Oil Painting Medic

Landscape Painting In Oils: Twenty Step by Step Guides

2011-10-22T02:07:00.000-07:00

How can I Complete My First Oil Painting Guide Step by Step? This art instruction book by Rachel Shirley outlining twenty oil painting demonstrations on landscape art might help.

An Art Instruction Book with Step by Step Demonstrations

My book on landscape painting provides twenty highly instructive step by step demonstrations, supported by images-in-progress. A variety of landscape scenes provides choice and interest. Each demonstration possesses: image of the finished painting presenting a challenge; between six and ten step-by-step images of the painting in-progress; highly-directive instructions corresponding with each image, outlining the pigments used, the brushes and the technique; a list of art materials required for each project and tips along the way.
A preliminary section outlines the art materials required for the demonstrations, which amount to just ten oil colours, six brush types, artboards and a few mediums, making the projects achievable whatever your ability or budget. A section on underglazing will prove invaluable for artists wishing to avoid wishy-washy colours or tonal imbalances in the painting, making satisfactory results more likely.

Kindle Oil Painting Book

Available on Kindle as well as print version, this ebook on oil painting also offers troubleshooting suggestions if the painting does not work out. Various oil painting techniques are explored, including: alla prima, wet-into-wet, scumbling, glazing, limited palette and working dark to light. As can be seen, many different effects can be achieved with just minimal oil painting materials as described within.

Oil Painting Ebook

Subject matter to be found within this art book are: a river, a cornfield, a stone circle, a castle, a lake, a sunset, a coast, a desert scene, lightning, snow, Toronto, Kilimanjaro and others. Each demonstration is allocated a level according to complexity with four levels in all. The artist however, might find a demonstration in level 4 easier than level 1, as each level describe complexity rather than difficulty, as more techniques and various mediums are explored in the higher levels.

Learn Oil Painting on Kindle

Book’s statistics: 19,000 words, 23 demonstrations (each averaging 8 images each) with around 187 colour images in total. A preliminary section outlines the art materials required and preparatory methods. The main body of the book covers the oil painting demonstrations themselves. The final section gives troubleshooting suggestions for problems, as well as a glossary. At around £2.20 (or $3.50), this kindle book on oil painting is a bargain.

Books by Rachel Shirley

2011-09-10T12:11:00.000-07:00

Looking for art books on Kindle? Below you will find a summary of oil painting instruction books by Rachel Shirley. A multitude of subject matter are tackled in each field, be it landscape painting or still life.

A diversity of oil painting techniques are also explored in depth in each book. Click on any book cover on the right to purchase a kindle art book from Amazon for just a few pounds (or dollars depending where you are), although my books are also available as print copy.

Briefly I have practiced oil painting from the age of six, achieving a BA Hons in Fine Art from Kingston, Surrey, as well as a PCET teaching qualification from Warwick. I also write children's picture books, details of which can be found at the bottom.

Why do My Clouds Look Like Cotton Wool? Plus 25 Solutions to Other Landscape Painting Peeves

Comprehensive troubleshooting advice on painting landscapes, including issues such as painting plein air, perspective and mixing greens. Chapters including ‘my skies are bland and empty,’ ‘my greens are artificial, and ‘how do I erase a mistake from my painting?’ tackles each issue indepth.

Book’s statistics: 24,000 words, over 100 colour illustrations and 20 diagrams, available as Kindle and hard copy.

Read more about this book.

Why do My Ellipses look Like Doughnuts? Plus 25 Solutions to Other Still Life Painting Peeves

Comprehensive troubleshooting advice on painting still life including issues such as ellipses, perspectives and textures. ‘Why do my flowers look wishy washy?’, or ‘the food in my still life resemble plastic toys?’ are just two chapters that tackle common issues related to still life art. An introductory chapter on oil painting materials enables the beginner to embark upon still life painting with minimal fuss, mess and expense, as well as a step by step demonstration at the back.

Book’s statistics: 24,000 words, over 100 colour illustrations and 20 diagrams. Available as Kindle and hard copy.

Read more about this book

Landscape Painting in Oils: Twenty Step by Step Guides

This oil painting instruction book contains 20 step by step landscape painting demonstrations on various landscape scenes including a coast, a castle and a desert. With preparatory chapters, troubleshooting tips and full instructions on how each painting was completed the project is likely to yield satisfactory results. Book’s statistics: 19,000 words and 187 colour images.

Read more about this book.

How Can I Inspire my Painting Class? (Lesson Plan Ideas for Oil Painting in Post Compulsory Education)

A guide book for art teachers offering lesson plan ideas for oil painting, including a section on a guide to oil painting materials, classroom management, learning styles and conducting assessments. The main section of the book gives lesson plan ideas for beginners, a course in still life, landscape art, plein air painting and lots of others. This book has 45,000 words and has over 100 colour images and diagrams. A must for any teacher of oil painting. Note, for those wishing to purchase a hardcopy, a colour version and a black and white version (for cheaper cost) are available.

Read more about this book.

Oil Paintings From your Garden

(Hard copy only) An invaluable oil painting book for artists wishing to find inspiration in the garden. Sections include a beginner’s guide to oil painting materials, finding inspiration in the garden and pointers to painting the various subject matter including flowers, figures and skies. My book is 172 pages long. Available as hardcopy only. Published by the Guild of Master Craftsman Publications (2002) Limited

Read more about this book or purchase a signed copy from Ebay.

Oil Paintings From the Landscape

(Hard copy only) A guide to painting the landscape, including a section on plein air painting, oil painting on a budget, and issues surrounding painting various subject matter in the landscape. This invaluable art book for landscape artists is available as hard copy only. Published by the Guild of Master Craftsman Publications (2003).

Read more about this book.

Children’s picture books

Ben’s Little Big Adventure

Ben’s Little Big Adventure describes a small boy’s quest for a midnight snack. Only trouble is, everything in his room seems to have scaled up to the proportions of the earth’s great wonders, including the furniture and even his cat. If only Ben’s toy helicopters, cranes and hot air balloon had real engines, for they would make his quest a little easier. With so much to climb and navigate, will Ben ever find his way to his prized biscuits and jam?

Print book’s statistics: 8x10in, 1000 words approx and 32 pages full of colour illustrations.

Read more about this book.

Katie’s Magic Teapot and the Cosmic Pandas

An educational picture book for children with full colour images completed in oils, Katie’s Magic Teapot and the Cosmic Pandas takes the reader into a journey through the universe to discover planets, moons, galaxies and other oddities within our cosmos. The journey takes place rather bizarrely within a magic teapot. See sample pages of Katie’s cosmic journey or purchase.

Print book’s statistics: 8x10in, 1000 words approx and 32 pages full of colour illustrations.

Read more about this book.

Katie and the Cosmic Pandas’ Deep Sea Voyage

Forming the sequel to Katie’s Magic Teapot and the Cosmic Pandas, this educational picture book for young children, describe Katie’s quest for treasure as she and her troupe venture in the deep oceans within Katie’s magic teapot. Along the way, Katie learns about coral reefs, oceanic mammals and creatures of the deep. But will Katie find any treasure to bring back to her mummy and daddy? See sample pages of Katie’s marine journey here or make a purchase.

Print book’s statistics: 8x10in, 1000 words approx and 32 pages full of colour illustrations.

Read more about this book

Oil Paintings from Your Garden by Rachel Shirley

2011-09-10T11:35:00.000-07:00

Click to buy signed
copy from Ebay

An oil painting book for beginners, this book offers comprehensive advice for artists wishing to find inspiration from their own back yard, namely the garden. The garden offers lots of great subject matter from which to paint if one looks hard enough and has the added bonus of privacy and complete control over the environment.

Art Inspiration on Your Doorstep

My book offers lots of guidance on all matters relating to oil painting, including a beginners’ section, composing a painting, effective use of the light and painting flowers. Colour mixing and practical advice on painting plein air ensure the artist is able to build on confidence and improve within the comfort of the garden.

Finding Art in the Garden

Numerous step by step demonstrations including painting figures, sunflowers, a greenhouse interior and strawberries provide an informed view of how each painting was completed. Regardless of shape, size, type or time of year, every garden has something to offer, which might require but a sketch book and a keen eye. Common difficulties such as mixing greens, attaining the colour theory, setting up the painting station in the garden, and saving money on art materials enable the beginner to get to grips with all aspects of painting in the garden.

What to Paint

There is more to the garden than one might first think including flowers, figures, pets, patios, trellises, sheds, children, tools, vegetable plots, hanging baskets, garden furniture, skylines, fish ponds or any still life setting in the garden.

Book’s Particulars

The interior of my book can be viewed on Googlebooks or on Amazon. Click on image to purchase a signed copy from Ebay for just a couple of pounds.

Published by GMC Publications (2002) my book has 172 pages, full of colour photos, illustrations and diagrams, the book’s dimensions are 21x28cm and 1cm deep.

There are 12 chapters within, covering beginner’s guide to using oil paints, where to find inspiration, completing your first painting, painting backgrounds, man-made objects, sunlight and shadow, flowers, fruit and vegetables, figures in the garden, skies and weather. Sections on making your own viewfinder, colour mixing and recommended pigments are included within.

Oil Paintings from the Landscape by Rachel Shirley

2011-09-10T11:22:00.000-07:00

Click to buy
from Amazon

A book on landscape painting for artists wishing to find inspiration from the great outdoors, this book on oil painting offers comprehensive advice on all matters of this popular pastime.

Effective Oil Painting Techniques

My book is broken down into 10 chapters, exploring each aspect of landscape painting in turn and in depth. Numerous step by step demonstrations within inform the reader on how each project was completed, including a demonstration on painting Toronto, Stratford a sunset, Buttermere, making a home pochade box and numerous others.

The Colour of the Landscape

The foundations of landscape painting, such as colour mixing theory, composition finding and creating mood, aim to help the artist of any ability build confidence, improve and understand the elements of landscape painting. Creating mood is often the key to an authentic portrayal of a landscape, and this can be achieved by strategic use of underglazing and complimentary colours, explained in depth.

Background to Landscape Painting

Landscape art is indeed one of the most traditional forms of expression in Western Art, and is readily available, most often, a walk away. But putting it down in the way intended is another matter. This is where this book comes in.

Book’s Particulars

The interior of my book can be viewed in Googlebooks or on Amazon. Published by GMC Publications (2003) this book has 172 pages, full of colour photos, illustrations and diagrams, the book’s dimensions are 21x28cm and 1cm deep.

The book is broken down into 10 chapters, covering: a beginners’ guide to using oil paints, plein air painting, finding compositions by use of the viewfinder, skies, shadows, weather, water and using various resources such as photographs. Indepth sections on colour theory, tones, using photographs, making your own pochade box as well as several step by step demonstrations form only part of what this book offers. Click on image to purchase from Amazon.

How can I Inspire my Painting Class Teaching Guide

2011-06-22T02:52:00.000-07:00

Teaching oil painting requires more thought than might first seem. An eminent oil painter does not necessarily make a good teacher, for a good art teacher must understand how students learn. This is where my book, How can I Inspire my painting Class? comes in.

A Book on How to Teach Art

Kindle Art Teaching Guide
click to buy from Amazon

My book combines my experiences of oil painting and my experiences in teaching art. Having graduated from Kingston University, Surrey with a Bachelor of Arts Degree and attained a PCET qualification from Warwick University, I feel I have lots of useful information to share.

Within this book, the art teacher will find information on how to devise a scheme of work for oil painting, writing art objectives, managing a class, keeping students motivated and of course, ideas for oil painting lessons themselves. The book is divided into fourteen sections, from a beginner’s guide to oil painting, to assessing art work at the end of the course and health and safety. There is even a section on taking an art class on a field trip for plein air painting.

Learning Methods for Art

My book explains learning theories and how these can be utilised for art instruction. This includes the KOLB cycle, Ausubel’s Subsumption Theory and Bloom’s Classifications of Thought. Good understanding of how students learn will come in useful when faced with students who suffer low motivation, low self-esteem or the absolute beginner.

In many ways, a succesful art lesson course is one that concludes with every student producing artwork, evidencing creative development and finding inspiration to carry on painting.

Teaching Painting for the First Time

There are lesson plan ideas for around sixty oil painting sessons that cover subject matter from life painting, animal art and landscapes to still life and abstract art. Common problem areas are also covered, including colour mixing, perspectives and drawing ellipses. Lessons to underpin painting are also explained in detail, ensuring students do not stumble at the painting stage. Such lessons include Taking a Line for a Walk and a Tonal Study.

My book contains numerous colour illustrations and paintings. It is available on Kindle for the very competitive price of a few pounds (or dollars, depending on where you are).

Note: Hardcopies are available. You can either purchase the colour edition (containing colour images within) or for a fraction of the price, you can purchase the black and white edition. The print version’s statistics are: 46,000 words 90 images. 220 pages and measures 5.5inx8.5in (140mmx220mm).

Links to my other sites

Rachel Shirley paintings
Oil painting demonstrations

Katie & the Cosmic Pandas’ Voyage Under the Sea

2011-05-18T02:23:00.000-07:00

click to buy kindle
edition from Amazon

This picture book for young children, Katie and the Cosmic Pandas’ Deep Sea Voyage, follows my first story, Katie’s Magic Teapot and the Cosmic Pandas, where Katie and her friends explore the oceans to meet some very odd creatures indeed. I wrote and illustrated this children’s educational book to create a book I would have liked as a young child.

Educational Book for Kids on the Oceans

The book is brimming with full colour illustrations, all of which are completed in oils. I wanted to create a visual feast that not only diverts the child, but educates. What better way than juxtaposing a magic teapot, colourful pandas and a young girl against the weird creatures of our oceans?

The journey starts one day as Katie enjoys her day out at the seaside. She takes her teapot with her, having already enjoyed one adventure to explore the cosmos as the teapot had taken flight. This time, the cosmic pandas materialise upon the beach, and together, they take off for the oceans in a quest for treasure.

A Unique Book for Kids

Katie's Magic Teapot in the Coral Reef

Katie and the pandas dive deep under water to encounter a school of fish, a manta ray, dolphins, a coral reef, penguins, a turtle and delve deeper still to discover an array of weird glowing creatures. But do they find treasure? Well, not as you’d expect.

This great kid’s book educates youngsters about the creatures of our oceans, via colourful illustration and a play on words. It has taken me around three months to paint the detail on the original images, all of which measure 15x12in (the double images were 15x24in). A creative but exhausting experience, I am certain it has been worth the effort. Screenshots of the print version’s pages serve to inform on the look of my picture book’s interior.

Book’s Vital Statistics

Katie and the Cosmic Pandas Journey to the Ocean Floor

My book is available both as a print copy and on Kindle. The kindle is very cheap, being around $3.50 depending on where you are (around £2.50 in sterling). It is a standard picture book size, being 32 pages long, around 1000 word and measures 8x10in. Colourful detailed images ensure young kids remain captivated by the story and urge a curiosity to find out what awaits on the next page.

Links to my other sites

Rachelshirleyoilpaintings
Oilpaintingdemonstrations

Picture Book for Boys Ben’s Little Big Adventure

2011-05-04T13:58:00.000-07:00

My illustrated learning book for toddler boys follows Ben’s adventure as he tries to negotiate himself through the house for a midnight snack. This is because he has shrunk in the night and compares the obstacles he faces with the great wonders of the world.

Boy’s Children’s Book

Click to buy kindle
edition from Amazon

Ben loves what he calls ‘magic machines,’ such as gliders, motorbikes, trains and cars. With each obstacle he faces, he wishes for a particular machine that will help him inch his way closer to his quest. Faced with the prospect of climbing down the edge of his bed, which incidentally he compares to the White Cliffs of Dover, Ben wishes for a glider in which to gloat gently to the ground. Of course, one is not at hand, so Ben slides down the pole of a bedside lamp instead. And so each obstacle is met and overcome in the same fashion. But will Ben reach his prized snack?

Adventure Book for Young Boys

As with my other illustrated children’s books, I conceived the story starting with the images. I love experimenting with new visual ideas, in this case, illustrating a small boy sliding down a lamp pole, hitching a ride on a cat or rowing across the sinkwater in orange peel. All my illustrations have been completed in oils, entailing lots of setting up, taking of photographs and painting detail. Hard work but enjoyable on my part.

Colourful Books for Boys

Illustration from Ben's Little Big Adventure

My book is brimming with colour illustrations and a feast of detail and hues for the eye, the sort of picture book I would have liked myself. Screenshots of the interior as shown on this post serves to give an idea of the look of the book. My personal favourite illustrations are Ben rolling down the stairs cushioned by a teddy bear and climbing the shelves. References to the Great Pyramids, the Great Wall of China and the Everglades have been referred to.

Book Details on Ben’s Little Big Adventure

The print version of the book is 8x10in in size, 32 pages and around 1000 words long. There are three double-paged images and countless illustrations besides. Kindle version is also available, which will prove a little cheaper. The kindle version requires a different kind of format but the elements are the same.

Other Children’s Books by Rachel Shirley

Ben's Little Big Adventure Book

I have written two other picture books entitled Katie’s Magic Teapot and the Cosmic Pandas and its sequel Katie and the Pandas’ Deep Sea Voyage. Both describe a young girl’s adventure flying in her magic teapot to explore the cosmos, and then the oceans respectively. Details on these books can be found on this blog. Like Ben’s Little Big Adventure, both the Katie books are available on print format and on Kindle.

Links to my Art sites

Oil painting demonstrations
Advice about art materials
Link to gift ideas for kids

Katie’s Magic Teapot & the Cosmic Pandas Picture Book

2011-05-03T03:41:00.000-07:00

An educational picture book for children with full colour images completed in oils, Katie’s Magic Teapot and the Cosmic Pandas takes the reader into a journey through the universe to discover planets, moons, galaxies and other oddities within our cosmos. The journey takes place rather bizarrely within a magic teapot.

Idea for Katie’s Magic Teapot

Click to buy kindle
edition from Amazon

The idea started with the images, and the story followed suit. I kept thinking how compelling the sight of a flying teapot throughout the cosmos would be, the sort of picture book I would have liked when I was a child.

I have always loved poring over images of the cosmos, where few images grant the eye quite the same starkness in tones and colours as does the planets. Jupiter, Saturn and nebulae offered me lots of opportunities to explore painting techniques, using bright colours and interesting compositions. One of my favourite paintings is of a time-lapse image of Katie and the pandas floating through space, in all, featuring eight teapots.

Art Technique for Children’s Illustrations

I wrote and illustrated the story over a period of about four months, working intensively upon the paintings. I worked oil on panel of sizes 15x12in for single images, or 24x15in for double paged images. I took lots of photographs of the child subject matter, as children have a habit of moving around.

Illustrations to Katie's Magic Teapot & the Cosmic Pandas

I used an awful lot of black, as you might imagine, but this set the stage for using bright colours on top. I worked on the most detailed parts first when I was feeling most up to it, such as the girl’s face and the detail around the pandas and teapot. Lots of different art techniques were used for effects, including glazing. Glazing entails the application of thin layers of paint, allowing each to dry between. This creates smooth effects for the gradated effects in skies and auras around the planets.

I also smudged the paint via a rag over selected areas to emulate nebula clouds. Only the tiniest amount of paint should be used, and smudged thinly. Once dry, a little more can be added to selected areas to give the clouds more form. Smudging via a rag (or even fingers) was used to get the smooth effects for the rainbow.

A Colourful Educational Book for Kids

Impasto technique was used in small amounts around the planets and the galaxies. This entails applying thicker layers of paint for opaque colours. Oil pigments were often used neat from the tube, such as the red spot on Jupiter and the flowers on the teapot.

Katie’s Teapot Series

The picture book was hard but enjoyable work, so I decided to write a sequel: Katie and the Cosmic Pandas’ Deep Sea Voyage, which describes Katie’s voyage of discovery beneath the oceans. Both these books are 32 pages, roughly 1000 words long and are 8x10in in size. Both books are available on Kindle and as a printed version from Amazon..

A Great Learning Book for Kids

Katie's Adventure in her Flying Teapot

Screenshots on this blog serve to give you an idea of what the interior looks like in the printed version of the book. Formatting the images and the text just the way I wanted took almost as long as writing the book. This required trying out different fonts, background colours and making sure the elements on each page are balanced correctly, taking into account the page bleeds.

My other Art websites

Rachelshirleypaintings
oilpaintindemonstrations

Why do My Ellipses look like Doughnuts? Plus 25 Solutions to Other Still Life Painting Peeves

2011-02-16T16:05:00.000-08:00

Check out my new book offering solutions for still life painting in oils. It is available only on Kindle at the moment, but for a modest price of $3.49 (or around £2.50 in English money) but there is simply loads inside. Print version will be available soon.

Book on Painting Still Life

Click to buy kindle
edition from Amazon

There is lots of advice inside to help with any issue with painting (and drawing) a still life, including overcoming childish style of painting, the Golden Section, drawing ellipses, drawing foreshortenings, composing a still life, lighting a still life, how to paint textures, how to draw perspectives, how to paint light from life, and how to make a rendering of objects appear as though they could be plucked from the canvas. The size of the print version of the book is: 24,000 words, over 100 colour illustrations and 20 diagrams. The hard copy of this book has 152 pages.

Advice for Still Life Painting

In total, there are twenty six chapters in this book including a demonstration on painting strawberries in the back and a glossary. Various art techniques are explored within, such as alla prima, oil painting glazing, scumbling, working impasto and working in detail. Common issues are tackled in depth, such as drawing foreshortenings, or objects with extensions head-on, which might be teapot spouts or handles.

Other common problems, are ellipses, which are often rendered with corners or assymetrically. A section on painting objects with angles, such as boxes or biscuit tins tackles common problems with vanishing points and angles that do not converge correctly. Painting rust or aged material can often result in material that looks too new. Painting reflections on glass is also a common issue. Suggested art techniques for painting other textures such as fruit, china and fur are also explored in depth.

The Secret of Great Still Life Art

Light and shadow are the secret to convincing still life, which can be achieved by good light. Effective use of a lamp, natural daylight or even painting out of doors will bring out textures and colour in objects, not always apparent in poor light or strip lighting. A section on painting out of doors, such as in the garden is also provided. Indeed, painting from life presents its own set of challenges, not least in capturing the changing light into paint. Painting from life is possible with certain strategies, given in this book.

Reflected light will suggest form and texture. Reflected light is light bouncing back onto the dark side of an object from a bright surface and is often overlooked in preference to simply light and shadow, but reflected light can make the difference between an average still life to a great one.

Problems with Childish Looking Still Life Art

The beginner might be deterred by a still life painting that looks childish or naïve. Common problems are a still life that leans to one side, not placed centrally on the page or has objects that appears out of proportion to one another. In regards to colour, the tones might appear too washed out, garish or flat. Down to earth and direct advice for the beginner is given to help overcome all these problems, via suggested painting and drawing exercises.

Recommended Book for Painting

Everything the still life artist needs to know can be found within this book, from the art materials needed to the best techniques for various effects. Overcomming common problems with still life painting is the key to moving forward and discovering a new passion for painting.

How can I Paint Light from Life like the Impressionists?

2011-02-08T02:01:00.000-08:00

Painting from life will present the problem of the constantly shifting light. The artist might be tempted to keep altering the shadows in accordance with reality, working over the painting until it loses its freshness. In other cases, the light might change before the painting is complete, the sun disappearing behind cloud or sinking behind the house. A painting that remains incomplete is the likely result. How can the artist capture the fleeting light in paint as did the impressionists?

Natural Light in Painting

Technique for Painting Quickly
Rachel Shirley

The beginner who wishes to take on the challenge of painting from life may overlook problems until the painting is underway. The following might cause problems.

Not planning ahead for the painting session.
Conceiving, sketching and preparing the composition all on the same day, leaving the artist little time to lay down the paint before the light fades.
Employing one or at most two brushes during the painting process. Cleaning the brushes between mixes and mixing repeated colours may rob the artist of valuable time.
Deliberating over detail or dithering too much over the painting in the pursuit of perfection.

Painting Light from Life Impressionist Style

The key to capturing the fleeting light from the life is preparation. This means having the composition ready-sketched and the location decided. Setting up the art materials, such as the palette and easel can also take valuable time. The following pointers serve to elaborate.

Prepare the painting surface and the composition on a separate day. Make a note of where the sketch took place. This means that the optimum light is saved for the painting alone.
A white canvas can be off-putting and create bright reflections. To counteract this and to make tones easier to judge, I will apply a thin acrylic wash of a neutral colour, such as brown or pale blue over the canvas prior to painting.
If painting out of doors, such as in the garden, make a note of where the shadows creep on certain times of the day. Does the house cast a shadow at teatime?
Make a note of the weather report if sunlight is sought after. A bright morning can often be followed by heavy cloud, which could put a premature end to the painting session.
Use several brushes during the painting. This saves valuable time from repeatedly cleaning the brushes or mixing the same colours. I often employ several brushes at once: one for darks, one for pales, another for bright colours and more for soft blending.

How to Paint Quickly

If time is the essence, I will block in the larger areas of the painting first. This might be areas of simplified light and dark in the background. The paint will be applied thinly at this stage so that I can add detail or make adjustments on top without the brush picking up surplus paint.
I will often render several areas of the painting simultaneously rather than one at a time. This means picking up a “dark” brush, closely followed by a “pale” brush as the painting is worked over. I will record the most transient areas of light and dark first, making snap decisions on hue and tone. This means being decisive. Does that shadow contain blue or brown? Is that patch of sunlight crescent-shaped or triangular? Once the shadows have been rendered satisfactorily, don’t be tempted to change them later. Leave them and move on.

Technique for Completing a Painting

Work into the detail as the painting progresses. Don’t worry if the setting no longer resembles the painting. Painting from life means capturing the essence of a day rather than illustrating one moment in full as in the case of a photograph.
The final stages of the painting will often involve neatening and soft blending. This means knitting the painting together with a soft brush. Standing back from the painting at regular intervals will help the artist make honest comparisons with the setting. Absolute accuracy is not important, but the capturing the mood of the day.

Painting Impressionist Style

Capturing fleeting moments in painting entails planning ahead and using the paints in a certain way. Sketching the composition on a separate day means the artist may use the time for painting alone. Using several brushes at once will save time on cleaning them and remixing colours. Making strategic decisions on where the painting will take place will prevent un-preceded shadows from creeping across the setting before the painting is completed. And lastly, allow robust brush-marks and colour streaks to remain. It is pointless to pursue perfection in painting if time will not allow; the light will not wait.

Links to Oil Painting

The Ellipses in my Still Life Look Wrong

2011-02-07T13:58:00.000-08:00

The artist struggling with ellipses in a still life may end up with a painting dotted with doughnut-like formations that are supposed to represent the rims of cylindrical vessels; some ellipses appear lop-sided, others look like UFOs. In other cases, the ellipses appear to inhabit a different space to that of the vessel concerned. How can the artist overcome the problem of painting ellipses on objects?

Step by Step Drawing of Ellipses

How to Draw Ellipses
Rachel Shirley

The still life artist may find painting ellipses difficult to avoid, as many household objects contain ellipses. The list is endless: vases, teacups, teapots, mugs, urns, saucers, eggcups, tankards, vanity mirrors, dishes, plant pots, pipes, cake tins, wine glasses and bottles. This can be a real headache for the artist wishing to steer clear of such challenging elements. But the hurdle of drawing ellipses is a common one which can be overcome. Before making improvements, the following practices need to be addressed:

Giving the ellipse sharp corners.
Drawing the ellipse asymmetrically. The ellipse might slant to one side, resulting in a lopsided ellipse, or appear wider on one side than the other, resulting in a tear-shaped ellipse.
Rendering the rim of the vessel as a single line without suggesting any depth to the rim depicted.
Rendering dark lines around the ellipse, even though lines cannot always be discerned on areas of the actual rim.
Failing to accord the base of the cylindrical object with the rim at the top, resulting in a vessel that appears to inhabit two areas of space at the same time. A common example is drawing the base of the cylinder as a straight line, and the ellipse at the top as an ovoid.

Rules of Ellipses
Thankfully, ellipses follow certain rules, which mean rendering them effectively can be made straightforward. Take note of the following when drawing ellipses:

The ellipse of an object never possesses corners, regardless of the obliqueness of the viewpoint. The curve simply becomes more acute.
The ellipse element of an object will appear to flatten when viewed at eyelevel, and appear to open out when viewed from a higher vantage point. Head-on, the rim of a teacup, for example will appear perfectly circular.
A perfect ellipse is always symmetrical in shape.
The rim of a vessel pointing towards the viewer will always appear slightly more curved that the rim further away.
The curve found at base of a cylindrical shape (because it is often viewed further away) will often appear more pronounced than the curve of the ellipse at the top.
Rims of objects always have depth, regardless of how thin. Observe a mug and the rim might be a few millimetres thick. This means the ellipse should never be rendered as a single line but one with two edges: one for the inner rim, the other for the outer rim.
The thickness of a rim will appear slightly wider where the ellipse curves towards the viewer due to the foreshortening effect.

Drawing Ellipses Made Simple

How to Draw Ellipses
Rachel Shirley

The following simple drawing exercise for ellipses can be used as a template for a conjectural cylindrical shape or a real still life vessel, whether it is a cup, vase or pot:

Firstly, observe the object in front and judge how “open” the ellipse is. Is it almost fully open, like an oval; is it akin to an eye shape, or is it flattened like a disc? Keep this measurement in mind when rendering the ellipse.
At the apex of the vessel or cylinder, draw a faint cross. Use a ruler if necessary to ensure the cross is upright, level and centred.
Faintly begin to sketch the ellipse. Draw curved edges to the left and right of the cross (where the rim of the object will be) and a flattened curve at the upper and lower part of the cross.
Knit each element together using soft, curved lines.
Stand back from the drawing in order to view the ellipse at a whole to ensure it is symmetrical. Turn the picture upside down. This will reveal any part of the ellipse that might appear lopsided, uneven or possess unwanted bends. Correct as necessary.
Now adjust the curve of the ellipse representing the rim pointing towards the viewer so that it is slightly more curved than the rim pointing away.
Give the rim depth. Lightly draw the inner and outer edges of the rim, remembering to give the rim more width at the foreshortening points to the left and right of the ellipse. These outlines may not be visible on the object itself, but the under-drawing will serve as a guide when laying down highlights, shadows or detail on the vessel.
Observe the curve at the base of the cylindrical object or vessel. It will often appear more pronounced than the ellipse at the top. If necessary, use the vertical line of the cross as a guide to plot the lowest part of the curve. As before, sketch lightly, using soft, curved lines.
Finally, the cardinal rule: keep observing the object in front whilst drawing the ellipse.

Drawing Elliptical Objects

Drawing ellipses is a common difficulty for artists rendering a still life for the first time but simple drawing exercises involving a hypothetical cylinder will help the artist recognise and make changes to practices at fault. Practice is the key. This means the artist may begin to view elliptical objects as an anticipated challenge rather than subject matter to avoid.

Links to Still Life Art

I Can’t Judge Lights and Darks in my Painting

2011-02-07T03:16:00.000-08:00

A painting featuring high tonal contrasts and an array of delicate shades between may confound the artist who is unsure of how to make each tonal value sit together in a convincing still life or landscape. Instead shadows resemble black holes in the canvas, colourful objects lack form, and pale objects simply look insipid. The result is a painting that lacks atmosphere. How can the artist produce a painting that has a strong sense of light and dark and therefore mood?

Troubleshooting Lights and Darks in Painting

How to Paint Tones
Rachel Shirley

Rendering tones in a painting will be made difficult if the artist fails to make sensitive observations of how light actually behaves in real life. Presumptions about tones may undermine any attempt at a painting that has an authentic sense of light. In this respect, the following approaches need addressing:
Assuming objects of a particular local colour are always darker or paler than another. For instance, yellow objects are paler than blue ones, and violet objects are darker than orange ones.

Making generalised assumptions about shadows being black or dark grey, or illustrating them as being the darkest area of the painting; and in similar fashion, assuming an object that catches the light is always the palest area.

Viewing highlights and shadows as definite areas of light and dark without thought for the tones between. The result is a painting that seems to comprise of cut-out shapes that lack delicate shades or diverse divisions between light and dark.

Painting Tips for Shading

A painting featuring bright colours will often get in the way of how light or dark the objects actually are, and could mislead the artist of the objects’ tonal value. The following simple tips may make the task of rendering shades more effectively.

Apply a thin under-glaze of a neutral colour onto the painting surface first. This will kill the overpowering white of the canvas, which could give the artist a misleading impression of how light or dark colours actually are when applied.

Half-close the eyes to reduce colour values. Standing back from the painting has the effect of scaling down the image and the subject matter into smaller areas of light and dark that can more easily be processed and therefore recorded onto canvas.

Painting Exercise in Colour and Tone

The following painting exercise will further raise visual awareness of tones which can be utilized when painting.

Obtain objects of simple shapes, such as cuboids, spheroids and cylinders. These can easily be found in everyday objects such as matchboxes, cereal boxes, golf balls and biscuit tins. Paint them white. Place onto a white sheet and arrange in a location of good light source. This might be near a window or lamp.

Lightly sketch the objects onto a mid-toned ground. Grey, cream or pale blue would be suitable. Half close the eyes and simplify the arrangement into four basic areas: highlights, light, mid-tones and darks. Begin with the mid-tones areas first, working towards light and dark. View light and shade as abstract forms. Work lightly at first and remember to keep viewing the painting from afar to ensure accuracy.

Once these basic areas have been laid onto canvas, work into the detail by applying highlights and adding definition to the darks. In some cases, shadows will vary in shade, some of which will be paler than others. Outlines too, will vary; some divisions being well-defined, others blurred.

How to Paint Tones in Increments

Resurce for Artists
Rachel Shirley

A further aid can be used and which may help the artist record tonal increments more accurately. Cut a strip of paper or card. Divide into equal squares and fill each square with a particular tonal value, beginning with the palest. This tonal strip can be placed in the background of the setting to assist the artist with comparing one tone with another.

Painting Shades Made Simple

Judging colour values form only part of the painting process. Recording tones accurately will give the painting atmosphere and suggest form. Half closing the eyes will help cut out the interference of colour. Viewing the painting from afar will enable the artist to view areas of light and dark as manageable abstract forms on a smaller scale. But rendering objects in black and white will help raise awareness of tones without the interference of colour. This skill can be carried forward into general painting practice.

Links on Painting Lights and Darks

My Paintings Lack any Sense of Light or Atmosphere

2011-01-27T04:42:00.000-08:00

The artist may set up a still life without due thought to the lighting. Shadows being non-solid may be overlooked, and may appear to fall off one side of the canvas when painted. This may compel the artist to fade them out as though diffused by strip lighting. The artist may further forget that pale objects may appear dark if lit from behind, portraying instead the object’s local colour. Such treatment may result in a painting that lacks atmosphere. How can the artist make best use of the light in painting?

Poor use of Light in Painting

Light is a vital factor in a composition, for light and shadow appear as solid to the eye as the objects themselves. Forgetting that shadows contain shifting hues and tones may result in black shapes that resemble holes in the painting. Subtle effects such as varying outlines and reflected light may also be overlooked, robbing the painting of all mood. But the following might help raise awareness of using light for painting.

The Best Use of Light for Painting

Examine the two paintings. It will not be immediately apparent that they comprise of identical compositions. The difference is simply the direction of the light. Light, especially sunlight, has a fundamental effect upon how objects appear, which is why it is such an important factor to consider in painting.

Both paintings were completed alfresco on two identical consecutive afternoons. The painting above was completed facing north; the painting below was completed looking west. Notice how different the colours are for both. The pudding basin is white, yet in both paintings, different colour palettes were used. The apple is bright red in one picture, yet it is almost black in the other. The actual colour of the objects is known as the “local colour” and will not always agree with the eye actually sees.

When it comes to painting, it is best to ignore the local colour but to record the perceived colour: If the apple is red but appears to be violet, paint violet rather than red.

How to Paint Light

The same object may often require a different palette when lit in different ways. Objects lit from behind will often feature tonal contrasts and subdued hues; a setting lit from the front will feature more definite hues and less shadows. In the case of the paintings, one required, ultramarine, burnt umber and liberal amounts of white; the other, burnt sienna, viridian, permanent rose and moderate amounts of white.

Shift the objects around under a light source and see how the shadows change in colour, tone and intensity. The hues of the objects will appear to shift too. Look for definite hues in white objects and bright colours in black objects. Natural light, particularly sunlight will emphasise these effects.

Painting Light from Life

Shifting shadows create challenges for the artist wishing to capture their essence, but being transient, time is a factor. I often record the shape of the shadows quickly and then block them in. Making snap judgments in colour mixing is often required. Once the shadows have shifted, don’t be tempted to alter them accordingly, for this could mess up the painting. Ignore them and continue with the other subject matter.

Painting light is more about capturing many moments in time, as opposed to photographing one moment.

Links to Oil Painting Information

Indoor Lighting Makes my Still Life look Dreary

2011-01-26T16:24:00.000-08:00

Poor lighting may make the brightest still life objects appear dull. The artist may find colour mixing more difficult, which will have a knock-on effect on the painting. Artificial lighting serves only to make the still life setting appear lurid, creating fuzzy shadows with no contrasts. But outdoors, even on a cloudy day, the contrast can be breathtaking. How does the artist prepare for still life painting en plein air?

Painting a Still Life Alfresco

Tips for Alfresco Art

The artist does not have to go traipsing off into the landscape to paint alfresco; one’s own back yard is ideal. The light that floods the garden is often far brighter than the light that filters indoors, even on a cloudy day. Objects appear more vibrant and contrasts between colour and tone more intense. As a bonus, new possibilities for still life subject matter seem to open out: tomato plants, wheelbarrows, deckchairs, trellises, gardening tools, swings, hanging baskets, urns, water-features, bird tables, garden ornaments, fish ponds, bird boxes – and natural light.

However, the simplest everyday objects can be used and when carefully arranged in the garden, exude a beauty rarely seen indoors.

Still Life in the Garden

Setting up a still life outdoors need not be difficult. A patio table and chair can be used as the painting station. I often use as tripod stool as used by campers or fishers, as it allows unlimited elbow room. Adjust the seating so the thighs are parallel to the floor. This will also make the paints easier to reach if placed on the ground.

An informal setting with minimal clutter is best. An easel need only be used if working large. Otherwise, affix the painting to a backing board via bulldog clips and prop against a patio table or similar. Place all art materials on an old sheet so that it can be gathered up quickly if the weather changes. Weigh down with stones if it turns breezy.

Practical Advice for Painting En Plein Air

Beware of hotspots in the garden and also of bright sunlight bouncing off the painting surface. If possible sit in the shade or under a parasol. Wear a hat and sunblock. A cool drink always comes in handy. There is nothing wrong with wearing sunglasses, for they cut out the glare and make the still life stand out. But take them off from time to time to check the colour mixes.

Optimum Use of Light for Painting

Plan ahead for such a fickle thing as sunlight. Conceive and sketch the composition on a dull day. This will negate pressures to get the paint down before the light fades.

Finding an interesting still life composition in the garden will involve viewing, walking around, taking notes and sketching. Swapping and changing the objects might sometimes be necessary. Take the time to get the drawing right. Make a note of where the drawing took place and how the objects were arranged. Taking due thought over this will ensure a successful painting on the day.

If the weather forecast is good, prepare the art materials in readiness. Consider where and when the shadows creep in on certain times of the day. It would be pointless to begin a sunlit painting in late afternoon if the sun sets behind the house.

Allow more time to complete the painting than one thinks. I find early morning or teatime in spring or late summer allows the artist ample time to record the shifting shadows. Diffused sunlight as seen beneath a parasol will take away the element of transience if the artist wishes. But if the painting does not turn out at first another can be tried without too much preparation, but painting alfresco in the garden is arguably one of the most unique ways of producing still life art that may prove addictive.

More about producing still life art in the garden can be found in my book Oil Paintings from your Garden, as signed copy of which can be purchased from Ebay (see visual link on the top right of this blog) or from Amazon.

Articles on Still Life

What is the Best Technique for Painting Detail in Oils?

2011-01-26T15:56:00.000-08:00

Embarking upon a painting featuring lots of elements regarding textures, patterns and colour shifts may overwhelm the artist wishing to try something challenging. Striations on seashells, embroidery on curtains or layers within red cabbage may cause visual overload where the artist does not know where to begin. What is the simplest technique for painting detail without compromising the quality of the finished artwork?

Problems with Painting Detail

Applying Detail in Oils
Rachel Shirley

The idea of embarking upon a painting with lots of detail is often appealing. The reward of completing an exacting work of art that catches the eye and entices the viewer to take a closer look may cause the artist to go in with both feet with such a project. However, once faced with the reality of emulating a multitude of patterns and textures, the artist may experience the wind go out of the creative sails. The following may cause an unsatisfactory painting with detail.

Trying to complete the painting in one go and with increased haste towards the end due to fatigue. This will be reflected in wobbly lines, patchy colour mixes and uneven paint layers.

Spending too much energy on preparing the project, collating visual resources, completing an accurate and detailed drawing, and setting up the workstation. When the time actually comes to paint, the artist may become lacklustre and run out of steam. An uncompleted painting is the likely result.

Using inferior art materials for exacting processes, such as cheap brushes and pigments with poor tinting strength will create difficulties for the artist and an unsatisfactory painting of detail.

How to Paint Detail

The artist must think realistically about how the project is to be completed. The following tips may help.

Accept that a large detailed painting will never be completed in one day. Plan what to do first and how much per session. Be realistic about how much time the painting will take. This will keep the painting manageable.

Create small goals. If the painting features several objects, complete one object per day. Alternatively, if two or three objects contain similar hues, such as maroon striations in a red cabbage and textures on a beetroot skin, complete those objects containing that particular hue together.

Begin the painting session with the most challenging detail when feeling most up to it. The easier parts can be completed at the end of the session.

Take regular breaks from the painting. Time easily slips away whilst engrossed in painting each layer of an onion. Don’t push too hard. Beware of discomfort when sitting too long. Move about periodically.

Try not to think about the whole painting whilst painting a small aspect of it. Relegate all other objects as invisible. Imagine the painting is in fact several paintings in one. This will make the artist feel that the painting is moving forward.

Essential Art Materials for Detailled Painting

The artist must never guesswork detail, or the painting may fail to convince. For this reason, excellent visual resources and good lighting are vital. This means photographs of a high resolution or subject matter that is up to standard. Good lighting conditions may comprise a north-facing skylight, or adjacent window. Painting in dull lighting may give the artist a false impression of the painting’s quality until viewed under bright conditions.

Excellent quality fine sable brushes are vital. Kolinsky sables provide fine points, softness and springiness. When it comes to sharp detail, rounds sizes 0, 1, 3 and 6 will suit most purposes. A selection of filberts or fans will create smooth blends.

Art Techniques for Painting Detail

Oil painting in glazes enables the artist to work over the painting in layers to achieve an ever higher and sharper-detailed finish. This entails the application of the paint in thin translucent layers, most often thinned with linseed oil. Each artist will have personal preference, but the following describes how I typically complete a detailed painting:

Apply an imprimatura of an earth colour, usually thinned burnt sienna or burnt umber acrylic paint. This will kill the overpowering white layer of the canvas.

Sketch the composition on top with a fine chalk pencil. Detail is not essential as the drawing will be concealed by the overlying paint.

Select an object in the painting; in this example, an onion. Apply the base colour thinly, which might be cream or beige Express shifts in tone and brush away unwanted marks. Apply the detail with slightly thicker paint. The onion layers can be suggested by applying thinned paint via a rigger or thin sable. Even out unwanted brush marks, accepting the object will not be perfect at this stage.

Allow to dry. In the meantime, the artist may embark upon another object if feeling up to it. Return to the onion another day once touch-dry, applying a second glaze. This glaze can be used to modify or improve upon the lower layer. Sharpen up detail and smooth out unwanted brush marks. The artist may notice the object appears sharper, more intense and closer to the desired effect. A third layer can be applied if desired, although only select areas may need attention.

Related Articles on Oil Painting Techniques

The Rusty Objects in my Still Life Look New

2011-01-25T11:58:00.000-08:00

With the aim of supplying contrast between the old and new, the artist may include corroded objects in a still life. Rusty tools, watering cans or engine parts are sure to challenge the artist wishing to explore different textures. But despite attaining the desired colour mix, the objects portrayed do not suggest oxidisation. What art technique can the artist use to portray rusty metal convincingly?

Aged Effects in Oil Paint

Aged Objects in Still Life
Rachel Shirley

Aged textures on metal may sometimes defeat the artist who is unsure of how to capture the texture of rust or peeling paint. Sensitive colour mixing is not always enough to suggest rust, and in some cases will merely make the object appear brown or orange. This situation is not helped if the paint is applied evenly and with uniform brush marks. The secret to painting rusty objects effectively lies partially in colour-mixing; the rest is down to how the paint is applied.

Rusty Objects for Still Life

Partially-oxidised metal objects will offer interesting contrasts between blemished and unblemished areas, which can be exploited in paint. Peeling paint can also add charm and visual textures to any still life. With several elements to consider, there is a choice of techniques the artist may use to suggest each.

Art Technique for Painting Rusty Metal

Good visual resources are vital for subtle effects such as rust. In this respect, little can compare to painting from life, which was what I did for the rustic watering can. The following technique can be tried.

Make sensitive observations of the rusty object regarding hue and tone. I find various amounts of burnt sienna, cadmium red, burnt umber, permanent rose and white occur most prevalently in rusted objects, although blues and violets will be seen in shaded areas. Corrugated iron may exhibit burnt umber, ultramarine and pthalo blue in various portions.

Apply a thin under-glaze of burnt umber acrylic prior to the painting. This will help when judging tonal values of the rust, as well as support the overlying rusty colours. Once dry, begin with the palest areas of the rust first. Apply the paint briskly and unevenly via a filbert ox-hair. Allow a little of the under-glaze to show through in places to add expression and suggest rough textures. A technique known as sgraffito can be incorporated, which involves etching into the paint layer with sharp implements to emulate a scratchy surface.

How to Age Metal with Oil Paint

Work progressively darker, adding a little ultramarine and/or burnt umber. Allow brush marks to remain in the paint. If peeling paint is featured on the object, apply the colour concerned thinly, working the paint roughly.

If the painting of rusty metal does not work out, allow the painting to dry and then work on top. Uneven layers of the underlying impasto will enable the artist to “scumble” paint onto selected areas of the subject matter to achieve a broken glaze. Applying the oil paint thinly (without adding linseed oil) will bring an effect like pastel pencil to the painting, ideal for suggesting rusty textures within a still life setting.

Textures in Oil Paint

The raised edges of cracked paint on a metallic object can be suggested if a little burnt umber is applied to shaded areas of the painting via a fine sable. Better control of the paint is possible if the pigment is applied neat rather than thinned with linseed, bringing an effect like crayon. Do not apply the paint in linear fashion, but with uneven marks. Remember that shadows cast by raised edges will often adjunct bright highlights of the raised edges themselves.

Finally, remember to make artistic comparisons between the rusty areas of the object and the unblemished metal, to ensure the tone and hue of each relate accurately.

Articles on Painting Aged Still Life

I Can Never Mix the Colours I Want

2011-01-25T06:44:00.000-08:00

In a bid to recreate the luscious greens of foliage, the artist may reach for any blue and green pigment and blend them together, but murky brown materialises. Hopes for a vibrant purple, as seen on grapes could be quashed when a blend of blue and red yields a dingy grey. In other cases, the colour is too garish, too dark or too wishy-washy or just doesn’t hit the mark. How can the artist mix any colour required for subject matter in painting?

Colour Theory in Art

The Language of Colour Explained
Rachel Shirley

If asked what the primary colours are, the automatic reply might be red, yellow and blue. However many pigments containing these labels contain other pigments. Lemon yellow, for instance, has a greenish cast. Cadmium red contains a lot of yellow. Ultramarine blue contains a lot of violet. Since Ultramarine is biased towards red, it would not be a fitting blue counterpart if a piercing green mixture was the objective.

The true definition of a primary colour is one that cannot be made by the mixture of two other colours. By this definition, magenta, yellow and cyan, as found in printing ink, is the most fitting answer, although no pigment can truly match the purity of filtered white light.

The Best Colours for the Artist’s Palette

Despite this, pigments closely approximating this purity exist on the market and which will produce clean secondary colours. Paint manufacturers use varying labels to denote these primary colours. Some may refer to them as “process” or “Winsor” colours. Gleaning colour charts and making comparisons with the primaries of printing ink is how I chose my primary pigments.

Cadmium yellow (pale) is a vivid yellow and is pretty close to the primary yellow of printing ink. Pthalo blue, like cyan, is a sharp blue, although is deeper in tone. Red is not in fact a primary colour, but a secondary colour for it can be achieved by mixing magenta with yellow. Magenta for this reason is a primary colour of an intense rose hue. In terms of oil pigment, resembles permanent rose, which will produce clean violets and indigoes.

Cadmiun yellow (pale), pthalo blue and permanent rose will enable the artist to mix just about any colour needed for painting. More accurate colour judgments can be achieved by examining three factors of the subject matter:

The colour temperature,
The degree of the colour
And the tonal value of the colour.

Colour Temperature in Painting

As well as the hue, observe the colour temperature of the object, as red can be warm or cool, as can blue. The warm blues found on a summer sky can be achieved by using ultramarine and white, or introducing a little cadmium red or burnt sienna into the blue mix. Cool blues, as seen in lake reflections can be achieved by introducing pthalo blue and a little burnt umber into the mix.

Degrees of a Colour

Of course, few objects are simply “red” or “purple”, but degrees of a hue. This involves toning down the colour with earth colours and neutrals. The subdued blues of distant mountains can be achieved by toning down blue with burnt sienna. Dusty pinks as seen on pansies can be recreated by adding a little burnt sienna, ultramarine and white with the red mix. When it comes to neutral pigments, many are not required. Burnt sienna and burnt umber are the only earth colours I include in my palette, as too many can often result in dirty and lifeless colour mixes.

Tonal Values of Colour

Colours can get in the way of what is light and dark. This interference can cause tones to be overlooked. To filter through this chromatic interference, half-close the eyes. This will break the setting down into areas of light, dark and mid-tones.

Rather than use black or dark grey to darken a colour, try mixing opposing colours, also known as the “complimentary colours.” The complimentary colour to a given colour can be found on the opposing segment on the colour wheel. The complimentary colour of magenta (not red), for instance is green; the complimentary colour of violet is yellow. Introducing a colour’s complimentary to a given colour will produce rich darks rather than dingy blacks.

An evergreen houseplant that harbours lots of shadows can be darkened with any colour on the opposing segment to green. In terms of pigment, this can be permanent rose, cadmium red or burnt sienna, depending upon the intensity and the colour temperature of the darks. Similarly, the shaded areas of a banana can be achieved by adding violet or any colour containing violet, (perhaps ultramarine, or a blend of pthalo blue and permanent rose) to yellow.

Accurate Colour Mixing for Painting

With the above in mind, the artist can recreate any colour with reasonable accuracy, but the real key is to observe the objects in front. Look for slight colour shifts in temperature, intensity and tone. Try out the colour mix on a scrap piece of card before applying it onto canvas. Lastly, look out for colour relationships. How does one colour of an object compare to another? Is it paler, softer, cooler, deeper? Keying in each area of colour with another in a still life will help the painting make sense.

Relevant Articles on Colour Mixing

How do I Paint Pectin on Grapes?

2011-01-24T15:37:00.000-08:00

Subtle features on still life objects such as the pectin on the skins of grapes or condensation on strawberries may often be overlooked in preference to the fruits’ colour mixture or shape. The fruit painting may turn out as expected, but the still life misses something, an extra factor that could make the still life great. What art techniques can the artist use to suggest pectin on grapes or water droplets on food?

Insensitive Observation of Still Life Art

How to Paint Grapes

In many cases, the artist’s first rendering of any object, grapes included, is an exercise in capturing its most obvious elements: its shape, its dimensions, its hue and its tone. Subtle detail may easily be overlooked. The following practices may curtail sensitive observation of such objects:

Perceiving objects in symbolic and idealized ways and reflecting this in the painting. For example, grapes are small round objects, often found in bunches, that are either green or maroon in colour. A white dot can be used to suggest a highlight and a dark crescent for the darks.

Working in alla prima (in one paint layer), may not permit the artist the scope to make small modifications to the grape painting necessary to capture the essence of pectin or similar subtle effects.

Making do with cheap oil painting materials such as inferior brushes for exacting processes, or not having sufficient colours in the palette to attain the subtle colour mixes needed for specific purposes.

Subtle Effects for Still Life

Painting fruit and observing other still life artists’ work will inevitably raise visual awareness, which will in turn cause the artist to critically anaylise past paintings and perhaps feel dissatisfaction. This is a good sign, as the artist is beginning to see things in a more sensitive way. The following method can be used to suggest pectin on fruit.

How to Paint Pectin on Grapes

Photographs with high resolution of grapes are essential for detail. If painting grapes from life, keep the grapes in the fridge between painting sessions to keep them fresh. As with most painting techniques, work from the basic to the particular. Simplify the grapes into basic tones and shapes and record them onto the painting surface. Render the grapes as though without pectin, but see beyond it to the colour beneath. Use a little linseed oil to achieve a flat glaze. Brush out ridges and troughs. Allow this initial paint layer to dry.

The next glaze concerns the pectin. Mix a colour slightly paler than the colour used for the grapes. If the grapes are green, add a little white to the green mix. Dab a little of this colour onto a narrow filbert sable. Don’t load too much and don’t add linseed oil, or the mixture will become runny. Gently wipe surplus pigment onto a soft cloth until the bristles are lightly coated with the pigment. Aim for a fine, almost flaky consistency to the paint.

Lightly “scumble” the paint over the grapes concerned. Don’t apply the paint evenly or thickly. Allow the paint to drag over the painting in a broken glaze in an effect like lightly applied crayon. Darker areas of the grapes, such as shadows should be darkened slightly accordingly.

Pectin can also be suggested by dragging the paint over a painting completed on fine texture such as canvas. This will suggest the dustiness of pectin, as some areas will be darker than others.

How to Paint Moisture on Fruit

Paintig Highlights on Strawberries

Like the dustiness of pectin, observing the lusciousness of fruit, rather than the mere shape and colour of the fruit itself, will help create a super-real still life.

Again, good photographic reference is essential. Paint the fruit (in this case, strawberries) as though no highlights or water droplets can be seen. Apply the paint thinly where the highlights will be placed.

Once the colour and hues of the fruit has been blocked in, mix white with a hint of pthalo blue and a little linseed. Observe the shape of the highlights, which will vary in shape and size. In the strawberry painting, the highlights vary from linear flecks to doughnut-shapes. Place strategically around the fruit, ensuring the outlines of the highlights remain sharp.

Moist highlights will sometimes exhibit adjunction of dark linear shapes which are deeper than the general colour of the fruit. These dark convolutions hold the key to making the surface of fruit appear luscious rather than merely smooth or shiny. Like the highlights, these dark areas will vary in shape and size. Ensure the outlines remain sharp.

Super-real Fruit in Painting

Recording subtle observations in objects, such as fruit is key to creating a still life with super realism. Pectin on grapes or water droplets on strawberries, for example, require small touches, but could transform a painting.

Relevant Links to Still Life Art

The Flowers in my Still Life look Wishy-washy

2011-01-24T04:29:00.000-08:00

The paper-thin texture of flower petals or popular imagery or flowers in delicate watercolour washes may compel the artist to reflect this view when mixing colours for flowers in a still life. Candyfloss pinks and peaches make parts of the painting appear bleached out or faded like a photo left out in the sun. How can the artist paint vibrant flowers in a still life without the risk of the colours looking garish?

The Problem with Painting Flowers

Dark Colours in Flowers
Rachel Shirley

Flowers often provide the focal point within a still life, which may lead the artist to take extra caution when mixing colours. However, dissatisfaction may occur if using the following practices:

Assigning flowers with simplified chromatic labels according to type, and then applying the colour concerned without further observation, such as: lilies are white, daffodils are yellow, poppies are red and roses are pink.
Applying a pale colour mix such as pink or pale blue onto a white painting surface, creating the impression that the colour is dark. This may cause the artist to mix pale colours throughout, leading to an overly pale painting of flowers.
Thinning the oil paint into thin washes in the style of watercolours in alla prima (in one layer), will often result in lifeless colours once the oil painting has dried.
A fear of darkening bright colours for shadows may lead the artist to use pale greys or neutrals instead, which without the full complement of tonal values, will make the painting appear like an over-exposed photograph.
Leaving highlighted areas blank or just white, giving the impression that the painting is incomplete.

Rich Colours for Flowers

Flowers contain contradictions: lilies may contain dark blue; daffodils may possess violet; poppies often contain indigo and roses may harbor ochres. Stripping away labels regarding the colour of flowers will help the artist view flowers honestly.

Rather than use grey, or even black, a bright colour is best darkened with its opposing colour. In the case of yellow flowers, this will be violet or any colour containing violet, such as ultramarine or permanent rose; green can be darkened with red or any colour containing red such as cadmium red or burnt sienna. Mixing opposing colours will result in rich, deep darks in flowers. I find ultramarine with a dab of burnt sienna provides the ideal darks for white flowers such as lilies. Substituting ultramarine for pthalo blue will suggest cooler darks.

The Best Imprimatura for Flowers

Rather than paint flowers onto a white canvas, apply thinned paint over the surface first. Acrylic paint will dry quicker than oils and provides a stable surface. Such an under-glaze is known as an imprimatura. Any colour can be used, although neutral colours are the norm, which might be an earth colour or grey. This enables the artist to more accurately judge the tonal value of a given pigment when applied on top. Pale blue will indeed appear pale rather than dark in context.

Try other colours for the imprimatura. Using the opposing colour to the hue of the flower heads will inject energy, vibrancy and movement into the overlying paint if applied as a broken glaze. A red imprimatura will make blue flowers appear to shimmer, as would a violet under-glaze for a painting of daffodils.

Try to use every tonal value in the flowers from very dark to almost white. Half closing the eyes will filter out the chromatic aspect of the flowers and help simplify the flowers into basic areas of light and dark. Reflect this simplified view when rendering the flowers at first.

Glazing Technique for Flowers

Delicate flowers can in fact contain rich tones and saturated colours. Glazing is one such techqnique to try. This is done by thinning the paint with linseed until it has the appearance of stained glass, rather like a watercolour wash. Subsequent glazes are applied on select areas of the painting once the previous glaze has dried to achieve deep rich colours and a high finish. Detail can be applied on top by dragging the paint via a fine sable for stamens or tight folds in petals.

Flowers in Impasto

Thick paint can also suggest delicate colours made more intriguing by the use of robust brush marks as opposed to a delicate application. Peaks and troughs in the paint, when viewed under oblique lighting will often add punch to the most delicate colours and suggest form. The use of impasto medium, an alkyd-based agent that thickens the oil paint, and palette knives are ideal for suggesting rich textures in carnations or dandelions, for example.

How to Make Flowers Stand out in a Painting

Stand back from the painting every now and again to ensure the colours of the flowers can be appreciated from afar. This will also enable the artist to view the flowers within the context of the still life. Do the flowers appear too bright; too dark? Are the colours too heavy? The surrounding areas can also be used to add form or provide the stage for flowers such as shadows and reflections. A blue shadow juxtaposing poppies will make the poppies appear more “red.” Bright light will also create reflected light; light bouncing back into the darkest part of flower heads from a neighbouring bright surface, creating pinks, golds or creams.

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Oil painting materials

What Art Techniques can I use to Paint Textures in Still Life?

2011-01-22T13:31:00.000-08:00

Diverse textures on a still life, which may feature furry toys, smooth brass, crumbly bread or delicate rose petals, may confound the artist wishing to capture all these qualities on canvas. Oils being versatile may also seem bewildering to the beginner who is unsure of which application to use for optimum results. What are the main oil painting techniques to suggest any texture in a still life?

Oil Painting Techniques for Still Life

Textures in Still Life
Rachel Shirley

Because oils have been around for hundreds of years, many artists have conceived novel and wonderful ways of using oil to serve a particular effect. The beginner would be forgiven for thinking that oils are complex and require several processes. In reality, oil paints can be simple or it can be applied in more complex ways. The following describe the main oil painting techniques that can be used to suggest different textures in a still life.

Oil Painting Techniques to Suggest Smooth Textures

Smooth objects, including waxy fruit, porcelain, plastic toys or stoneware can be suggested by the application of a series of oil paint washes, otherwise known as glazing. Glazing is a widely-used technique, most notably perfected by the old masters who wished to attain a high finish with deep colours. Applying paint in a series of translucent layers via a soft sable enables the artist to smooth over imperfections and modify the colour beneath. Each layer is applied as though it will be its last, i.e. as perfect as possible, and then allowed to dry. The overlying glaze works with the last to achieve an ever smoother finish. I find three glazes often suffice.

Blending with Oil Paint

Achieving smooth gradations between two colours or tones can be achieved by soft blending via a sable. Wipe surplus paint from the bristles each time the area is worked over. Smooth tonal transitions can also be achieved by gently smudging the oil paint via a soft cloth. If combined with glazing, ultra smooth finishes, akin to an airbrushed effect can be achieved for ceramics or china.

Oil Painting Techniques for Fur

A furry teddy bear or velvety fabric can be suggested in similar way to glazing. Begin by blocking in the oil paint in a generalized way, simplifying the furry object into basic areas of colour and tone. Allow to dry and then apply the paint on top with a fine sable, moving the paint in the direction of the fur. Work towards the highlights, keeping each brushstroke soft. Finish off with the darkest areas, soft blending any harsh lines. Dragging the paint in a neat layer offers an effect similar to a crayon.

Techniques for Shiny Surfaces

Metallic reflections on silverware, glassware or brass can be emulated if oil paint is mixed with a little linseed. Runny paint applied onto a wet glaze will give the paint added fluidity, which may encourage “happy accidents,” ideal for the smudgy quality of distorted reflections found on glass or silver.

Technique for Painting Bread

A crusty loaf, crumbly cheese, orange peel or splintered wood can be suggested by scumbling. Scumbling involves dragging a thin, neat paint layer over a rough under-glaze of dried impasto (a thick, uneven paint layer) or coarse canvas. A broken glaze will result, ideal for suggesting rough textures and rustic effects.

Techniques for Jagged Edges

Impasto can be used to emulate tough evergreen leaves of potted indoor plants or cacti. Impasto involves applying the oil paint in a thick layer via a stiff brush, leaving brush marks and ridges. Impasto can also be used to inject movement and energy into any area of the still life, even if it is an empty portion of background. Ladling the paint via a palette knife will leave crisp edges to the paint, ideal for suggesting broken vases or embossed jewellery.

Simple Technique for Still Life Art

Of course, the artist may opt for simple alla prima, which is the application of one layer of paint and in one go. Alla prima is ideal for quick oil sketches comprising of a simple study, which might be a single fruit or bowel. I have often completed a still life painting in alla prima with the use of just two brushes, three colours, a small canvas and no mediums except artist spirits. For this reason, alla prima is perhaps the ideal technique for the beginner.

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How can I Make my Still Life Quirky?

2011-01-22T04:09:00.000-08:00

A stereotypical still life setting may result from the subconscious collation of images depicting fruit, a bowl, a bottle or a vase of flowers to be requisite subject matter for still life painting. The artist may place such objects in a row and standing to attention beneath artificial light. On reflection however, the artist may suspect that opportunities for making the still life stand out may have been overlooked. How can an interesting still life painting be created?

Troubleshooting for a Captivating Still Life

Original Ideas for Painting
Rachel Shirley

Although the aforementioned objects can in fact be used to create an eye-catching still life study, the following practices and assumptions may lie at the core of a still life painting that lacks interest:

Not trying other possible object combinations and merely opting for the first objects that present themselves.
Going for the most orthodox viewpoint without shifting the angle from which the objects can be seen, such as a setting viewed flat-on.
Low visual awareness, consigning various elements to invisibility such as the background, the lighting and the shape of shadows may result in a painting that reflects this view.
Fear that the still life may look silly to othes if trying experimental techniques.

Ideas for Still Life

The following ideas may open up more possibilities and further inspiration for creating original and quirky still life art:

Try viewing the objects from bizarre angles rather than just eye-level. View them from directly above or from a vantage point below eye level or even below if placed on a glass tabletop. Of course, painting from life may not be possible from such an unorthodox angle, so good quality photos might be necessary.

Try placing objects containing contrasting elements or those in unusual contexts within the composition. A rusty old engine or an animal skull within a setting of fruit could make the viewer see the objects in a new light. Provide contrast in other ways, such as warm colours against cool; rough and smooth, sunlit and shaded. Provide a quirky focal point by placing just one bright-coloured object within a setting of subdued ones, or one point of sunlight within a shaded view, which might fall across a carefully-selected object.

View any object as possible subject matter for a still life, no matter how kitsch. Trawl Ebay, car boots, second-hand shops or house clearances to find truly unique objects or those of yesteryear. A Micky Mouse clock or Rubik’s cube could provide the ideal focal points to an otherwise ordinary still life.

Try out different backgrounds rather than that of one of just one colour. A partly-open curtain; a window revealing a dramatic sky or light filtering through lace could bring the background to the fore. Brick, tiles or embossed wallpaper (or peeling wallpaper) will exhibit interesting textures if obliquely-lit.

Still Life Shadows and Reflections

Make unorthodox use of the shadows. Look out for bizarre and weird shadow shapes that may stretch across the table when the light source is shifted around. Bright sunlight filtering through a neighbouring window will often transform the most somber subject matter and bring out bright colours, contrasts and reflected light. Who said the still life had to be completed indoors? Try placing them on a patio table. Lace or lattice material can be used to create a dazzling soupcon of sunlight and shadow over part of the setting.

A split view of a still life can be exploited if part of it is distorted by a glass tumbler, a brandy glass or bottles. Try partially filling vessels with clear fluid to optimize this effect. Mirrors and other shiny surfaces will open up the view, otherwise invisible for new compositional possibilities. Unusual patterns over surfaces can be seen if sunlight is filtering through lace curtains or an embroidered lampshade.

Original Ideas for Still Life

New possibilities for still life ideas may often become apparent by simply trying things out. Practice is often more illuminating than theory. Mix and match objects; don’t exclude possibilities if they seem farfetched don't write-off objects as too mundane or kitsch. Trawl second hand shops or Ebay.Shift the light source and the viewpoint; juxtapose the still life against different backgrounds. Don’t stop if a good setting is found if it can be made great by a few simple adjustments. Experimentation and exercising visual awareness is often the key to finding original and compelling ideas for painting; still life is no exception.

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The Porcelain in my Still Life Painting Looks More like Clay

2011-01-21T13:26:00.000-08:00

A still life with ceramics may challenge the artist wishing to achieve smooth blends in oil paint. But regardless of how carefully the paint is applied, unwanted brush marks and chromatic ridges remain. Dark crescents seem to inhabit spherical teapots; colour-streaks blot porcelain vases. How can a smooth finish be achieved in still life oil paint to suggest porcelain, glass or chinaware?

Troubleshooting Oil Painting Blends

Smmoth Effects in Oil Paint
Rachel Shirley

Creating a perfect blend to represent a gradual chromatic or tonal shift offers challenges for the artist wishing to suggest smooth ceramics in a still life. But before making improvements, the practices that sabotage this objective needs to be identified, which could be any of the following:

Applying oil paint alla prima, or in one layer, will often exhibit broken glazes, uneven paint layers and brush marks. The effect is enhanced if applying dark paint over a white painting surface or over an under-glaze of a conflicting colour. Thinner areas will reveal the colour beneath, resulting in a sketchy or unfinished look to the painting.

Using bristle brushes will inevitably leave brush marks over the paint layer, which is more suited to expressive or breezy type of oil paintings.

Adding increasingly thicker layers of oil paint in a bid to correct imperfections beneath will result in an unwanted impasto effect that will not be in keeping with a smooth finish that suggests chinaware.

Using coarse canvas or an art surface with dried impasto will make suggesting the smooth surface of porcelain more difficult.

Smooth Effects for China and Porcelain

In fact, achieving smooth blends in oil are often difficult when working in alla prima, particularly if the subject matter depicted is of a conflicting tone or hue to the art surface. Applying an under-glaze of similar colours to the subject matter will provide the ideal foundation for creating smooth effects. A still life consisting of chin-blue objects, for instance, may benefit from an acrylic wash consisting of ultramarine and white. This will eradicate unwanted white areas from poking through the paint layer.

Oil Painting Technique for Smooth Blending

A combination of glazing and blending is often most effective at achieving smooth gradations in oil paint. Soft tonal gradations in porcelain, or any smooth material, can be suggested by the following steps:

If the porcelain is pale, apply a thin wash of pale blue acrylic paint to eradicate the white art surface from showing through the first layer of oil paint. This will also help the artist judge tonal values in the porcelain more effectively.

Begin with the mid tones, which might consist of white, ultramarine and a dab of burnt sienna. Apply this paint in moderate amounts via a fine sable brush. Work towards the highlights by adding progressively more titanium. In similar fashion, work towards the darker areas by adding a little more ultramarine and burnt umber. Don’t add a new pigment all at once, but a little at a time Work over the painting to eradicate unwanted ridges in the paint, accepting that the blends will never be perfect. Stand back from the painting to ensure no unwanted tonal divisions, otherwise invisible close-up, can be seen in the painting.

Oil Painting Glazes on a Still Life

Allow the painting to dry, and then repeat the previous step with a translucent layer of oil paint which might be thinned with a little linseed. Again, work over the painting with the objective of creating smooth blends. The underlying paint layer will work with the upper layer to create a more perfect finish.

A third layer of oil paint can be applied once this second glaze is dry. The artist need not cover the entire painting with the overlying glaze, but areas that require special attention, such as tonal shifts on cylindrical or spherical ornaments. Use a soft sable throughout. Extra smooth gradations can be achieved by applying a thin layer of paint via the pad of a clean soft rag. Dab over the layer ensuring only a clean area is in contact with the painting when shifting the colour mix. Lightly brush over this layer with a wide soft sable. Finally, stand back from the painting to ensure the overall effect is satisfactory.

Smooth Effects for Shading on China

Super-real effects on chinaware, porcelain or ceramics need not require hours of painstaking blending, but several short sessions of oil painting. The secret to achieving smooth gradations in paint lay in the consecutive layers of thinned paint glazes. The first layer can be worked over to eradicate imperfections and to enrich colours. The finishing touches may consist of dabbing a soft, clean cloth over select areas of ornaments for an airbrushed effect in paint.

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How do I Darken the Colour of Tomatoes?

2011-01-20T11:38:00.000-08:00

The bright colours of vegetables and fruit in a still life may sometimes appear garish when rendered in paint. Any red at the artist’s disposal might have been used to portray tomatoes, peppers or pomegranates and then neatly applied in the fashion of colour-by-numbers. Darkening such a bright colour may cause further dissatisfaction when dirty colours result. How can the artist recreate bright-coloured food in still life with deep colours and intense shadows?

Garish Colours in Fruit

Still Life with Fruit
Rachel Shirley

Portraying bright fruit in painting may prove difficult if the artist has poor understanding of the colour theory, ruining what could be a great focal point to a still life. Before improvements can be made, the following culprits need to be identified, which could be any of the following:

A poor selection of oil pigments, which do not contain the true primary colours means the colour needed for a still life cannot be mixed. Using any red pigment for red fruit, or any yellow for bananas may result in colour mixes that do not quite hit the mark.

Using one pigment for the entire fruit or vegetable concerned may result in flat looking perishables in the still life, that do not appear to inhabit three-dimensional space.

Applying bright-coloured oil paint alla prima, or in one layer can sometimes result in colours that lack saturation or depth. The effect can be made worse if applying paint in a thin layer, which will reveal the whiteness of the painting surface beneath.

Trying to darken a bright colour with black or dark grey for shadows often results in dingy colours that make the fruit look dirty rather than obliquely-lit. If poorly blended, crescent moon shadows appear to inhabit spheroid food such as apples.

How to Darken Bright Colours for Shadows

Darkening bright colours is a common problem for beginners getting to grips with colour mixing. Rather than use black, dark grey or brown for shadows, use the colour’s opposing colour. In the case of red food such as tomatoes, cherries or strawberries, this will be any colour that lies in the blue spectrum or any colour containing blue. Depending upon the lighting conditions and reflections, this might be violet, Prussian blue, ultramarine, midnight blue, or a “cool” earth colour such as burnt umber.

In the case of yellow food, such as bananas and sweet-corn, any color in the violet spectrum would be suitable, which might be indigo, violet or a blend of ultramarine and burnt sienna.

Bluish-green foods such as cucumbers and spinach can be darkened with warm reds, oranges or earth colours, which may be cadmium red, vermillion or burnt sienna. Yellowish-green foods such as green grapes and peas require cooler-deeper reds, such as permanent rose or alizarin crimson.

How to Paint the Colour of Food

In fact, “bright” food can contain a lot of subdued colours, without which the food would not appear so deep. Tomatoes often contain burnt umber, cucumbers, a lot of blue and cherries may contain burnt sienna. Shadows on food will often contain a lot of blues, neutrals and earth colours as well as red or yellow.

Exploit the bright colours of food by placing them against a somber or deeply-shadowed background. An obliquely-lit pepper cannot fail to draw the eye when set against dark blue curtains. Bright colours will further draw the eye if not too many are used throughout the painting. Intersperse bright fruit within a dark setting or one that contains subtle colours.

Light on Still Life with Fruit

Experiment with lighting on bright fruit. Rather than place the light source in front, try the side. Lowering the light source will cause shadows to stretch out across the work surface creating the ideal stage for bright colours. When it comes to effective use of bright colours in a painting, less is often more.

Working in glazes is a good way of enriching the colours in a still life with fruit and vegetables. Glazing entails the application of a translucent layer of oil paint over an under-glaze completed alla prima. Placing a thin layer of red oil paint over a preliminary painting of tomatoes for example reinforces the red colour, adds depth or modifies the colour beneath. Remember to keep observing the colour of fruit and vegetables to dispel any inaccurate presumptions. Colour tags for food are best avoided when it comes to mixing the colour of such perishables sensitively.

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How do I Paint Still Life Objects in Foreshortening?

2011-01-19T04:35:00.000-08:00

How to Draw Objects in Foreshortening
Rachel Shirley

A still life painting containing an object in foreshortened view may appear skewed. Long objects pointing at the viewer such as chair legs, breadsticks, grinders, cutlery, shoelaces clothes pegs or tin openers do not appear to inhabit three-dimensional space as it should. Regardless of how well the other objects have been painted, the skewed object continues to draw the eye, spoiling the effect. How can the artist paint objects foreshortened in as still life convincingly?

Foreshortening in Still Life Painting

Trying to draw an object in foreshortening or in other words, pointing at the viewer, is a common stumbling block for beginners trying to paint from life. The “long” object appears squashed to one side, or out of true. The following culprits are often to blame for such an unwanted focal point in a still life painting:

Giving in to the inner voice that insists that the object is long, regardless of how it appears in foreshortened view, causing the artist to artificially lengthen the object in an attempt to satisfy this inner dogma.
Illustrating all sides of the object in an attempt to make it look as though it is projecting from the page as it does so in real life.
Granting the object lines which may not be discerned in real life, just to illustrate a long edge or series of edges.
Due to the ineffective methods just described, the artist may fiddle with the area until it looks a confused mess.

How to Draw Objects in Foreshortening

The problem with objects viewed in foreshortening is that the brain becomes split in view. The object is long and yet it appears short in real life. If taking on board both pieces of advice, the dilemma of how to illustrate the foreshortened object cannot be resolved. The following drawing exercise might help with foreshortened objects in still life art.

Forget labels for objects and forget any attempt at rendering what the object “is.” The object is no longer an object but a series of abstract contours and tonal shapes. Similarly, forget that it is long or other descriptive labels for how the object “should” look.

Watch out for the parallax effect. Viewing the object through one eye and then the other may reveal two completely different views, where an outline may be visible in one view, yet invisible in the other. If the two differ significantly, it might be best to shut one eye whilst attempting to render the foreshortened object.

Remember that objects in foreshortened view may not resemble the object viewed in familiar ways. A teapot spout may appear round; a breadknife a triangle; a breadstick as a stub and clothes pegs as squares. Regardless of how impossible the shape may appear, trust what the eye sees and forget what the brain “knows” about the object.

A foreshortened object may often not exhibit lines, but areas of light and shadow. Resist the temptation to illustrate lines to demonstrate length if no lines can be seen.

How to Draw Foreshortened Objects for Still Life Paintings

Practice drawing simple objects in foreshortened view. If no objects are at hand, simply drawing a pointing finger is a good start. Close one eye to eradicate the parallax view. Imagine the object is not three-dimensional but a flattened jigsaw of lines and tonal shapes. Retain this abstract view during the drawing process forgetting what the object is. Work lightly at first, working steadily darker. Follow the contours faithfully, regardless of how bizarre they might seem.

Try other simple objects in isolation such as bottles or beakers. A first attempt may not always yield a satisfactory result, but practice of drawing objects in foreshortened view is a great way of raising visual awareness whilst rendering other objects in a still life.

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How do I Paint Reflections on Objects in a Still Life?

2011-01-18T03:08:00.000-08:00

Painting reflections on shiny objects such as silverware, glass or china may bewilder the artist who may not know where to begin. An array of abstract shapes too complex to tackle may cause visual overload that may result or a muddled mess. In other cases, reflections might be rendered as simplified white squares supposed to represent reflections from a window, or single white dots that fails to match up to the true complexity of reflections. How can the artist paint reflections on objects effectively?

Troubleshooting Still Life Reflections

How to Paint Reflections in Still Life
Rachel Shirley

The task of painting reflections could be made more difficult if trying to paint a still life under complex light conditions which can be found in a multi-windowed room, fluorescent lighting or from reflected light bouncing from other objects. The following practices might also create an unsatisfactory painting of reflections.

Assuming that all reflections are white, leading to the exclusive use of titanium and piling it onto the areas concerned.
Giving sharp outlines to all the reflections, resulting in the appearance of paper cut-out shapes where the reflections occur.
Not varying the hue or tone within the reflection itself, resulting in an over-simplified version of reflections that contains featureless areas that fails to give impact.
Painting reflections under shifting lighting conditions may cause the artist to keep altering the painting, particularly if deliberating too much over the area.

How to Paint Reflections

Painting reflections on a still life can be made a easier by placing the objects under a single light source, such as a room with one window. A few pale flecks might be all that is needed to suggest reflections on smooth surfaces such as china.

Reflections come in other forms as well as squares or pinpoints. Careful inspection may reveal an alien jigsaw of abstract shapes of varying hues and tones. White can in fact comprise only a small part of a reflection; violets, blues, greens and earth colours may also be seen. The outlines of reflection can vary from defined edges to no definable edges at all.
A reflection will rarely exhibit straight lines, but organic contours, some of which will stretch out. The key is to simplify and to clarify. This means viewing reflections not as a complex maze, but as simplified forms and tonal shapes, forgetting detail until last.

Art Techniques for Painting Reflections

Reflections are often paler in tone than the surrounding area and for this reason are hard to judge tonally if painting straight onto a white surface. But painting it last could risk colour contamination from a neighbouring darker colour. To overcome these difficulties, I would try the following steps.

With a stiff brush and very thin neat oil paint, roughly sketch in the colour of the object possessing the reflection as though it had no reflection. This entails extending the hue of the object over the reflection area.
Ensure the paint is as thin as possible but do not add linseed oil or its fluidness will make working on top difficult.
With slightly thicker paint, render the reflections on top.
Half close the eyes to simplify the shapes of the highlights into basic tonal areas rather than full detail. Make visual comparisons between the reflection and the surrounding area to ensure it keys in; is the reflection slightly paler, much paler, does it exhibit any hues?
Work from dark to pale, using increasingly thicker and paler paint, finishing off with bright highlights which might be rendered with neat white.
Retain objectivity by standing back from the painting. Ensure the shapes of the highlights are accurately depicted.
Avoid fussing over the area too much or it will lose its freshness.
If the painting does not work out, blot off surplus paint and allow to dry over a few days.
Work over the area again, aiming for increased accuracy.

Smooth Reflections in Oil Painting

Once the area has been roughed in, the artist may sharpen up detail by applying increasingly opaque upper glazes. This will give reflections more impact when finishing off with highlights such as those found on shiny ornaments or glassware.

Look out for areas where the reflection merges with the local colour of the object such as those found on spheroids. Blending areas with a soft sable will ensure no tonal divisions remain. Working in smooth glazes also provides the ideal foundation onto which reflections can be painted. To achieve definition and an extra smooth finish, add a little linseed oil with the paint. This will help the paint flow.

The Best Colours for Highlights

Look out for the colour temperature of highlights, for many are not merely white. Some are warmer than others. Cream highlights, for instance can often be seen on brassware and coins; arctic-blue highlights, on silverware and glass. Bright colours can also be seen in reflections, for instance, if dazzling flowers are placed next to a wine glass. Often the colour reflected will appear more subdued. The secret is to make constant comparisons between the reflection itself, the object onto which it appears and the surrounding area. This will ensure the reflection looks like it belongs to the object, and not as weird cut-out shapes that have been stuck onto the object.

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