Stilt Life
Techniques
to detail here
STEP 3
Now start
you
STEP 4
and
light
to
medium
to light.
Demonstrations
in Pastel
99
STEPS
Begin to pull out more objects by basic
color,
sharpening
and
loca-
lighting.
pastel
and move
melon
slice act
background
shape
and
is
melon. The
color.
given
is
applied.
100
Basic
Still Life
Techniques
you can see how Pionk merely sugsome shapes and carefully renders others. Those that
are closer and in more light will be more precise. For softer
edges, he either draws rough strokes ofpastel or blends the
Detail. In these details,
gests
Apples on Table
Richard Pionk
9" x
15''
is
pastel
Demonstrations
in Pastel
101
DEMONSTRATION
Rendering Fine Detail
A passion for detail is the key to Jane
Lunds virtuoso pastels. Her still lifes
and figures go beyond realism in their
Lund works up
year on each painting, adding one
attention to detail.
to a
tiny
stroke at a time.
The various
up
Rembrandt
soft pastels,
then blended
with hard
in
spent
is
craft
retains
its
fixative,
so the pas-
Lund
likes to
work with
the subject
Is
each section
Do
all
enough
all
sec-
It is
not
work together
STEP
Lund
termined. She then transfers this drawing onto Canson paper using a light
cobalt blue pastel. She refines the drawing with the light cobalt
eraser.
Lund feels
and a kneaded
painting
progresses.
STEP 2
and from
to
bottom
left to
to
avoid the
right to
have a
drawing band.
102
Basic
Still Life
Techniques
These close-ups demonstrate the rendering of an object. In the early stages, Lund
tries to put in all the visual information she can see. This usually creates too intense
Demonstrations
in Pastel
103
STEP 3
was able
to
complete them.
some of the
is
shows
blades often
and also
like those
changes knife
in the center
filler bulb,
104
Basic
Still Life
Techniques
White
Still Life
STEP 4
Jane Lund
30'//x29'//
pastel
is
piecemeal appro
process.
Demonstrations
in Pastel
105
Establishing Values
As
Anything receiving
light
has a value.
also has a
local or
degree of
intrinsic color,
it
to Color
Without some kind of planning
for
much
that
ture
as
on
lightest
why simple
and white;
that
tion,
is
black-and-white photo-
when
artists
a pastel.
It's
close to black.
It is
many
picture's
artist
re-
color.
five to
dark to go
to
go
in the lights,
in the darks
is
Knowing how
and how
light
an important part
artist into a
and emotions of
No two
a scene.
artists will
ever interpret a
On the
how four
cre-
re-
lease.
see
results will
ness.
But
first let's
look
at
inventive-
how
black-
106
Basic
Still Life
Techniques
a black-
a for-
thumbnail.
and
for
each value
light patterns,
work out
mat
change
helpful to
specific
It's
in
color values to
your black-and-white
most of the
artists
rearrangement
in order.
a mysterious, shad-
subdued
glowing
Tea Time
Sheean moved the window and chair farther back from the
much deeper space than shown in the photograph.
Mary Sheean
15"
finish
by using multiple
layers,
fixative.
table, creating
18i/4"
pastel on paper
Demonstrations
in Pastel
107
DEMONSTRATION
Enhance
Working on oversized, dark gray
Canson Mi-Teintes
pastel
paper with
soft pastels,
STEP
He chose
to
evoke the
the
Mood
and the
He
light-and-shadow contrasts
fil-
were designed
light,
pastel.
as the
in his
following: a
new
a 3"
The windows
white linen
natural
warm
only source of
liner,
wooden frame
with a 3V2"
inner mat.
After
moving
objects
and completing
map
of color areas.
is
basically a
STEP 2
decided
light
to
make
and
a pattern and
dark to make the
lights to create
He postponed making
color
decisions.
STEP 3
Here.
Gaydos extended
and reHe
versed the high chair back to the original position to promote rhythm.
decided on a
warm
color scheme
108
Basic
Still Life
Techniques
work.
re-
and added
reds
and pinks
to gil e contrast
STEP 4
and
raw umber
and
olive green.
STEP 5
to
hold
on the
tablecloth.
Tim Gaydos
25"x34"
pastel
STEP 6
on the
left
side
more
turning
to the left
and made
to the
corrections in the
chair.
i
Demonstrations
in Pastel
109
DEMONSTRATION
Creating Value Patterns: Two Views
Jill
first
version of the
lace
a woman's
life,
is
the
member
sili-
(sunlight) she
to her family
and
Making corrections
in the divi-
She zoomed
fires
-the
greets
sunny winter's
surface
is
wet.
Then
on while the
is
had
it
made
ied the
as a value
study and
photo intermittently
worked
to
some
objects,
Bush
mood.
for a
STEP
eliminating
tones
of the board,
is
close to the
hue
ification of lights
collected objects.
no
Basic
Still Life
Techniques
lip,
and
up on
silver
finish
and
linen.
a carved
get
wood
first
day.
warmth of
sifted
She wanted
kitchen
products.
is
chair.
cates used to
in
liner
lip,
and
a Va"
n1
STEP 2
II
\
and
violet),
and
vase
(whites
for the
roses,
reds
and
'i
the
fc.
^0*
and worked on
handle of the coffeepot with indigo
greenish-yellow umbers,
\ j^-
'It
and
BH
shadow pat-
left,
she darkened
oped with Sennelier pale violet, and medium value purple-brown was used for
let
,,
lU
and
wall,
and
STEP 3
in pale,
bright reflec-
glowing
tains.
Demonstrations
in Paste/
111
STEP 4
flesh
needed
and peach
intensifying. She
put
and improved
color in all
parts of the picture. To remove the somewhat monochromatic look, she worked
pinks, red-violets
and
blue-violets into
on a
late-
afternoon quality.
Bush
2Q1/X30"
pastel
112
STEP 5
this
had maintained a strong value pattern throughout the evolution of this painting. For the final step, she made last-minute adjustments of drawing, color,
light-and-shadow patterns, and lost and found edges. At last, she used large
mat corners to look at the finished pastel
Basic
Still Life
Techniques
Version 2
STEP
STEP 2
their
ond
Bush
12" x 18"
pastel
II
STEP 3
Many
Demonstrations
in I'astel
113
DEMONSTRATION
Subdued Color for an Intimate Scene
Using Canson dark brown paper to
He
made
lieves in the
light drifting
STEP1
charm of the
work on Can-
Caddell chose
to
and placement
STEP 2
lished the
He was
right).
warm
and
cool
right.
STEP 3
Here
(right),
further
vase at right angles to the axis of the obThe whole butter dish on the left is
ject.
114
Basic
Still Life
and au-
he has never
Techniques
sign.
He
sees art as a
means of commuwork
STEP 4
is
ments
the
one
of the
most important
in depicting reality
left
ele-
The hook on
STIP5
In this final stage, Caddell brought ev-
made
to reflect the
gave even
this
Demonstrations
in Pastel
115
DEMONSTRATION
Layering With Fixative for a Glowing Surface
Anita Wolffs interpretation of the
was
to
show
ues,
and
good
directional light
trans-
sprayed with
it
and
fixative.
painting,
also be ef-
fective.
Her recommenSTEP 2
side-down
to the black
on the
lines with
down
a
pencil.
STEP
and
of the
made a
tracing
of the drawing.
STEP 3
With attention
the basket in
116
Basic
to lighting.
a purple-brown,
and
Still Life
Techniques
STEP 4
and some
other
STEP 5
apart
glass compote
A Symphony
and
the tablecloth.
of Pears
Anita Wolff
143/4" x 19.V4"
pastel
STEP 6
in,
was
refined
make
are more
She worked to
in the
painting.
Demonstrations
in Pastel
111
INDEX
Autumn
Still Life,
back-, 92
Drawing
bold, creating, 50
board, 10
35
preliminary, 36
reflected, 70, 91
project, 24-25
sources, 22
59-60
studio, 2
Bittersweet
and Apples, 72
Easel, 10
Lines
Edges
creating fine, 7
blending, in
lost
Brush Can,
oil,
76
and found, 74
demonstration
101
Brushes
Mahony,
bristle, 10
Pat,
Family Setup, 92
Medium
dauber, 4
Fixative, using, with pastel, 11, 98, 100,
oil, 4.
painting,
73
washer, 4
watercolor,
Bush,
Jill,
2,
84
5,
tion, 50-51
Moran,
69
Patricia, 69-71,
78
Nice, 49
64-65
creating rich, with limited palette, dem-
flat,
Gesture, capturing, 26
grouping, 30
relating, in a setup, 83
Gouache, 49
onstration, 56-60
families, 52, 54
Gray, using, 18
Happy Wanderer,
90
palettes, 4-5
mixing, 54-55
Hopi Treasures, 62
planning, 82
primary, 52
Iris
properties, 38
vibration, 64
and Hat. 83
tying values
James,
Bill,
64-65
using neutral tone, 78-79
and
Flowers, 18
Composition
Kitchen Interior With Flowers,
demonstration, 80-81
Color wheel, 55
balance
project, 22-23
surfaces,
principles, 52-65
Colorful Fruit
painting, 28
round, painting, 28
high-key, 17
oil,
knife
work
Painting
high-key. 44
Contrast
low-key.
Light
miniature. 63
38-39
textural, 62
color
suggested colors, 4
chiaroscuro, 98
planning, 14, 18
in tonal value,
Knife, painting, 4
14-16
improving. 15
118
Mood,
Color,
39
painting
Chocolate Brunch, 48
local,
22
Carnations in Winter, 48
Chrysanthemums
Focal point, 39, 81, 83, 85, 94, 98, 100, 108
5,
building, 23
107, 110-113
Canvas, toning,
116
Form
6-7
49
cleaning, 4-5, 7
of.
direct.
of. 1". 28. 32.
outdoors, 86-8"
54
"0
Paper
and board. 8
indirect. 26
colored.
Lighting
Basic
Still Life
Techniques
Shapes
etching, 11
transparency, 66-67, 69
texture, 72
massing
negative, 110
Paper, gray
26-27, 32
in,
washes,
Sideboard, 49
wet-into-wet, 22
Sketches, monochromatic, 56
42-43
Pastel, 49-51, 65, 72, 100-101, 105, 107,
Sovek, Charles,
applying, 11
overlay, 76-77
arrangement, 22
110-113
assembling
for,
10-11, 102-104
Still Life
a stage, 20,
Blue
Still Life in
drawing, materials
and
22
Texture
Gold, 65
paper,
and
light,
demonstration,
98-101
removing,
detail,
demonstration,
72
Strokes
samples
rendering fine
8, 11,
watercolor, 8
Bottle, 31
Stine, Al, 6
painting studio
oil
Still life
98
color, building,
84
wiping out, 8
Techniques,
31, 35
2, 5,
Tulips
73
of,
scrubbing, 73-74
and Sweet
Turpentine,
II,
113
in
Peas, 17
102-105
soft, selecting,
Subject treatment
10
suggested colors, 10
surfaces for, 11-12, 72
types
of,
10
64-67
glass, 19,
Values
home,
leaves, 73
in
Summer Radiance,
Perspective, drawing, 36
Surfaces
and
47
114-117
Pastel Shades, 78
Petals
45,
composition, 16-17
neutral, laying
shadow, 48
transforming color into, exercise, 42-43
canvas, 3-4,
Masonite,
35, 61-63
5,
4,
31
sandpaper, 72
Symphony of Pears,
Pretty Bouquet, 85
Prior, Scott,
81,83,85-87
58,
69
A, 117
Venetian Glass, 19
44
Watercolor painting, 44, 48-49, 92, 95
Techniques
materials,
dry brush, 8
effect of,
92-93
on paper, 8
Sandpaper, 10
See also Surfaces, sandpaper
6-9
Reflection, 72
palettes, 9
suggested colors, 9
laying in color, 56
Setup
locking
in,
59
surfaces, 8
84
105
composition, 20-21, 32
masking, 8
White
passage principle, 46
Whites, creating, 8
Shadows
cast, 16,
78-79
planning, 106
board, 72
Clay, 63
in,
63
reflectivity, 68-70,
drawing, exercise, 48
using, to create
mood. 48-49
96-97
7,
rubbing out, 71
scrubbing,
Still Life,
57-59
smearing, 50
Index
II')
i.1
lie
this
ART REFERENCE
Basic
Still
Life
how
up arrangements
You'll learn
artists,
from collecting
artist's
still lifes
interesting
from
eye.
convey
objects and
that
start to finish.
Jan Kunz
including:
Foster
to look at
setting
TECHNIQUES
Caddell
Charles Sovek
Ted Goerschner
Joyce Pike
Doug Dawson
Patricia
Moran
Pat Moran demonstrates how to
paint shiny, reflective objects in
oil.
in
oil.
to paint
transparent
objects in watercolor.
fill
to
setup in pastel
90000
Front cover
art by-
30618
780891 "345886