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Basic
Still
TEC

ited

by

&CHEL WOLF

Q U

E,S

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ftj'

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Library.

Basic
Still

Life

TECHNIQUES

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Basic
Still

life

TECHNIQUES

edited by

RACHEL WOLF

NORTH UGHT BOOKS

Cincinnati,

Ohio

Mask-

Techniques. Copyright

Still Life

No

rights reserved.

part of this

1994 by North Light Books. Printed and bound

book may be reproduced

in

Hong Kong.

All

any form or by any electronic or mechanical means

in

including information storage and retrieval systems without permission in writing from the publisher, except
by a reviewer, who may quote brief passages in a review. Published by North Light Books, an imprint of F&W
Publications, Inc., 150"

98

9"

96

Dana Avenue,

94

95

Cincinnati,

Ohio 45207. 1-800-289-0963.

First edition.

Library of Congress Cataloging-in-Publication Data

Basic

still life

cm.-

p.

edited by Rachel Wolf.- 1st ed.

techniques

(North Light basic painting series)

Includes index.

ISBN 0-89134-588-4
painting -Technique.

1. Still-life

ND1390.B27
"51.4-dc20

I.

Wolf, Rachel.

II.

Series.

1994

93-48568

3/1

3l19f02<,?99 fS-

CIP

Edited by Rachel Wolf

Sandy Conopeotis

Interior design by

Cover design by Paul Neff

Artwork and

text originally

given refer to pages

appeared

in the original

Drawing You Can Do

Albert Greg.

in previously

published North Light Books. (The

initial

work; page numbers in parentheses refer to pages in

It!

this

page numbers
book.)

1992. Pages 94-95, 102-103, 108-109, 122-123 (pages 24-25, 38-39,

40-41, 42-43).

Dawson, Doug. Capturing Light and Color With Pastel

Katchen, Carole. Creative Painting With Pastels

68-71 (pages

viii,

1991. Pages 4-5 (pages 4-5).

1990. Pages 48-49 (pages 64-65) by

Bill

James; pages

2,

102-105) by Jane Lund; pages 25, 114-117 (pages 72, 98-101) by Richard Pionk.

Katchen, Carole. Dramatize Your Paintings With Tonal Value

1993. Pages 60, 63, 89, 91, 64-65 (pages 29,

44, 48, 49, 50-51; pages 110-111 (pages 94-95) byjubb, Kendahljan; pages 54-55 (pages 92-93)

by William

Wright.

Kunz, Jan. Painting Watercolor Florals That

Glow

1993. Pages 44-45, 102-103, 104, 118-119 (pages 20-

21, 66-67, 68, 88-89).

Kunz, Jan. Watercolor Techniques: Painting the

Lehrman, Lewis

Barrett. Energize

pages 22-29 (pages 56-63), byjoni

Moran,

Patricia.

1991. Pages 28-29, 32-33 (pages 90-91, 96-97).

1993. Page 60 (page

ii),

by Ted Goerschner;

Falk.

Painting the Beauty of Flowers With Oils

Pike, Joyce. Oil Painting:

Pike, Joyce.

Still Life

Your Paintings With Color

Direct Approach

Painting Flowers With Joyce Pike

1991. Pages 96-98, 84-85 (pages 69-71, 78-79).

1988. Page 57 (page 13).

1992. Pages 51, 52-53, 20-21, 40-41, 24-25, 29-33, 22-23,

54-55, 56-57, 114-115 (pages 12, 14-15, 16-17, 18-19, 36-37, 73-77, 80-81, 82-83, 84-85, 86-87).

Smuskiewicz, Ted. Oil Painting Step by Step

1992. Pages 16-17, 232-33, 42-43 (pages 22-23, 52-53, 54-55).

Sovek, Charles. Oil Painting: Develop Your Natural Ability

79 (pages
Stine, Al.

3, 5,

1991. Pages

5,

61, 12-13, 14-15, 22-23. 30, 78-

26-27, 28-29, 30-31, 2^-27, 45, 46-47).

Watercolor Painting Smart

Woolwich, Madlyn-Ann

1990. Pages 6-7, 12-13, 16-18, 32-35 (pages

C. Pastel Intrepretations

2,

6-11).

1993- Pages 104-10"7 (pages 110-113) by Jill Bush; pages

108-109 (pages 114-115) by Foster Caddell; pages 102-103 (108-109) by Tim Gaydos; page 90 (page
William Persa; pages 100 (page 106) by Mary Sheehan; pages 92-93 (pages 116-117) by Anita Wolff.
Opposite

title

page:

Amber Jug, Ted

Goerschner,

24"xl8\

oil

on canvas

v) by-

Stars

and Stripes and a Pumpkin

William Persa
20"x2<?'

ACKNOWLEDGMENTS

pastel on paper

The people who deserve special thanks, and without whom

this book would not have been possible, are the artists and
authors whose work appears in this book. They are:
Greg Albert
Patricia Moran
William Persa
Jill Bush
Foster Caddell

Joyce Pike

Doug Dawson

Richard Pionk

Joni Falk

Scott Prior

Tim Gaydos
Ted Goerschner

Mary Sheehan

Ted Smuskiewicz

Bill

James
Kendahl Jan Jubb

Charles Sovek
Al Stine

Carole Katchen

Anita Wolff

Jan Kunz

Madlyn-Ann

Lewis Barrett Lehrman

William Wright

Jane Lund

C.

Woolwich

TABLE
of

CONTENTS

Introduction

Chapter One

Chapter Two

Chapter Three

Chapter Four

Chapter Five

BASIC

DEPICTING

LIGHT

MATERIALS

GETTING
STARTED

AND
SHADOW

Everything

Setting the

Painting Three

UNDERSTANDING
COLOR

You '11 Need

Scene

Dimensions

Collecting StillLife Objects

Materials for

Arranging the
Setup

Painting

Materials for
Pastel Painting

Design and
Composition

Background
and Negative

Defining the
Form of an
Object

A Strong

Shapes

Make Your
Drawing Clearer

The Primary
Colors

Enhance the
Illusion of

Depth

Hue, or Family
of Color

Strengthen the

Composition

Tonal Value

Painting a

Intensity or

Saturation

Painting a

Whole

and

More

Value Scale

Starting Out
With Oil

PRINCIPLES
The Basics

Painting Groups
of Objects

Space

Still Life

Massing In
Shape and
Gesture

Beyond Simple

Assemble

VALUES
Foundation

Materials for Oil

Painting

Watercolor

FORM

Composition

Using Value to
Create a Center
of Interest

Learning to See

and Mix Good

Color

Doing a
Preliminary

Shadows and

Drawing

Mood

26

38

The

Palette

and

Color Wheel

12

52

Chapter Six

SPECIAL

Chapter Seven

Chapter Eight

Chapter Nine

DEMONSTRATIONS

DEMONSTRATIONS

DEMONSTRATIONS

Difficult

Beginning With
a Neutral

PASTEL

Basket of Fruit

Working From

B&W Photo

Tone
Casting

Fruit

Transparent

Index

IN

118

Subjects

IN

WATERCOLOR

OIL

TECHNIQUES
For Some

IN

With

Shadows

Interesting

Studio Light

Luster

Surfaces in

Watercolor
Iris

and Hat

Designing With
Black

Rendering Fine
Detail

Reflective

Surfaces in

Watercolor

Bouquet

Setting in the

Reflective

Pretty

and

Yard

Daisies:

Painting

Enhance Mood

Reflective

With Contrast

Surfaces

Surfaces for
Pastel Painting

Creating Value

Transparent
Objects in Oil

Patterns:

78

88

Two

Views

Subdued Color
for Intimacy

Using the Brush

With Oil

Layering With
Fixative for a

Using the Knife

With Oil

Glowing Surface

98

Still Life

With a Blue Pitcher

Jane Lund
22"x20"
pastel

INTRODUCTION

Still

life is

one of the most

traditional

of the most satisfying for both the

painting,

etc.

you can learn

- that will allow you

results with

This

of the

We

still-life

book

all

artist

subjects.

and the viewer.

In

one

It is

still-life

the basics -form, value, lighting, composition,

to paint

any subject well. You'll quickly see satisfying

painting.

offers instruction

medium

and enduring

and encouragement

to

all

painters, regardless

the painter prefers. Oil, watercolor, pastel -they're

have assembled

this

book from some of the

best teachings

all

on

here.

still-life

painting available everything the beginner needs to get off to a smooth

start.

In the

first

chapters,

you

will find useful

depicting form, and special techniques for

of the

information on materials, color,

still-life

book contains twenty-two demonstrations

pastel.

The only additional ingredients you

knowledge
quality

we

that

your interest and

call "talent."

effort will

will

subjects.

in

oil,

The

latter part

watercolor and

need are practice and the

overcome any lack of that

elusive

Chapter One

BASIC MATERIALS
Everything You '11 Need

Most painters are fascinated by

the
ing.

equipment we use

For most of us,

all

for paint-

fects,

there

is

no magic

in

them. They

won't do your painting for you.

Good

this fascination be-

and equipment

what the basic

when we were

will do. Eventually, you'll find

by

all

mystified

and confused

the materials needed.

We

were

impressed with the array of brushes,

paints

and other paraphernalia

more experienced

painters

gadgeteers and

become

collectors, with a

it

easy to

a special tool for a particular

texture or effect. In this section, we'll

needed for oil painting, watercolor and

In addition to getting the right materials

might be useful.

portant to set aside a permanent place

ists

keep

all

the gizmos that most

in their paint

we

art-

painting. Instead,

we

the basics. Although

odds and ends

rarely use

usually stick to

it's

fun to collect

for special tricks

and

and learning

your

home

ef-

to use them,

it's

to work, preferably

where you can

boxes or on

more
than one or two of them on any one
their studio tables,

in

activity,

and

it

will

be

eas-

mood to paint there.

to know where everything

It

also helps

is

so you can reach for a tool or brush

without thinking about

it.

right light to paint

also important.

The

by

is

ideal lighting^s

overhead, color-balanced fluorescent

pastel.

life-

your equipment

ier to get into the

Having the

long habit of picking up anything that

Despite

with creative

take a look at the essential tools

that

had accu-

mulated. Most of us have since

choose

tools

all

close by. You'll associate your studio

painting begins with knowing

gan with our introduction to painting,

roundings with

im-

one

retreat to paint undis-

turbed.

Many

careers

on the kitchen

artists

have started their

table,

but having

a space dedicated to your art can be a

real asset. You'll find that

your energies best

A good, round

in

your

You don't want

own shadow.

to

be painting

Ordinary fluores-

cent bulbs are too cool and incandescent lights too

good color

warm

choices.

for

It

you

to

make

can be a real

shock to see a painting done

in cool

fluorescent light under warm incandes-

cent

light.

you can focus

in familiar sur-

watercolor brush allows you to paint broad strokes with the side of
some finer detail with the point.

the brush, as well as

Basic

lighting.

Still Life

Techniques

Kitchen Interior With Flowers

Many artists have started their careers on

Charles Sovek

cated specifically to your art can be a real

24"x30"
oil

on canvas

collection ofLori Cutler-Goodrich,

Rowayton, Connecticut

Basic Materials

the kitchen table, but having

asset.

a space dedi-

Materials for
The following
terials needed

list

includes

all

Painting Surfaces

Brushes

Painting

Oil

the ma-

for basic painting in

oil.

You need

dozen

at least a

or filbert bristles in sizes

flat,

bright

through 12

As your knowledge increases, so will

(two of each of the even sizes nos.

your stock of materials and your sensi-

4, 6, 8,

tivity to

different colors

look

First, let's

colors.

They

all

and brushes.
of suggested

at a list

don't have to be pur-

chased right away. You can have

from

fectly serviceable palette

a per-

just the

with).

2,

10 and 12 are good ones to start

no.

5,

6 or 7 square sable

soft-

ens edges and does detail work. Buy a

round

small no. 2 or 3 square or

highlights unob-

and

for small accents

rigger

tainable with any of the other brushes.

A brush washer
Oil Colors

strokes. Silicoil
*

mandatory item

for

of gesso, one horizontal and one verti-

makes

cal)

a suitable surface for oil

can range from panels as

paint. Sizes

small as 9" x 12"

the

all

way up

to

20" x 24" or even larger. The best

around

bottom especially

the can of cleaning fluid that's sold

with

will

it.

are from

1 1"

x 14" to 16" x

20".

do

paper

Plate glass with a piece of white

ideal to use

it is

for a palette in the studio but impracti-

and location painting be-

cal for travel

cause of

weight and

its

Plexiglas,

fragility.

on the other hand,

is

White

suitable

for

the job just as well and at a frac-

have both glass and Plexiglas, with

You could

Palette

Turpentine or paint thinner

tion of the cost.

light

Thalo or viridian green

both purposes.

Plexiglas cut to

also

make your own

field

fit

you should

Ideally,

your painting box for

work and the larger plate-glass

on your taboret for studio

brush washer by using an empty pea-

palette

black

nut butter or

work. White or gray paper tear-off

Thalo red rose

wire coat hanger

brown madder
cadmium orange
cadmium yellow light

Whether you buy or make

cerulean blue

washer, your
*

isn't

yellow ochre

them out

Thalo blue

oil

with a coiled-up

at the

bottom.
a

last

deteriorate after repeated brushing.

painting equipment

in the

first

cleaning

jar

swishing

and then

water.

Make sure

that

no excess

the colors squeezed from the paint

tubes and a second, smaller one,

placed on top of the

first

and reserved

mixing of paint.
is

When

the

covered, sim-

ply tear off the filled page

and you

in-

work on

without the inconvenience of disturb-

Painting Knife

ing the colors

For a brush dauber, use

to get a painting knife with

much

flat

palette, use

for holding

stantly have a fresh surface to

Brush Dauber

manipulate than a

one

smaller mixing palette

mild soap and

paint remains in the brush.

It's

paper

for the actual

warm

inverted handle.

a larger

your fingers using

Payne's gray

Be sure

do choose

thoroughly wiping them clean with

cobalt blue

white (large tube)

If you

two of them,

time by

pal-

ettes are fine in a pinch but tend to

brush

complete without one.

brushes one

umber

sap green

jelly jar

After a day's painting, clean your

raw sienna
burnt

all-

sizes for the exercises in this

or cardboard beneath

a jar with a

made for cleaning oil painting brushes.

You may choose to buy the jar and not

Naples yellow

permanent green

makes

coiled wire at the

cadmium red light *

cadmium yellow medium
cadmium yellow pale

is

keeping your brushes clean between

cobalt violet

burnt sienna

Vs-

inch Masonite (covered with two coats

Brush Washer

gradually, as desired.

crimson

ton or linen canvas, canvas board or

book

colors with asterisks. Purchase the rest

alizarin

Stretched or unstretched primed cot-

easier to

palette knife.

an

tuna or

cat-

or

brown

food can stuffed with a couple of paper

distracting to

towels to daub off a drippy brush be-

warm

fore mixing a fresh batch of paint.

judgment

Basic

Still Life

Techniques

on the

natural

larger palette.

work on because the

color and deep tone

in

Tan

wood palettes may be

hamper

mixing colors and values

objectively (especially

on

when working

white canvas)

Razor Blade Scraper

The hardware

made

for scraping old paint

window

building or
ful for

store variety scraper

is

from

particularly use-

quickly scraping wet or dry paint

from your palette and providing

space for

new

a clean

mixtures.

Medium
Use undiluted turpentine
a painting
a canvas.

for laying in

with thin washes or toning

Some

useful

mediums

are

Res-N-Gel (Weber), Win-Gel (Winsor

&

Newton) and Zee (Grumbacher); while

not as flexible as a mixture of stand
(or linseed oil)

oil

and turpentine, they do

give the paint a juicy quality that

some

painters find attractive. You'll also

need some portable medium cups

can be stored

in

that

your painting box

along with your paints and brushes.

Turpentine, Paint Thinner

Turpentine

is

used for washing out

brushes Wood-distilled
tine

is

less

gum

turpen-

of a health hazard than pe-

troleum-based paint thinner or mineral

spirits.

Paper Towels or Rags

Rags are okay but tend to get saturated
quickly, so

quality

you may want

to use a high-

paper towel.

Brush Can
Charles Sovek
12" x 12"
oil

on canvas

collection of Martha Rodgers,

Atlanta, Georgia

Basic Materials

This

is

a watercolor of artist Al

studio setup.

Stine's

Materials for Watercolor

Painting
Let's start with a

tools

look

at the

brushes,

colors, paper, a palette, boards

to stretch the paper,

tainers, sponges, tissue, a

HB
a

pocket knife,

pencils, erasers, a spray bottle

of the nonessential but

needed

There are also some new synthetic

brushes that are

much

less

expensive

but have gotten good reviews from wa-

on

water con-

sketchbook. We'll also discuss

can't afford red sable, ox-hair

brushes are a good second choice.

watercolor

we just can't do without:

which

you

and

some

handy items

tercolor painters.

They should be

springy and hold a good point. Synthetic fiber

brushes with some natural

such as the Winsor

fibers,

& Newton

series 101 Sceptre, are very

good

choices, especially the rounds.

for special purposes.

The following

selection of brushes

Brushes

is

There are many excellent brushes on

There are enough brushes to get the

the market, and a few that are not so

job

good. Buy smart

when purchasing

brushes. That almost always

ing

afford.

Red sable-hair brushes are the most

for the beginner.

done but not so many that choosthe right one becomes troublesome

when

means

buying the best brushes you can

recommended

painting.

Use

a 2-inch

Robert Simmons

Skyflow for wetting the paper, for

expensive, but they are also undoubt-

painting backgrounds and for painting

edly the best. With proper care, they

skies. This

will last for a very, very

will

long time and

prove to be a wise investment

Basic

Still Life

Techniques

If

fibers but

brush does have synthetic

still

holds a good charge of

water. For a versatile selection, use

three red-sable

flats

'/2-inch, a 1-

and

inch and a V-i-inch

rounds nos.

four red-sable

and

12, 8, 6

4.

The

larger

the number, the larger the brush. Use

the largest brush

Keep an

you can when

paint-

brushes invite fussiness.

ing; small

painter's

oil

2-inch bristle

brush for applying heavy pigment into

wet areas and

a small, Vs-inch oil bristle

brush for scrubbing and

lifting

out

small areas of a painting for rocks

and

stones. Use a no. 4 rigger a long, thin

brush to paint fine lines such as the

rigging of ships, lacy tree branches

and

grasses.

Brushes are a major investment, so

it

pays to take good care of them.

First,

never use your sable or ox-hair brushes

which tend

for acrylics,

to dry near the

selection of brashes appropriate for watercolors.

ferrule (the metal sleeve that holds the

hairs

on the wooden handle) and even-

tually ruin the springiness of the hairs.

If

you do use

use synthetic

acrylics,

brushes.

Second, you should clean your watercolor brushes thoroughly after every

Make

painting session.
rinse

use.
to

them

Many

in clear

it

use

artists also

remove any residue

in the bristles.

rinse out

all

a habit to

water after each

mild soap

may

that

linger

Always make sure you

the soap.

way

Third, store the brushes in a

that protects the fibers,
cally in a

brush holder,

on page

illustration

taped to a piece of

5.

such as
as

shown

few moth

time, put a

cardboard.

problem

is

way

to use

If

This

is

a good way

to transport

piece of cardboard on top

for a long

crystals in their

Moths love sable

course, the best

in the

Transport them

stiff

you do store your brushes

container.

verti-

to

hair.

combat

Of

this

your watercolor

brushes every day!

Basic Materials

and

your

brushes. For

added protection, place a second

tape the pieces together.

Paper and Board

Watercolor paper comes

in various

When we

weights and textures.

of the weight of the paper,

how much 500

speak

we mean

sheets of a particular

paper weighs. For example,

500

if

sheets of a paper weigh 140 pounds,

it's

140-pound paper.

called

The

less a

paper weighs, the more

wrinkles and buckles

when

140-pound

it

wet. Paper

need to be
The heavier papers can be
held down on the drawing board with
lighter than

will

stretched.

large clips,

and the very heaviest can be

used unmounted.

The standard
is

22" x 30".

size

watercolor sheet

You can purchase

full

sheets from your local art supply

store or by mail order.

(22" X 15")

is

half-sheet

commonly

the size most

used by watercolorists. Paper can also

be purchased

Watercolor

in blocks.

blocks are pads of paper glued

gether on

all

to-

work on

four edges; you

the top sheet, then slide a knife around

the edges to separate

when
7"

dry. Blocks

from the block

it

come

from

in sizes

x 18" to 18" x 24" and

in a variety

of

weights and textures.

Watercolor papers

come

different textures. Very

These are gradated washes of French ultramarine blue on 140-pound Arches cold-

press paper (right)

and 112-pound

Crescent Rough Watercolor board

dry brush shows the difference in texture. Color was also

masking out an area with

tape.

As you can

easily than the paper, giving you

much

see,

the color

lifted
lifts

(left).

strip

is

of

with a sponge after

off the

board more

cleaner whites.

in several

smooth paper

called hot-press because

it's

made by

passing the paper between large, hot

rollers.

Cold-press paper has a

textured surface because

been subjected
ture.

to heat in

Rough paper has

it

more

has not

its

manufac-

a distinctly tex-

tured surface.

Paper texture and technique are

closely related.

Some techniques

will

work on rough or cold-press paper but

not on hot-press, and vice versa. For
instance, dry-brush techniques are not

very effective on the smooth surface of

hot-press paper because the dry brush
is

supposed

to deposit color

ridges of the paper's surface.

on

the

On

the

other hand, the smooth surface of the

hot-press paper allows for easier

and wipe

Basic

Still Life

Techniques

outs.

lifts

Palettes
You can use anything from
plate to a butcher tray for

plastic palettes

AJohn

your palette,

Pike palette, a plastic pal-

ette with a tight-fitting lid

wells for colors,

surround

works

that

and twenty

well.

a large central

and are separated from

dam

dinner

number of excellent
made just for water-

but there are a

color.

allows you to create color temperature

a

The wells

mixing area
it

by a small

keeps the mixtures from

be used

mixing colors. This

for

so

ette is airtight,

at

the

hen using one basic

mary. Having a cool and

pal-

end of the

Also,

keep an assortment of second-

ary colors (colors

mary

composed

of two

cadmium

colors), including

using other colors, and cobalt

It's

good idea

pri-

French ultramarine blue

or-

violet,

to arrange your col-

ors with the cool colors

on one

side

and the warm on the other. Put your

same place every time so

you won't have

to think

moist and ready for use for several

you want

to mix, not

days.

colors.

to

hunt

for

them.

about what colors

where

to find

Winsor blue
Hooker's green dark'

ange, an intense orange difficult to mix

You need

colors will stay

olive green

cobalt blue

that

center of the tray

The

ver-

low, contains (left to right):

complements without getting mud.

colors in the

lid.

warm

A basic palette of colors, as shown

Payne's gray

painfing session, you can place a small

and replace the

pri-

sion of each primary helps you mix

damp sponge

in the

\\

another hard color to get by mixing.

creeping into the colors. The top can

also

contrast even

your

cerulean blue

Winsor green
alizarin crimson

cadmium red
cadmium orange
cadmium yellow pale
lemon yellow
cobalt violet

burnt sienna

burnt umber

Van Dyke brown

umber
raw sienna
brown madder
rate

Notice that the

right includes a

list

of colors to the

warm and

a cool of

each primary (for example, both Winsor blue

cool,

tending toward

Be generous when putting colors on

your palette you need plenty of

ment

to paint a watercolor,

and

pig-

dig-

ging and scrubbing for color while

green and French ultramarine blue

painting will only disrupt your thinking

warm, tending toward purple). This

process.

Basic Materials

alizarin

be*

Materials for Pastel Painting

There are many different kinds and
qualities of pastel sticks available to-

day. Soft pastels give rich, paint-like

There are several good

textures.

brands and, generally, you get what

Rather than buying a set of

you pay

for.

pastels,

you may choose

gether your own

set,

to put to-

including soft pas-

from many different brands.

tels

Start

with dark, middle and light values of

about a dozen colors.

Easel
It's

work on an

better to

On

table.

easel than a

an easel the pastel dust

falls

away from the painting's surface. With

a table,

it

just lies there getting in the

way.

Drawing Board
Try a piece of Vs-inch Masonite.

Masking Tape or

Clips

a clip or piece of tape across each

Use

corner to hold the paper on the board.

This

shows pastels stored

can, wire basket

Bristle
This
if it

is

Brush

handy

for

rated out to

in drawers; pastels set out

It works
on paper or sanded board.

use.

out with a small

start

that

you have

set,

may be used

to

When you buy

remove

pastel

on

cut a

slit

in the

expand

middle and

a dark,

value of each color in the

Fine Sandpaper
This

new

it

so

light

paper and break off

at

the

same time rough up

piece of pastel about a Vi* long. Keep

it is

receptive to pastel

the pieces of pastel

again.

on

a porcelain plate

each of the colors vou choose.

10

If

vou

value of each

Basic

They have

stick.

Still Life

Techniques

of heavy winis

placed inside a coffee can. and rice

flour

is

poured over the

rice flour

pieces.

The

cushions them, preventing

tels, just sift

codes on them identifying the hue and

made

are

screen. This basket in turn

breakage during

partic-

ular color. Save the papers.

light value of

dow

next to your easel. Store the sticks in a

Keep

middle and

The pieces of pastel

drawer until you need more of a

Selection of Soft Pastels

a dark,

Store and transport your pastels in

rice flour.

placed in a basket

set.

stick of color,

the paper so

paper and

on a porcelain plate; a coffee

and a small group sepa-

rice flour for transporting pastels;

brushing pastel away

needs to be removed.

equally well

and

travel.

To use

the rice flour out,

the pas-

dump

the sticks back onto your palette, and

vou

re

readv to work.

Red and green applied

Methods of Application
Pastel

can be applied with a

with side of pastel

tip for lin-

ear strokes, with the side for broad,

strokes, or as

flat

powder, sprinkled on or

You
way you can

applied with the touch of a finger.

can't

mix

pastel colors the

mix a liquid medium.

Pastels can

be

mixed only by painting one layer over

another. Pastel can be blended by

working one

stick of color into an-

other, or by rubbing with a finger,

stump or

tissue.

They can be moved

around by painting into them with water or turpentine.

Removing Pastel
If

some

the pastel gets too heavy, whisk

away with a bristle brush. Use this

method on paper or board. Sometimes
the pores of the paper

become

with pastel that

shiny spots de-

velop.

slick,

What has happened

is

Blue and green

analogous colors

so filled

that the

tooth of the paper has been crushed by

repeated applications of pastel. The

bristle

brush won't help. These spots

Small spots removed by

can be revitalized and the pastel

moved by

gently sanding

re-

them with

touching each spot

with a stick of pastel

piece of light sandpaper. But don't use

Complementary color

sandpaper on a sanded board. The

sandpaper

will

remove

its

green over red

sandy
Small spots of board eliminated by

surface.

touching with the

little

finger

Fixative

the board several times

Fixative causes the light values to

These blows knock off any pastel that

darken and the colors underneath to

is

bleed through to the surface. Therefore,

it is

not wise to seal a finished

painting with a fixative.

to use fixative, use

it

If you

loose

enough

open areas

to

result,

fall

on the

back.

off later. If small

retouch these before

of pastel you intend to cover with an

additional coat. Instead of spraying a
finished painting with a fixative, strike

work well with

brown or gray tones

pastels.

Avoid the dark

papers and brightly colored ones. The

front side of the

Canson has

like texture that

Paper and Board

While any etching paper

tionable, but the back side

The pastel paintings in this book were

done on Canson paper, etching paper
or Masonite board. Of the Canson pa-

Basic Materials

the texture of

a screen-

some artists find objec-

framing.

are going

only to seal coats

pers, the lighter

German

is

smoother.

will

work,

etching.

try

Tone

the etching papers with additional

washes of acrylic or

casein.

11

Chapter Two

GETTING STARTED
Setting the Scene

An

artist

and

still-life

if

cannot paint without

you plan

objects are

You shouldn't

to paint

among your

try to

tools.

imagine the shape

of an object without having

you, any

tools,

still lifes,

it

before

more than you would

paint

ral

joys of painting.

objects
If

is

and

over,

you

bored and so

you enjoy doing

flo-

need an

will quickly
will

If

become

does not need

different tints, both

to

will sell

object does not

have to be in perfect condition to be

used

in a painting. Collect

an assort-

all

about

means

size,
let

shape and color,

yourself be

enjoy

it,

but don't paint

it

just

Blue Ginger Jar

Any

successfully used several different objects in this painting by emphasizing

24"x30"

and

a painting as long as the values are

understating others.

oil

12

Basic

Still Life

Techniques

in-

wrong with
painting something many times if you
spired. There's nothing

Joyce Pike

object can be used in

and un-

As you select objects for your paint-

but by

prices.

trans-

hats of every shape and gender.

have broken objects that they

reduced

opaque and

parent. Collect metal objects

ings, think

An

ob-

vases in clear glass and

usual objects, such as garden tools and

your viewers.

collect

ment of different-sized and -shaped

jects, especially

be expensive. Antique stores often

at

one of the

paintings, you'll

you keep using the same things over

What you

Collecting Still-Life Objects

still-life

still-life

choose from when arranging setups.

without your brush.

Finding

or

assortment of different objects to

correct.

because

Joyce Pike

some

familiar to you. This

it is

is

bad habit

and can keep you from growing.

Change the objects

until

you are anxious

in

your setup

to get started.

Plan for well-related shapes and color;

more difficult to change a shape or

color on your painting than to make
it's

your setup look right from the

If

you decide

flowers, be selective.
ter quality

mix

will

real

Buy

few of

and buy from several

ent manufacturers.
to

start.

to collect artificial

and

It's

also a

artificial

bet-

differ-

good idea

flowers. This

help your bouquet look more

realistic.

These two photographs

variety of colors

ment for a

show Joyce

Pike's studio storage area.

and textures Pike has

still life.

Her

Getting Started

to

You can see

the

choose from when setting up an arrange-

collection helps inspire her to paint.

13

Arranging the Setup

their intended spot.

light

source

Every good painting starts with a good

also part of the composition.

Where

idea Inspiration

success of a

alone

isn't

is

still life,

If

you are using flowers,

flowers take center stage.

this

by making sure that

let

shadow doesn't

bal-

the

light,

Example
left

1.

the other

is

striking influis

light,

part

the

The stronger the

the darker the shadow. This darkis

shadow.

Still Life

Techniques

start.

three examples

shown here

could make good paintings. However,

Example
2 has

1 seems a bit busy. Example

good balance, but it is not quite

as appealing as

work.

good color, but the objects are too far apart. The purple cloth
make things a bit busy by covering up a needed resting spot for

Basic

All

and should be con-

sidered from the very beginning. Again,

lost in

planned before you

word

part of any painting

is

don't guess. Have everything well

the most important

This has

tends to

the eye. The small brass coffeepot/server

14

exist.

and-light pattern

shapes are the right color and value for

at the

is

of the lighting. Without the

You can do

all

light

ences the balance. Cast shadow

but inspiration

enough. The arrangement

must be based on shape, color and

ance.

and how much

important to the

The

is

Example

3.

The key

balance to make everything

Example

2.

With only a few minor ad-

justments, things start to improve. Over-

lapping the tWO bonis to the

left

makes

that area less busy

Removing the purple

cloth also cuts down on clutter I he light
on the white cloth brings the eye do/cn
from the light flowers.

.41

Example 3. When the blue-and-white

bowl is moved to the right of the flowers,
it makes a nice contrast with the dark
spot behind it. Moving the coffeepot to
the

left,

behind the small bowl, and

allowing the handle to overlap the vase

help break up the straight line of the
vase. All the objects

now balance

better

for several reasons. The dominant colors

are blues and violets, but a bit of the

complement can be seen in the decorative drape on the table. The small colorful bowl to the left brings both dominant
and complementary colors to the left
edge of the canvas. The larger bowl adds
light
it is

and design
needed

in the

dark area where

patch for

to continue the

the eye.

Getting Started

15

Design and Composition

flowers
a stage:

like actors

on

Some must command more

at-

in a

bouquet are

tention than others for a balanced per-

formance. Design means making sure

the elements are placed in the cor-

all

rect spots to balance perfectly

on the

canvas. Either the darks or the lights

should predominate; they should not

be

in

need

equal proportion. The midtones

where

set

and

to support the darks

lights,

some

areas to

the darkest dark

and the

the values merging in

lightest light

come

off-

make

together to

The strongest contrast

draw the eye first, before it starts

the focal point.

will

through the canvas. Ev-

visual trip

its

erything needs to

make

work together

to

a perfect balance.

Design for The Porcelain

Pitcher
The plan

for this

use a limited

composition was to

number

of

lilies

with no

supporting flowers. The busy back-

ground was chosen

stiff,

to contrast with the

harsh look of the

lilies.

Placing the

pitcher in front of the white vase

helped to balance the long, narrow

canvas.

The dark pattern of the

large

green leaves needed another dark for

was placed

balance, so the ginger jar

behind the white vase.

had been brought

If

the ginger jar

to the front

and the

decorative pitcher to the back, the dark

would have drawn the eye toward

the bottom of the canvas.

vase

A
left

halftone was placed

corner to break up

the tablecloth.
right side

there.

The

cast

on

all

the lower

the light

on

shadows on the

break up the negative space

Remember,

cast

shadows are

very important part of the painting. But

don't get too complicated with shad-

ows at first.
The painting
more light than
16

is

warm and

dark.

high key.

The Porcelain Pitcher

Joyce Pike
30" x 15"
oil

The busy background here offsets the

The midtones
Basic

Still Life

Techniques

stiff

formal

lilies.

more important

play a
in

part here than

most paintings because of the deco-

midtoned background. Even

rative

though the pattern on the pitcher

subtle,

helps draw the eye back from

it

the busy

is

background

to the lower front

of the canvas. Everything in a painting

should have a purpose. Spend time

planning even' element before you
start to paint.

Design for Tulips and

Sweet Peas
A good painting need not be

a busy-

one. Here, each beautiful, fresh tulip

shown

at a different angle.

to the left

bend

eye to travel
ter tulip.

The

is

tulips

gracefully to allow the

downward from

the cen-

The dark vase is softened by

which are of the

the wild sweet peas,

same dark value and

color.

The white

cup with the cobalt blue pattern provides variety and also works to break

up the hard edge of the very dark blue

vase.

The

tiny blue

duck

in front of the

vase varies the hard edge

dark vase

sits

on

The two full-blown

center

show

where the

the white tablecloth.

tulips in the direct

foreshortening. This gives

the illusion of three dimensions

on

two-dimensional surface. The two pet-

from a spent blossom and the

als

draped sweet peas help complete the

design and break up negative space.

The painting

is

simple yet effective.

Let's talk briefly

overall

hue here

is

about color. The

Tulips

and Sweet Peas

Joyce Pike
24" x 18"
oil

blue, with blue-

green and blue-violet as adjacent hues

This simple composition

and the yellow of the

complementary

plement.
ing

is

It's

tulips as the

com-

is fresh

and

vibrant with

its

bright

colors.

easy to see that the paint-

high key. The dark purple of the

vase works as a strong dark and also

supports the dominant hue. The overall

look

is

cool, with just

warmth on the
all

enough

tablecloth to break

up

the cools.

Getting Started

17

Happy Wanderer

Background and Negative

Space

This

Every inch of the painting has to work

You

for you.

can't concentrate just

on

them or

may be

in front of

the

them. Neutral grays

shows,

it is

and has

to

color,

you

is flat

will

and

need

all

to

fill

If a

one value or

too

much

figurine

negative space

on

poppies and wisteria are a beauti-

to touch the table

and scattered

combination. The floppy look of the

wisteria blossoms

on

poppy and

the graceful draped look of

is

gray and almost

flat,

but

up most of the picture

plane. It was not necessary to show
brushstrokes or more color in the back-

ble, so Pike

There are many ways

space.

the

few

the tablecloth.
to

fill

negative

Those spaces may end up being

relatively

empty or

full

of objects, but

you must make sure they work by planning your composition well. Don't
leave

it

to chance.

part of this

area with flowers or foilage to

make

it

work. These three finished paintings

illustrate this space-filling

problem.

Colorful Fruit and Flowers

VCTien artist Joyce Pike

ready to go on

had everything

this setup,

24" x 30" canvas

on her

she put a

easel.

Then

she just couldn't get inspired. She says

that she never

seems

to get as excited

about painting smaller paintings as she

does about painting big ones. So she

changed
canvas.

to a 30"

40",

her favorite size

Now she had another problem:

There was more negative space

in the

background. What to do? The flowers

were very

colorful, so she

used several

colored grays in the background and

allowed the brushstroke to show

slightly. If

she had used a neutral gray

background, the flowers would have

jumped out with

all

their color,

which

was not her intention. She wanted

keep

it

to

subtle, so she placed stronger

color in the background.

Colorful Fruit

and Flowers

18

In this painting, the colorful back-

Joyce Pike

ground harmonizes with

30"*40"

colored

oil

Basic

Still Life

Techniques

ta-

draped the wisteria down

ilija

class.

the flowers take

part of your composition

background

The mat-

left

demonstration for a

background

edge

be carefully considered.

done

the wisteria go together very well. The

most important colors

you'll learn to mix. If a table

ground here. The one small

24" x 18" painting was

as a

ful

flowers and ignore the area behind

little

roses.

the brightly

Venetian Glass
Here,

we

and even

When

see flowers going to the edge

a

this

few going out of the canvas.

is

done, the background

it is

flowers.

problems.
glasses

If

to the edge
would have made the

painting appear to be cut

down from

again, filling negative space.

small,

vas. If

the decanter and liquor

it

Pike could

is

little

necessary. There should

where the eye can go

if it's

for a place

to rest during the trip through the can-

table could have caused

had been too close

of the table,

to the glasses

always be a spot somewhere, even

seen around or through the

The

left,

empty space

is

almost nonexistent, evident only

where

painted vase to the

draw the eye down

erly,

composition

working prop-

is

your background and negative

space will be essential parts of that

composition.

By placing the colorfully

larger size.

Venetian Glass

Happy Wanderer

oil

Joyce Pike
24" x 18"

In this painting, the

oil

The flowers take up most of the picture

here, so it wasn 't necessary to add

plane

much

Joyce Pike
12" x 9"

to the

background was

not a problem, but the glasses were

arranged carefully on the large negative

area of the tabletop.

background.
Getting Started

19

Building a Stage
The photos on

page show

this

how

to

use an ordinary- cardboard carton to

construct a simple stage for your floral

arrangement or

still-life

Cut the carton so

setup.

as to leave the bot-

tom and two adjacent sides. The sides

become the background, and the bottom is the stage for your floral arrangement.

If

your box

a bit small,

is

craft

easy

bottom with

to extend the sides or the

matboard or

it's

paper. Next, select

the props to include and decorate the

stage to your liking.

You

are the stage

manager.
Place the
side of the
is

in

box so

the light strikes

one

Cut along the bottom edge

background and the other

shadow. With

this setup,

you can

arrange the objects so their shadow

sides are seen against the

sunny plane

Use a sharp knife to cut

down along op-

posite corners of a large cardboard carton.

rangement.

of the background, and the sunny sides

of the objects stand out against the adjoining dark background.

This basic principle of light against

dark and dark against

form

makes each
You can

light

easily recognizable.

achieve other lighting effects by simply

putting a cover across your stage setup.

Once everything

is

in place,

photo-

graph your arrangement. Time goes by

when you paint that the

may begin to fade before you

so quickly
flowers

know

it.

With your photograph for

ref-

erence, you have the security of knowing your arrangement will last as long
as

vou need

it.

Place the stage so one surface faces the light

is

in

shadow.

It is

now ready

to

floral arrangement.

20

Basic

Still Life

Techniques

to re-

move two adjacent sides of the box.

The remaining two sides and bottom of the cardboard carton become a stage for your floral ar-

and

the other

be decorated with your

(right), a blue mat board was

added for more color and a piece offabric was draped across the back. Next
came a jug of dried leaves. The blue

Here

leaves repeated the color of the floor,

and

their

shadow made an

interesting

pattern across the jug's surface. Finally,

a vase of roses was added in the foreground.

Here (below)

done from

is

the painting byJan

Kunz

this stage setup.

Getting Started

21

Starling Out With Oil

since you will be working only with

work from a
simple still life you can set up on a table. Use a floor or table lamp for a

light

lor this project, you

strong light

some

effect.

will

Prepare or obtain

12" x 16" or 14" x 18" painting

panels.

You

will also

need

bristle

and dark

values.

Working With Two Values

The

first

part of the project will be wet-

into-wet painting without any prelimi-

nary drawing. This will help you be-

brushes, a painting knife, an oil cup to

come accustomed

hold paint thinner and some wiping

with

rags.

Titanium white and burnt umber

arc the only oil colors that you will use,

oil paint.

to using

This project

your brush
is

a study,

not a finished painting, so detail and

finish are

not important.

For your still life,

select simple items and

arrange them with some drapery as a

background. Use a strong

On your palette, premix two mounds of

oil paint in a dark and light value. Use
burnt umber and titanium white.
Light ground,

STEP

surface using a

little

painting

medium

to thin the paint.

Dark ground, adding

still-life

source

shadow

box can be made as

shown on page 20.

STEP 2

STEP 3

Brush in the darker values using the

darker paint. Be sure to wipe your brush

Put

frequently with a rag.

together for softer edges.

in

more darks and then some lights

Blend some areas

to correct the shapes.

light

STEP 2

STEP 3

Brush the darker paint freely over the

Brush

panel's surface, covering

them while squinting.

22

areas.

light

direction for strong

adding dark

Brush the lighter paint over the panel's

STEP

from one

it

thinly.

in the lighter values

Basic

Still Life

as you see

Put

in

more

lights

together. Use

Techniques

and blend some areas

darks to correct edges.

Working With Three Values

between them so

To show

apart from each other.

full

form or modeling, you

must have three main divisions of value

in

same

your painting. These are the dark,

middle and

light value ranges.

For

this

premix these three

values using burnt

umber and

that

effect.

try

the

changing the

Remember

to squint as

you

them

vertically

straight lines.

and horizontally against

Use

dle as a guide. This

practice; don't

narrow brush hanis

only a study for

be concerned

if it

looks

unfinished.

study your subject so you can accu-

white.

rately

judge

its

value relationships.

Compare important edges by

you have good divisions

Add a

setup or

Work from

light direction for a different lighting

part of the project,

Make sure

still-life

that they stand well

third,

middle

tone, to the

two

aligning

val-

ues you 've been using.

STEP

Start

working directly on a panel with a

small bristle brush

and

STEP 2

STEP 3

Paint in more lines to strengthen form

Brush

and work in some darker values with an

thinned-out

burnt umber. Try to put in just the large

oil wash.

simple shapes, ignoring all the

these

tails.

little

de-

Squint while looking to see

main shadow

areas.

in some of the dark- and middlevalue paint to begin to build form. Then,

using the lighter paint, find some of the

important edges.

Compare important edges against

each other.

STEP 4

STEP 5

Match the main value areas and paint

them in. You may have to blend some of
the premixed paint for certain areas.
Wipe your brushes out frequently.

More controlled mixing of values and

adding good edges where needed help to
develop the form. Remember not to overbrush. Leave your strokes alone.
Getting Started

23

Assemble a

Still Life

In this project,

you

your

ble-

will

as

still life

you draw

it.

need an Kbony pencil and

of 18" x

2-i"

though

this

you can do

newsprint paper.

demonstration
this

assem-

will literally

is

You

a sheet

(Al-

in pencil,

same exercise

in

any

medium.) Depending on the complexity of the objects you chose, you will
need about twenty minutes

to finish

this exercise.

two or three objects and

place them on a table or a stand, and
Select

draw

contour of them. Find another

object, place

draw

it

it

with the others and

on the same drawing. Add an-

other object and draw

it.

Continue

adding more and more objects until

the composition

is full.

Notice

STEP

Draw two

or three

still-life objects.

how

the shapes of your drawing interlock.

Watch how the

lines

around each

shape help define the shapes

around

it.

STEP 4

24

STEP 5

Basic

Still Life

Techniques

STEP 3

STEP 2

Add another

object

and draw

it.

Continue adding more objects and drawing them one by one

until your

STEP 6

drawing

is

complete.

STEP 7

Stop

when you have drawn every thing

in

your field of vision

as limited by the edge of the paper.

Getting Started

25

Cbapter Three

DEPICTING FORM
Painting Three Dimensions

major task
velop the

tor an) artist

>kil

to

is

to de-

render shape and

form accurately. For the

still-life artist,

rendering the relationship of shape to

shape and maintaining the balance of

proportions

painting are equally

in a

as

or paper. This breaks the tension of

assaulting the formidable,

whiteness of the painting surface.

surprising

how many

good number

students

It's

and

overly timid about making their

help you see and paint shape, form and

of watercolor paper.

just

Massing

In

Shape and Gesture

its

have been achieved.

First, a

recognizable silhouette has been cre-

the

need

for a preliminary drawing. Fi-

nally, the finished

Beginning with whatever object

in

was concerned with

shape and gesture, a number of ob-

jectives

in

the grouping strikes your fancy, pro-

ceed to mass

few more sketches. Although

exercise

this first

ated. Second, massing-in has replaced

first

a clean canvas or fresh sheet

marks on

complete composition.

of professionals can be

important. Here are a few exercises to

untouched

not, try a

sense of substance and gesture.

This

overall shape. Start

piece has conveyed

cise,

may seem like

but think about

a very basic exer-

how many

art

forms of the past were based on the

with the innermost part of the form

For the following exercise, you'll need

and push the paint outward toward the

idea of massing in the shapes of ob-

medium-sized brush, a tube of either

edges. Avoid sketching any preliminary

jects.

The ancient cave paintings of ani-

mals

in Lascaux, France, the decorative

burnt

umber or Payne's gray, and a can-

vas or canvas board. Place four or five

objects

on

a table within easy sight of

guidelines.

Work

directly with your

brush. Use a value approximating middle gray

your easel or drawing board. The items

pigment.

Draw

as

you

paintings

on Greek

woodblock

and apply plenty of thinned

paint, trusting

ists

as

and the

pottery,

prints of such Oriental art-

Hokusai and Hiroshige,

power inherent

all

reveal

don't necessarily have to relate to each

your sense of proportion, using the

the graceful

other and can be as diverse as a shoe,

edges of the paint mass to define the

of shapemaking. In our

frying pan, hat, coffee cup, apple or

outline of the object.

Henri Matisse and American impres-

bottle.

Choose materials

plementary

that are

com-

in shape, for instance, a

Work with

the single, middle-gray

sionist

tone, disregarding any value changes,

shadows you may ob-

busily patterned running shoe posi-

highlights or cast

tioned beside a white ceramic coffee

serve.

mug. Illuminate the setup with an

indi-

the shape and gesture of the subject.

fluo-

you mistakenly paint beyond any of the

rect source of light.

rescent lamp
still

is

workable

An overhead

ideal. Less effective

is

but

natural light originat-

ing from either a

window

or skylight.

Your only concern

the passage

more

powerful

just painting

source that casts strong

splits the

forms into harsh

If

form's boundaries, wipe off the area

all five

light

to capture

with a paper towel or tissue and restate

Avoid using direct sunlight or any other

shadows or

is

objects,

accurately.

Complete

and remember you're

an exercise, not a master-

piece. Each sketch shouldn't take

patterns of light and dark.

than ten minutes to

Exercise

Critique

more

finish.

Thin a generous amount of paint with

Now step

medium and daub

done. Are the proportions reasonably-

ger than a

26

mark no bigpenny anywhere on the cana small

accurate?

back and study what you've

Is

the object recognizable?

Basic

Still Life

Techniques

If

own

in the art

century,

Maurice Prendergast are

two of the many

artists

who,

just

after learn-

ing traditional painting methods,

in-

tentionally reverted to the silhouette as

a

means of personal expression.

Photograph of the

Silhouette of the subject

massed

subject.

in with

thin washes of burnt umber.

Depicting

Form

27

Defining the Form of an Object

form

This lesson will deal with lightening

der,

tactile solidity

This principle

and

seems

to

contradict the usual "paint what you

sec

attitude, but visual painting

only one of

proach

many ways an

artist

is

become
if

need

be, until the

form

is

thoroughly

tac-

that begin to recede, painting

on the more two-

dimensional effects of

light

and

color.

Exercise

Add white

in the last

them with new

exercise or replace

ones.

and

to the

burnt umber or

all

Rounded

them

the other receding areas of the

Oils are
right

meant

from the

to be used opaquely, so
start,

get into the habit

of squeezing out plenty of pigment and

applying

it

with generosity.

in a pale, flat

wash

Now brush

approximate the

to

shape of the object. Use your sense of

touch rather than the visual impression
of what you see. Reach out in front of

you and

feel

one of the

objects. Explore

the form with your fingers, letting

them

where

you paint those

the area

forms farther from you.

Remember this

section that

The closer

lighter the value

farther a

form

a form

is

you use

to you, the

to paint

it;

the

from you, the darker

is

Complete

shadowed
a lighter

manner.
in

If

is

all five

done

your painting

objects in a similar

successfully, the items

will

farthest

is

is

five

is

falling,

from the

is

light

is

usually seen as

edge on the outside of the

area.
is

The

fifth

and generally

the cast shadow. This

the area around the object

light

falling,

where no

because the object

is

blocking the light rays.

appear not only to

be solid and convincing, but also to be

Objects With Flat Planes

illuminated by a light source posi-

On

tioned directly where your hand

facing the light source will be light,

reached out to touch the objects.

with the lightest values closest to the

Study your completed exercise and

notice

how

each sketch takes on an

most sculptural

al-

The reasons
method used to

solidity.

a shape with

flat

planes, the planes

source and the rest of the plane becoming slightly darker as

from the

light.

it

moves away

Planes facing away from

How

feel the terrain, establishing points

for this are the tactile

nearest and most distant from you.

render the forms, as well as the disre-

much darker depends on how much

gard of any conflicting tonal changes

flected light

caused by the actual

completely away from the

Imagine that you are

mapmaker on

an expedition, responsible for recording the geography of the location.

28

What

light sources.

sketches should appear to be

Basic

Still Life

is

the

reflected light in the

area; this

darkest value

Critique

direct light

source. Fourth

shadowed

the value you use.

Payne's gray already on your palette.

Avoid being skimpy with your paint.

For a rounded object, there are

as

darkening the values

Object

value areas to portray. The brightest

Keep

object a slightly darker value.

rule:

Rearrange the objects used

a bit

the object.

eye over the surface of an object. Visual

focuses entirely

is

tone already painted will be reserved

light

you. Start with the parts of the form

on the other hand, generally

Painting three-dimensional form

for the portions of the object closest to

Now pick up your brush and retrace

means using various gradations of

tone and color to guide the viewer's
tilely

Beyond Simple Shapes

more complicated than defining simple shapes. You create the illusion that
an object is round or solid by showing
how the values change as light falls on

clear in your mind.

your journey on the canvas. The

a picture.

painting,

reached hand.

familiar with the surface char-

acteristics of the object, retracing steps

can ap-

Showing the form of an object

source emanating from your out-

deepest? Take as long as you need to

and darkening the tones of paint to

give the subject a feeling of form

What areas go unaround and back? What parts feel

feels highest?

lit

Techniques

Your

by a

the light source will be darker.

darkest.

falls

on them. Those

re-

facing

light will

be

Photograph of the

subject.

Paint the part of the object closest to you

the lightest.

As the form recedes, paint

the areas progressively

darker until you

reach the most distant edge.

:::.;.,

Depicting

Form

*****

29

Painting Groups
Once

Objects

values and arrange

mastery of shape, gesture,

solidity

tile-

off

and home values

quired, you should be

equipped

is

tac-

ac-

more than

well

to tackle this next exercise,

which involves clustering items

to-

gether and painting the grouping as a

Your objective

unified whole.

is

to

forms appear

is

common

Students and professionals alike

often

become engrossed

in a particular

out

like a Rolls

Royce

at a

effort stick

construction

piece of

a can

opener will give the subject

fruit, a

it is

artfully

incorpo-

position

more

if it

interesting.

Begin painting the setup relying on

touch more than
all

sight.

Try to work on

the objects simultaneously.

start

You

with the near edge of one

move to the far side of another,

and then jump to the middle masses of
Little

Choose four or

down

even upside

a third.

Exercise

on its side or
makes the com-

of another; turn a form

might

until

like a picket fence.

Overlap things; stack one object on top

form,

rated into a composition.

cast

shadows, painting only the tones

your sense of touch directs you to

against a nearly neutral background.

scale

Avoid lining up items

variety.

you paint an

mere study

tube of paint or

like a

fully

remains a

cusing on any one part. Disregard any

make. The completed painting should

Remember, no matter how beautiit

Critique
Study your composition.
jects

combine

to create

Do your

ob-

an overall

shape with a pleasing silhouette, or

have you focused too much on details?
Which attracts your eye the composition of the group or isolated items?
Strive for balance.

A group

of forms as

well as individual objects can be masterfully painted, contributing to the in-

tegrity of the overall composition.

Keep the background simple.

or no background additions are

needed because the canvas has already

five objects

of various

shapes and sizes with different

home

been toned

a light gray.

Concentrate on getting the effect of

Whatever objects you choose

to paint
appear only as a collection ofparts
until you compose them into an interest-

C:

will

ing arrangement.

30

fo-

appear as a unified cluster of objects

site.

object,

whole rather than

side or behind a couple of small items

object in their painting, only to step

back and see their precious

large jug or

the grouping as a

serving tray, for example, placed be-

evenly in a row

ror.

unified.

into a single pictorial statement.

of a picture

group.

ping and repositioning things until the

unify the various forms in your setup

painting er-

in a

Step back and study the setup, overlap-

and

Getting carried away with the parts

them

Basic

St n.

rechniques

c
away

Keep rearranging the objects until the overall shape takes on

Ifyou get carried

an interesting

the picture from a distance.

Still Life

With Plums, Knife, Glass

and

and view

nay you were instructed

an hour positioning the objects until he was

The lay-in for this work was done exactly the same

Bottle

the exercise. Artist Sovek spent

Charles Sovek

satisfied with the overall shape. Notice

IT x

interest.

oil

with the details, take a break

Remember, it's the grouping as a

whole that counts, not any one individual part.

silhouette.

16"

in

how the overlapping gives a composition

on Masonite

collection ofZolton

and June Henczel.

Sorwalk, Connecticut.
Depicting Form

31

Painting a Whole Composition

push

This exercise, covering pages 32-35. in-

the drape in a similar position by tack-

cludes the background as part of your

ing or taping

subject.

Backgrounds tend

to

forgotten stepchild of far too

be the

many stu-

ting

a table against a wall

it

it

and fashion

against the wall

drop down and cover the

Ruffle the cloth a

little

until

dent compositions. By giving a back-

ground the same careful attention

flat

lav-

your picture achieves

you'll find

that

dle gray

a unity

can transform an ambitious study

into a far

more complete

monotony of the

artistic state-

home

material.

table.

some

value of the drape will

provide just the right

off the lights

let-

up the
The mid-

interesting fold patterns break

ished on the objects in a painting,

and

foil for

showing

and darks on the other

arranging and overlapping them until

Exercise

they form a unified whole.

For this exercise, you'll need an assort-

ment of objects, an unpatterned piece

of cloth or drapery, and an

empty

board box into which the items

placed. Trim off the top and

card-

will

two

be

adja-

cent sides of the box. Secure the drape

to the top

maining

down

edge of one of the two

re-

sides, positioning the fabric

the side and across the

of the box.

If

you don't have

bottom
a box,

same

as the objects, using

show where

your
the val-

ues lighten and darken. By approaching your setup from either side rather

than the front, the play of light to dark

across the forms will appear
teresting

more

in-

and three-dimensional. Con-

tinue painting until the objects and

drapery appear convincing and the entire

surface

is

covered.

various home-valued forms. Place the

objects in the middle of the setup, re-

ment.

the

sense of touch to

Repeat the same painting procedure

as in the

massing

and

two previous
in the

few dominant

model and

exercises. After

shapes of the objects

folds,

begin to

solidify the various forms.

Think of your brush

as a sculptor's tool

incisively carving the

broad planes of

Critique
Does the background of your composition overpower the objects in the foreground, or have you achieved a

satisfy-

Do your

forms appear

solid, contributing to

an integrated

ing balance?

composition? Have you

details or

lost yourself in

have you painted boldly, cap-

turing the strength of your forms?

continued study of objects and drapery

the subject and then refining each item

will

with more detail as the picture takes

still lifes.

add strength and drama to your

shape. Treat the forms of the drapery

A cardboard box trimmed of two of its

sides and a piece of drapery are all
that 's needed to make a still-life backdrop.

32

Basic

A few preliminary doodles such as

these can quickly reveal the best

arrangement

to

choose from.

Lay

in

bold patterns of value until the painting begins to take shape. Working with

as big a brush as you can comfortably handle, reduce the subject

down

to

a large

mosaic of shapes and values.

Depicting

Form

13

Building on the

home

As the painting begins to take shape, start modeling each of

the individual items. The painting is complete when the objects

appear solid and the composition

unified.

Remember, your light source

how
34

will dictate

the forms are modeled.

Basic

Still Life

Techniques

lay-in, start

value of each object.

defining the

Autumn

A classroom demonstration

Still Life

don 't! Painting an

combined effect of the

that worked. Sometimes they

Charles Sovek

entire composition requires constant attention to the

Wx20"

What holds this busy picture together is the strong pattern of

light and shadow that weave in and out of the various forms. Motice the use
of soft edges in the shadow and how they make the objects appear to melt

oil

overall ?nasses.

on canvas

collection

ofArmand de

Torrington, Connecticut.

Grandis,

into the background. Vois device helps the overall unity

and defines the round-

ness of the forms.

REVIEW YOUR PROGRESS

Line

up

all

sure you thoroughly grasp each of the principles

have

make
presented. You

four exercises in front of you and study them to

just solved

many

of the basic problems encountered by

in still-life painting, as well as in

You'll be using these basic building blocks of painting again

again, so be sure each

Depicting

Form

one

is

artists

landscape, interior and figure work.

clear in

and

your mind.

35

Doing a Preliminary Drawing

When a setup contains several objects

jects to

of different size and shape,

line

most importance

drawn

that

correctly. This

as loading a

it

is

of ut-

even object be
is

not the same

composition with

detail.

Angles and ellipses must be drawn with

care

Your viewers

how

your painting doesn't seem

will notice

if

some-

A clock was chosen as one of the obshow you how carefully each
and angle

is

drawn. Every

elliptical

shape on each object has been drawn

it would be seen from eye level.
Once eye level has been established, all
ellipses will become deeper the farther

from eye
seen

level they are. This

in the

is

clearly

drawing. Each object

placement before committing yourself

other objects. Each object or flower in

to painting.

is

the

still life

can be simplified to one of

Adjust your drawing until

36

still-life

most important shape

is

proba-

for the

painter to master.

Basic

Still Life

it is

right.

Techniques

Drawing for Black Antique

Clock
After suggesting the placement of objects

is

place to establish perspective and

The preliminary drawing

bly the

as

drawn in correctly to make sure

enough space is allowed for all of the

right."

the basic shapes, such as a circle,

square or triangle. The ellipse

with light washes, Joyce Pike

drawing by building

a box
where the clock was to
be placed. Then she drew a plumb line

started this

in perspective

through the center of the area where

And watch

those ellipses!

the vase

would be drawn and drew

the

foreground dish, checking the mea-

surement of height

relative to width.

This gave her the correct angle for placing the ellipse.
est ellipse

The dish has the deep-

because

it is

farther

from eye

measured width against height

She held her thumb on

the brush handle.

move even a tiny

movement could have given an incor-

sure she didn't

Once she located

exactly

where

the center she

to place even' part

brush and taking

ject easier to

reading of height

without moving her thumb she could

how much

smaller the measure-

ment of height was

where the old

be

A'.

knew

of the clock. This drawing procedure

holding her brush out straight and horto

an

will

This

and locking her elbow

the tip of the

gave the width reading. By turning the

by standing in front of the subject,

izontally

From

brush to where her thumb was placed

see

level.

Pike

rect reading.

is

relative to width.

thumb (that's
term came from). After

called a rule of

correctly building the

box

for the clock

make even

the most intricate ob-

draw. The flowers were

not drawn as individual shapes

at this

time, but the suggestion of their place-

ment was important

value.

for color

Not so with the

still-life

and
objects;

they had to be carefully drawn right

from the beginning.

using two-point perspective, Pike then

found the center of the box by drawing

Black Antique Clock

Joyce Pike

40"x30"
oil

solid painting begins with

an accurate drawing.

Depicting

Form

37

Chapter Four

SHADOW VALUES

LIGHT AND

A Strong Foundation
If

you should remember

that

mak-

in

We

would be shapes and

values.

discussed ways to depict form in

chapter three. In

this chapter,

we

will

in

on which

a painting

you are working with

dium
gray,

that

pared to see

is

When
we see

built.

drawing me-

makes blacks and shades of

you are working with tonal value.

A black-and-white photograph is an image that also shows only tonal value. All
the different colors have been changed

different things. First,

how

have to learn
terpret

to see colors

you

and

in-

them as shades of gray on your

way black-and-white film

paper, the

modify those values so your drawing

is

both clear and interesting.

we need

begin,

lighter than

then be rendered

make

make

black

it

darker

between the

and darkest.
process of rendering

this

color into value

is

to

make

contrast

becomes automatic very

quickly and requires

practice looking at colors

you

and

will

translat-

into various shades of gray.

However, since our eyes see more subtle

ever hope to reproduce exactly with

color's

name, such

as yel-

differences in color than you could

any drawing materials, you

low, red, blue, etc.

do more than

Intensity

its

see.

and

or dullness

clarity

relative brightness

Value

Some

You

will

just

clearer

will

need

each

in turn.

Make Your Drawing

in the

make your drawing

and more appealing. Some

Clearer

The key to all of these goals clarity,

depth and strong composition is contrast.

Wherever two shapes are

cent, there should

be

trast in tonal

value to

which shape

is

adja-

sufficient con-

make

it

clear

which, or which shape

in front of the other. If

two adjacent

shapes are drawn with the same or

to

merge

likely

The two shapes

will

appear

one and the viewer

as

will

become confused.

In nature, or in the subject matter

you are drawing, you may often see two

forms that are very similar
different in color

to

copy the values you

have to make changes

values you see to

colors are always lighter in

at

cult to see.

In the following exercises,

has three dimensions:

Hue the

depth and to

same value, the contour

edge between them will be very diffi-

conscious

little

one of the properties of color. Color

illusion of

close to the

thought.

them

enhance the

is

comparisons between any two areas of

value. This

in adjusting the tonal val-

white or

it

as lighter or

grays in a range or scale

lightest

Your goals

to identify

or near black. All the other colors will

ing

to think about

you need

the darkest color and

tify'

lights will

strengthen the composition. Let's look

near white in your drawing, and iden-

does. Second, you have to adjust and

To

into values,

and some

lighter.

ues are to make the drawing clearer, to

translating the colorful world

The key to

Learning to work with tonal values

two

actually appear,

lighter than

is

one looks

the lightest color and

into grays.

involves

if

darks will need to be darker than they

have to be

is

purple. Any two colors can be com-

and darks

your compositions. These are the

structures
If

lights

rainbow, yellow

in the

lighter than red, but red

the

the other in this way.

begin learning about tonal values,

which are simply the

spectrum of colors seen through

prism or

ing better drawings for better paintings, they

on

value than others. For instance,

there were merely two concepts

differences

make

in

value but

and texture. These

it

easy for the eye to

distinguish the shapes. However,

if

render them as shades of gray

your

in

you

drawing, you won't have color or texture to

make

the differences easily seen

unless vou alter the values.

Tt)e

far

drawing on the
left is

confusing

because shapes of the

same value are adjaThe one next to

cent.
it is

clearer because

there

is

distinct

contrast along adjacent contours

38

Basic

Still Life

Techniques

Remember

many

but

factors,

One

the

at

clarity.

Which shape you

choice.

Contrast

this rule:

contours creates

alter

it is

depends on

often an arbitrary

or the other has to be

lighter or darker for the sake of clarity.

Your decision may be based on the

rea-

sons given below for enhancing depth

or strengthening the composition.

The drawing on the

on the right has the

left

The drawing on the

left

same value. The one

more distant shapes are darker.

lacks depth because the shapes are the

illusion of depth because the

Enhance the Illusion of Depth

The tonal values

your drawing

in

will

also greatly affect the illusion of depth.

You may remember from the paintings

completed
values

chapter three that darker

in

seem

to recede into the distance

and lighter ones appear to advance.

Al-

though there are many exceptions, you

can apply

this

general rule to the tonal

values in your drawings.

If

you want

create a strong illusion of depth,

to

make

the closer things lighter and the farther

the right

things darker.

right, the

Following

when you
to

lacks interest because there

interesting because

it

is

no value

contrast. The

one on

has a definite focal point the apples on the

area of greatest value contrast.

little

darker

see adjacent forms with very

similar values.

want

make

to

more

help you de-

this rule will

what shapes

cide

is

Make

the shape that you

appear farther away darker.

Strengthen the Composition

Finally, tonal values play a
in the

Tonal values

will largely

how your drawing

viewer.
will

ing

major role

composition of your drawing.

will

determine

be seen by the

The pattern of lights and darks

determine what part of the drawis

tract

seen

first,

and what parts

will at-

and retain the viewer's attention.

Light

and Shadow

Values

19

DEMONSTRATION
Value-Pattern Sketch
For

ony

pencil,

one

STEP

need an Eb-

this exercise, you'll

stick of soft

Begin with a loose, ges-

(6B or IB)

graphite and white paper. Plan to

tural indication of the

spend

arrangement of
your composition.
entire

minutes develop-

thirty to sixty

ing this sketch.

The focus

drawing

in this

overall pattern of lights

is

on the

and darks

in

your subject matter. Every composition

can be reduced to a

flat

pattern of lights

and darks, and you must be aware of

and
is

sensitive to this pattern

because

it

the foundation of the pictures de-

sign.
It is

not easy to identify and draw

just the lights

and darks because of the

habit of seeing

and wanting

The

things as objects.

to

STEP 2

draw

Scribble the lights

side of the

left

darks that you

Don draw

brain naturally pays attention to the

identity of

what you are looking

separate objects;

is

it is

subject matter as one

big pattern of lights

the tonal-

critical to

cess of your drawing. As an

distinct

edges. Think of your

at as

has no use for the

it

tonal-value pattern. But

value pattern that

't

and

see.

and

darks.

the suc-

you

artist,

should cultivate the habit of noticing

the pattern of lights

and darks indepen-

dent of the identity of the objects.

Two

Color must be ignored as well.

objects, side by side,

one

blue, the

other green, but of the same value,

need

to

be considered

as

may
STEP 3

one big dark

Develop the draw-

shape. In this exercise, you are going

to

make

ing without out-

small sketches of your subject

by drawing only the

lights

lining everything.

and darks.

Resist the urge to

Don't draw contour lines as bound-

define edges. In

aries of objects.

the last

Like an out-of-focus photographic

slide projected

on

a wall,

moments

ofyour drawing
add only those

your sketch

(and yes,

should simply be a rough or general-

details

ized record of the overall pattern of

edges, finally),

lights

and darks.

It

may help

that clarify your

to look at

drawing. Be

your subject and squint.

In fact,

your internal dialogue

draw could sound

like,

as

tive.

you

"There's a large

dark shape over here, and a

light

one

-2J

over there, and here's a middle gray

shape under that shape."

40

Basic

Still Life

Techniques

selec-

DEMONSTRATION
Gesture-Value Sketch
Use one

white paper for

a sheet of

need

stration. You'll

Char-Kole and

stick of black

this

STEP

Begin with a gesture of

min-

the entire composition.

Think about drawing

-

the bigger pattern,

same exercise as the previous one, except it is done with Charthe

is

...-,

demon-

thirty to sixty

utes to complete this sketch.

This

:.

Kole rather than graphite. Use a 1-inchlong piece of the Char-Kole on

its

side

make the darks in your drawing.

Draw the lights and darks directly,
without outlining even thing first. Look

&*

to

for the overall pattern of lights

darks,

and draw

that,

edges

more
work

make

Vfa

& ?&*3

"~V.j

and

STEP 2

Don't over-

Use the side of the Char-

a very useful

--

way of

it-J

iST'

it

-*/',}.

strokes.

J?

tinct

mm

your subject. Squinting eliminates the

making

make broad
Don draw disedges. Don draw

Kole to

studying the overall value pattern of

details,

MP

and

it.

is

"

for a clearer,

attractive drawing.

Squinting

$N

not the separate

objects. Include only those details

that really

',

easier to see the

't

't

one object or element at

a time.

larger pattern of flat shapes of value.

many

As

artists

have pointed out,

there are very few lines in nature.

we render

as lines

What

on our drawings

Mm

are

only edges and borders, abrupt value

changes and coloration. Nevertheless,

we

U^*><?

are in the habit of seeing these as

line,

and

it is

sometimes

difficult to rec-

STEP 3

ognize their true nature.

This

is

a difficult exercise to

the sense that

familiar
that

we

Refine the draw-

it

do

in

ing, clarifying the

does not offer us the

and comfortable net of

shapes

lines

use to build and organize our

drawings.

It

and add-

ing smaller
shapes.

forces us to see things as a

pattern of shapes of values.

We

must

behold the larger pattern rather than

looking

at

the details.

Tonal-value drawings without lines

are real

workouts

for the right side of

the brain!

Light

and Shadow

Values

il

DEMONSTRATION
Charcoal and Chalk on Gray Paper
You'll

need an hour or more

to

com-

adjustments

in

your drawing that

will

the complexity of the subject matter

make
more

and the degree of

or photographic process ever could.

depending upon

plete this drawing,

detail desired. As-

semble your materials

first

one

stick

of soft white blackboard chalk or a

2B

white Conte crayon and one stick of

black Char-Kole. soft compressed charcoal or a

2B black Conte crayon.

a sheet of 18"

need

also

do

interesting, clearer

and

to

is

making

You will need to simplify and genermany of the differences in tonal

value that you see. You will have to
make judgments about how to reduce
alize

the myriad tonal values you see to a few

the closest thing you

drawing that resem-

bles a black-and-white

your subject. Like

and-white

film,

photograph of

camera with black-

you are transforming

color into value. Dark colors and objects in

shadow become dark grays, and

light

or bright colors and objects in the

light

become

light grays

or white.

Unlike a camera, you are an

intelli-

gent agent capable of making subtle

STEP

The Composition. Begin with a gesture

drawing of the whole arrangement of
your subject matter, using either black
or white chalk. Take the lines all the
to the edges

around

way

of the paper; don 't noodle

in the center.

STEP 2

Tonal Pattern. Begin establishing the

shapes of light

and dark.

and chalk can

be scribbled over each

The Char-Kole

other, letting the strokes blend on the paper into the shades of gray you need. Ignore detail. Your objective in this phase
is to eliminate the gray of the paper by
covering every square inch with grayw >f

your own making.

42

and

expressive than any mechanical

eraser.

This exercise
will

more

x 24" gray char-

coal paper, a plastic eraser

kneaded

You'll

it

Basic

Still Life

Techniques

rather exaggerated value differences.

Your drawing should progress

in

three distinct phases: (1) Establish the

composition. Include

all

the foreground, middle

background

as well.

the shapes in

ground and

Take the

lines all

way to the edges of the paper. (2)

Draw the tonal pattern. (3) Add the dethe

tails.

STIP 3

The Detail and Finish Phase. Once the

patterns of light and dark have been established, begin adding details. Step
back from your drawing and look at it
carefully.

make

sional?

How

Ask the following:

How

can

the shapes look three-dimen-

How

can

can

make

more depth?
drawing clearer'

create

the

STEP 4

The Finished Drawing. Add all the final

subtleties, details

and nuances.

Comments: Although you

may not

really see

any shapes that are a pure white

or any shapes that are a true black, you will have to

and some darks black

to distinguish

what

is

make some

closer to you and

lights

what

is

white

farther

away.

Light

and Shadow Values

43

The Right Value

As you saw in the exercises you just

completed, no one value

is

always right

for a bright highlight or a dark shadow.

Values exist in relationship to each

you put two drawings or

other. \XTien

may

paintings next to each other, you

find that the value of the lightest light

in one is as dark as the value of the
shadow in the other.

In
will
in

any particular painting, the

be

painting
all

and the darks

light

comparison
itself.

will

lights

be dark

to the values within the

In a high-key painting,

the values will be light; in a low-key

painting,

the values will be dark.

all

Even using

a partial

range of values,

you can model forms to look threedimensional.

When you
form,

are

modeling a particular

can be helpful to begin by

it

lay-

ing in part of the lightest light and the

darkest dark.

Then you can design

the

other values in relationship to those.

Or you can
and go

in

establish the

The important thing

to

roundness or

that the

middle value

both directions from there.

ticular object will

remember

Strawberries on the Deck

William

C.

Wright

40"x30"

Look at the way Wright shows light falling

on the teacups and silverware, convincing us
of three-dimensional form with careful
modeling.

watercolor

is

flatness of a par-

be established largely

by your use of values.

Red Sneakers
Scott Prior

48"x60"
oil

To create a very realistic scene in a

painting, the artist
the
It's

main

must model not only

but all of the details.

in the consistent portrayal ofligf*
objects,

and shadow on

all the forms

of the

subject that the illusion of reality

created. Notice the care with

is

which Prior

developed the values in a detail such as

the electrical outlet.

By looking at

this

one small item, you can tell exactly

where the light source is.
44

Basic

Still Life

Techniques

Painting a Value Scale

and remember

Even' object you observe has a particu-

thoroughly after every mixture, being

home

lar

value. That's true for colors

squeezed from

a paint

low, for instance,

value.

tube as well. Yel-

Red and orange approximate the

middle range of the tonal

have dark

home

values.

familiar with the idea of

let's

five

To become

home

values,

paint a value scale consisting of

tones. Later

it

will

keep each tone

trace of a previously

cause any white space between values

If

in

in

value, squint your eyes

the contrast

between each value and

it's

2-inch squares at the top of your

canvas.

We

are going to

fill

each of the

squares with a progressively lighter

value. Start with black

white

(fifth

and end with

it

Study

Does the

consistent.

not, repaint any

Is

the scale free

weak

contrasts?

problem areas

until

the sequence looks even.

Rather than give numbers to the

dif-

ferent gradations, think of the tones as

simply white, light gray, middle gray,

dark gray and black. These easily

membered names

square), filling in three

evenly gradated values in between.

it.

overall effect appear to smoothly gra-

If

Begin by drawing a horizontal series of

five

and compare

above and below

of any jumpy spots or

Exercise

to the tones

date from dark to light?

your compositions.

difficult.

doubt about the accuracy of

make sure

be useful for

comparing the values of each color

any

free of

mixed value. Be

makes accurate judging more

scale,

whereas blue, green and purple tend

to

your brush

sure each tone touches the next, be-

nearly white in

is

careful to

to clean

re-

are less confusing

than a system of numbers.

Keep the paint consistently opaque,

Black

Dark gray

Middle gray

It's

Light gray

White

easier to see whether your gradations are accurate if you

let

each value touch the next rather than leaving strips of white canvas in between.

Light

and Shadow

Values

i5

Using Value to Create

a Center of Interest
Drop an orange

jersey

minate the area with a strong

either the

onto the dark

green grass of a playing

and even

field,

from

a considerable distance the gar-

ment

will attract attention.

other hand, throw

appears to melt into

Subduing

same

and

field,

its

surroundings.

secondary segment of

composition by framing

it

the items so one light-toned and

middle-toned piece of
ble overlap the

fruit

shadow

one

or vegeta-

with a patch

is

a device painters

The

principle

have used

is

The aim of

ture a different
in

this

lesson

is

segment of the

to feastill life

each of the three sketches without

mainstay

in

your tonal repertoire.

The following exercise uses

vice to help

and mood of your com-

same

position. Using the

five

cussed on page 45, set up a

composed of half
fruit

this de-

you have control over the

focus, pattern

until the

up according

arrangement

is

set

in

shadow, lighten

the values in that area to a half-step

soft

gray, leaving

halo of black around the two

featured pieces offruit. This takes attention away from the overpowering

mass of the pot and focuses attention

on the

fruit,

directing the strongest

terest.

In your final sketch, focus

home-valued pieces of

on two

Divide your painting surface into three

light

equal sections. Sketch three identical

place the middle-toned background

compositions of the subject before you

drape with the dark one.

begin painting. For your

painting

pot and background are dark, the prob-

appears,

lem changes. The various

first

fruit.

Re-

Now that both

and

because the strong contrast between

middle-toned items are clearly seen,

the dark centerpiece and the light

and the two featured pieces of fruit can

background

be accented using the previously used

a center-

is all

that's

it

needed

a center of interest. For the

to

form

second

sketch, however, feature

ened cooking pot or

toned and one middle-toned piece of

frying pan, to a

dark form

that tonally contrasts with the lighter

light-,

pot appears black

Exercise

piece, choose anything from a black-

of

final ad-

still life

or vegetables ranging in value

items. You'll also

One

sketch, paint the subject as

from middle gray to white. As

large,

need to slightly
on the shadow side

values dis-

dozen pieces of

wine jug or any other

the tones

value contrasts around the center of in-

to plan.

easily un-

derstood and, once learned, can be a

all

all

point by surrounding
ing tones

lighten

between black and dark

point.

the light side

pieces. Likewise, you'll

the two that will eventually form a focal

repositioning any of the items, so take

for centuries.

on

except the two featured

close proximity but should not overlap

your time

with contrast-

the values

all

fruit

justment: Assuming the dark side of the

The

of similar values or accenting a focal

it

darken
of the

of the secondary items.

side of the

four remaining pieces should be within

few yards away the object

just a

from

light

or right. Next, arrange

larger dark-toned centerpiece.

the

worn, leather

baseball mitt onto the

from

On

left

need one piece each

middle- and dark-toned cloth

one

light-

instead of the large dark pot.

fruit

When
same

these tones are set against the

light

difficult

background, the task proves

because of the overpowering

spotlight effect.

get the pot to

keep

its

light-

The new problem

still

proper secondary position

the composition.

ploy what

to

is

appear defined, yet

The solution

artists call a

is

to

in

em-

passage. This

means darkening the values beside the

light side of the object and lightening

or drapery for the different back-

presence the pot assumes against the

the values beside the dark side of the

grounds employed. These could be

background. Replace the

form. In the case of the pot, the device

random

dresses, bath towels, or even sheets of

ground drape with the middle-toned

fabric. The pot then recedes in impor-

paper or cardboard.

tance and the fruit assumes a

pieces of fabric, old shirts and

Begin by draping the lightest of the

dominant

stance.

There

light back-

still

to the area. This light-against-dark,

remains

dark-against-Iight principle can be

three backdrops over the base and

one

pieces of fruit assume equal impor-

which the objects

46

will

be placed.

111.

last

tance.

hindrance, because

The way around

Basic

Still Lift

this

is

object but also gives added dimension

more

the vertical wall of the

up
empty stage on

not only helps define the form of the

all

of the

to slightly

techniques

used again and again

to

emphasize

sion of space.

in

your pictures

form and add to the

illu-

The white background emphasizes the

dark of the pan and minimizes the

lighter-home-valued pieces offruit.

The middle-toned background subdues

the importance of the pan and places
emphasis on the two light-home-valued

pieces offruit.

TJ)e

dark background places even more

emphasis on the

light

home

values of the

two apples while making the darker

pieces offruit and the pan appear to
merge into the background.

,-

Light

and Shadow

Values

47

Shadows and Mood

Carnations in Winter

Not only does value define form, but

when used

as

shadow,

it

helps to de-

velop mood. These four questions will

have a big effect on the emotion of your

shadows

painting: Are there

in the

composition? Where do they

big are they?

How

fall?

dark are they?

A scene with no shadows or

shadows

light

will

very

tend to appear

happy and peaceful.

On

hand, a scene that

mostly

will

How

is

William

C.

Chocolate Brunch (right)

(left)

William

Wright

39"x29"

watercolor

watercolor

Both of these paintings are of still lifes in sunlight. Each one is an arrangement of
colorful domestic objects on a tabletop. Woe main difference between the two is the
value of the shadows. In Chocolate Brunch, the shadows are comparatively dark,

and

those dark shapes against the very light areas of the painting cause a dramatic

weight. In the other painting,

feeling of the image

is

light

most of the shadows are

and

in the light range,

and

the

airy.

the other
in

shadow

tend to be mysterious. Dark shad-

ows add even more drama and mystery. If shadows appear to be encroaching on the main figures or objects, the

EXERCISE: DARK

Paint

painting will appear ominous.

Many
ows

artists

to create

add strong

more

ever,

it's

or draw a simple

still life.

SHADOWS

Carefully render each object, but don't

include any shadows.

cast shad-

interesting divi-

sions of space in compositions.

How-

important to be aware of the

emotional effect these shadows have as

Repeat the

be

in the

still life,

but

this

time add shadows.

All

the

shadows should

light-to-medium range. Don't include any dark shadows.

Repeat the

still life

again, this time

making

Compare the three compositions. Notice

ows is more dramatic than the others.

well.

48

Wright

C.

28"x21"

Basic

Still Life

Techniques

all

the

shadows very

dark.

that the painting with dark shad-

Wf

tt

'

ff/m

j^^^^B^Jf^*

WWXiHWWiwn

'

"

'

Sideboard

Deborah Deichler

15V4"x30W
pastel

Deichler uses a spotlight to create

ominous-looking shadows in her

paintings. Even simple objects

dramatic

in

become

her extreme patterns of

dark against

light.

Nice

Pat Mahony
8>/4"x9"

watercolor

Cast

and gouache

shadows can often seem ominous

or mysterious. Here the dark

window

shape provides mystery, but the shadows

in

soft

middle value are simply

interesting shapes.

Light

and Shadow

Values

49

DEMONSTRATION
A Dramatic Reality
\\

hai

makes Deborah Deichlers

paintings so powerful
totally real to the
1

is

that they look

eye and

jar the

mind.

here are incongruous elements, ob-

jects that don't

make

lighting things that

pause and

sense, strange

make

try to figure

Deichler

is

the viewer

out the mystery.

brilliant at

capturing

bit strange,
reality.

but we never question their

She creates bold, unusual

light-

value and draftsmanship. After the

ing in each composition by carefully

clearly defined, she

recreating the light and dark values of

detail

the image.

that the object

Some people

think Deichler's

work

looks real because of the careful ren-

dering of

detail.

She says that she

three-dimensional form. The items she

actually minimizes detail in her paint-

puts together in a setup are always a

ings.

STEP

is

value and shape relationships are

The foundation of each painting

and texture
is

adds only enough

to convince the eye

really there.

She emphasizes that value

is

the key.

"Volume will appear flat without value. Even flat paper on a flat wall
can be given a sense of volume by an
She

says,

edge of value."

Deichler begins with a light charcoal

From

sketch of all the objects' outlines.

the very beginning, she uses pastels that

are as close to the final color

and

value

as possible. She works from top to bot-

tom because of the falling pastel

dust.

The white of the teacups and rabbits

represent her lightest lights, which ap-

pear even lighter because they are surrounded by dark shadowed areas. With
pastel, she obtains her darkest

darks by

mixing strokes of black with dark

reds,

purples, blues or greens.

STEP 2

She moves

down from

the top to create

dark shadowed areas that frame the

painting. She works loosely and sketchthe

ily,

with

much

smearing.
STEP 3

For colored areas such as the green cabinet,

she develops the values with gray or

grayish colors first, concentrating just

on where the
ing.

Once

goes back

50

Basic

Still Life

Techniques

light

and shadows are fall-

the values are in place, she

and

refines the color.

Humidor With

Easter Basket

Deborah Deichler
43"*31"
pastel

STEPS
Here,

you can

see

how

rigorously the artist developed

throughout the painting. Look especially

at the range of values within the darker areas. Varying
the darks makes a much more interesting painting
all the values

than
STEP 4

if the

shadowed areas were

all pure black.

Where the brightest light is falling in the painting, Deichler has carefully
modeled each form. In the shadowed areas, she simply suggests the
forms and details, and that suggestion is enough to complete the image.

Light

and Shadow

Values

51

Chapter Five

UNDERSTANDING COLOR PRINCIPLES

The Basics

Color,
a

like

many other

basic structure

things, has

on which more

Hue, or Family of Color

Most colors are not bright and intense,

complex concepts are developed. Un-

falling

derstanding and using

sity

this basic struc-

and mix

ture will help the painter see

good

color.

and More

somewhere between

and complete

inten-

full

neutrality.

However,

every color belongs to one of the six

basic color families.

By determining

the family to which a color belongs,

The Primary Colors

All color,

how

subtle

it

eliminate the color families

appears to

viewer, originates in the three primary

colors

yellow,

red and blue. At equal

distances from each other

circle,

belong

to.

This approach

is

more

helpful in mixing the

it

does not

especially

neutral

grays that are difficult to identify.

on the color

each of the primary colors can

be expanded through mixing with one

Although the primary colors can be

mixed

to obtain the

secondary colors,

of the other primaries to create the sec-

pigments can mix. For instance, no

gle red

and

vio-

The primary colors together with

the secondary colors

make up

the six

basic families of color. There can be

no

more new families of color made beyond the secondary colors. However,
the six basic colors can be

gether to

make

mixed

to-

different variations of

it

is

come up with blue-greens. If there

enough mixing of adjacent colors, an

to

unbroken, continuous ring of hues

be made.

will

primary

blue.

sin-

cadmium

red light to

alizarin

crimson

or magenta to mix the violet. The yel-

lows and blues also are limited

ing but not as

much

in mix-

as the reds.

Cobalt

blue could be considered a true blue,

liant

yel-

to use a

mix the orange and an

yet

make

and

pigment can mix into both an

You have

these colors. For instance, green can be

to

colors yellow, red

intense orange and an intense violet.

mixed with more yellow

low-greens, or blue can be mixed with

All colors originate from the

there are limits to what the actual color

ondary' colors orange, green

let.

di-

rection to follow for color mixing. First

no matter how complex

mixture or

you

have a dependable and helpful

will

will

it

not mix an intense and

yellow-green

like viridian

and cadmium yellow

mium
it

yellow

light

is

bril-

green

pale. Since cada

warmer

yellow,

mixes better into an intense orange,

while the cooler

cadmium yellow

pale

The yellow, orange, red,

violet,

blue

mixes into the greens.

six basic colors of the color wheel.

mixed
unbroken ring of hues will

If adjacent hues are

52

Basic

Still Life

and

green hues or families of color are the

together,
result.

Techniques

an

rn
Different colors can have the

same tonal

Tonal Value

cooler without drastically changing

Even- color can be placed

on

value.

somewhere

make

tonal value can

its

its

surface ad-

vance or recede.

a dark-to-light tonal-value scale.

Only the values of black and white are

without color because they are too

Intensity or Saturation

dark or too light for color to be seen.

Since

Even the

pear intense or bright,

lightest

yellow

is still

darker

than white, and the darkest violet

lighter than black.

That

is

why

is

many

we

color

colors in nature

see

neutral gray

the

is

do not

much

ap-

of the

somewhere between
a pure intense hue. To

and

darker color pigments of ultramarine

mix these subtle

variations, a painter

blue deep and alizarin crimson appear

must reduce the

intensity or saturation

to brighten

white

when

added

is

them out of

Many

a small

to lighten

their

different

amount

of

of a pure hue.

A fully saturated color is at

and bring

deep darkness.

est

and opposite colors

you mix

and

its

at its greatest intensity.

bright-

The intensity or saturation of a color

When

reduced by adding

a completely different color

can share the same tonal value. This

with

helps to unify a color arrangement by

Colors that are opposite on the color

holding or grouping different things

gether.

Common

to-

or close value rela-

it,

a less intense color results.

circle are ideal for this

being changed.

model using color temperature. Mak-

site is

warmer or

yellow was added to

blue to orange,

is

opposite. Here,

violet,

red to green,

etc.

purpose be-

cause they contain none of the color

tionships also help the painter to

ing a form's color slightly

its

added

If

enough of an oppo-

to a fully saturated color,

they will produce a neutral gray.

Reduced

Full Intensity

tiderstanding Color Principles

Intensity

53

Learning to See and

Mix Good Color

Hue
Seeing and recognizing the correct hue
or family of color

mixing
is

is

the

step toward

first

In this picture, the red family

it.

used because that

is

the basic color

of these apples. Grays blended from

red are used as a background for support and balance to the stronger red in

When

the apples.

always put in

starting a painting,

some

of the background

next to the main subject. This makes

it

easier to see the subject's correct color.

Premix

all

the colors

on your

palette to

use as base colors for blocking in

first

stage.

They

will also

this

provide you

with beginning color mixtures for fur-

ther mixing.
I

Value
Only by using value can you construct
form and create a feeling of

light.

^^^^^

Be-

cause some edges are hard and some

are soft, the

round surface of the apples

shown.

is

clearly

is

painted into the

Some

gradation of value and color

background

first flat

for interest

same family of red

and

in the

unity.

to

still

gives

The

background

grays pulls the picture's color

together but

H^^^^^^_

colors of the

harmony

enough contrast

enhance the red apples.

Intensity
Variation in color intensity along with

warm and

cool color contrast give this

picture

final

its

appearance. The way

color looks in a subject always depends

in part

warm

on

the color of the light. With a

light, as in this picture,

ange-red color
lighter areas,

is

an

or-

introduced into the

and the shadows become

darker and slightly cooler. Strong highlights

help to complete the round form

of the apples.

54

Basic

Still Life

Techniques

_^^fl

The Palette and the

Color

Wheel

Since there are only six basic families

of color, placing your color pigments

appear on the

on the palette

as they

color wheel

an excellent way to see

is

with each other. As

their relationships

long as a definite color family can be

seen in a color pigment,

place and relationships

its

on

proper
the circle

can be found. Intensity or brightness

of color in a pigment has nothing to

with

its

same orange-red

rosa can share the

place

red

do

placement. For instance, terra

on the color

light. In

the

circle as

cadmium

same way, the very cool

Lay your colors out on the palette just as they are positioned
on the color wheel for easier mixing control. Keep the war-

mer yellows and reds on top and the cooler blues and greens
side. Place your white in the corner.

on the

ivory black shares a place with cobalt

blue.

Any color pigment belonging

the blue family will always give

kind of green

when mixed

to

some

with yellow

Cadmium
Light

family colors.

Placing your colors

this

manner helps

color mixing.

If

on the

give

Yellow
Pale

Yellow Ochre

palette in

you control

Raw Sienna

in

warmer yellow and

placed together on

the

red pigments are

one side of the palette and the cooler

green and blue pigments on the other
side,

Burnt Sienna

Viridian

Green

then the color pigments are in the

basic relative position they are

on the

color circle.

Cadmium Red

Cerulean Blue

Light

Cobalt Blue
Terra Rosa

Ivory Black

Venetian Red
Alizarin

Crimson
Ultramarine Blue Deep

can be placed somewhere on the color wheel. Several color pigments

can share the same place because they are basically of the same color family.
By having color pigments on your palette that are both warm and cool and knowing their relative position to each other on the color wheel, much more control is
possible in color mixing. Ifyou want a bright and intense color, you must use bright
and intense pigments. If you want a grayer version of the same wheel, add a little
All color pigment

pigment from the opposite side of the color wheel. When choosing pigments
together, first determine their position on the color wheel.

Understanding Color Principles

to

mix

55

DEMONSTRATION
Rich Color With a Limited Palette
The Palette
Joni Falk normally sets out a
palette.

She mixes

be used

for

a variety of grays to

warm and

variety of purples

are several greens,

cool variations.

is

also prepared, as

all

keyed to colors

she sees in her subject.

holds Winsor
her favorite

&

fairly full

small pan

Newton's Liquin.

While Falk usually uses fresh flowers in

her arrangements, she has selected this

It is

arrangement of dried and silk flowers

its ability to last the extended time

for

medium because

it

gets

of the demo.

\t

tacky quickly, which allows her to lay

color

on color and blend tones without

the base layer.

lifting

STEP

Initial

Lay-In of Color. To start with,

Falk coats her canvas with an olive

green/burnt sienna wash, thinned with

Turpenoid. While the paint

is still

wet,

she dips her brush in the solvent and lifts

out areas where lighter flower petals

will be.

As she wipes out the flower pet-

some of
same col-

she also begins to rough in

als,

shadowed areas, using

the
ors.

the

The composition begins to emerge.

thumbnail
monochromatic "sketch"
enables Falk to concentrate on values
This serves as the original

sketch. This

and composition without concern for

color at this early stage.

Compositionally the two large pop,

pies are the center of interest. There will

be whites for a crisp look, establishing

the lightest values,

and

little

highlights

of yellow, the complement of violet, for

color contrast and sparkle.

STEP 2

Blossoming Out. Plunging right

tones both poppies dark

in,

Falk

violet, the paint

layer kept as thin as possible to keep

it

workable. Then, coming back over each

shades of Un r
touch of green is

petal, she blends in lighter

premixed violet. A
added at the center of each blossom.
Gradually, she builds up the pattern of
lights

and darks

she sees in each petal,

brushing in a variety of violets some

warmer, some cooler to maintain visual

56

interest.

Basic

Still Life

Techniques

In finishing the painting, Falk has

Fallen petals have

up

been placed on

smooth

groups of yellow (lowers have been

adjusted the tablecloth to a cooler hue

the cloth to break

and highlighted the bowl by making

panse. They stop the eye, moving the

ochre to keep them out of the high-

viewer's attention to the highlights of

lighted value range

warmer. Warm, pink reflected

glows

it

light

shadows on the right half

it from disap-

in the

of the bowl, preventing

pearing into the foilage or the back-

ex-

added, properly subdued with yellow

the bowl, then upward, as the artist

the arrangement.

intends.

green leaves

Color intensity has been increased

on some of the

ground.

its

irises,

and

few more

catch the

at

light,

and

A few

to

round out

bright yellow-

the far right and

coming forward

left

againsi

the dark background shadows.

STEP 3

Defining the Value Range. Mixing

in-

digo with Indian yellow, Falk begins

scrubbing in dark leaf masses around

the poppies, establishing the darkest val-

ues that will appear in the painting.

With these darks in place, she moistens her brush with Turpenoid and begins
lifting

out some of the daisy petals that

brushed in with white, just

will later be

suggesting them at this point to see

she likes the

how

effect.

Using white, with just a touch of

ochre. Falk begins

brushing in the fore-

ground daisies, noting that these

a warmer white than the bowl.

will be

Falk has learned to limit the greatest

contrast to about a third of the surface,

allowing the rest of the painting to lead

up to it. That one-third can be a horizontal or vertical pattern that

moves

through the painting.

STEP 4

Establishing the Color Dynamic. The

flower bowl, which will be the largest

mass and the

ing, is

white
ing

lightest

value in the paint-

now brushed in
and warm gray.

shows through at

with shades of

The underpaint-

this stage.

The right side of the bowl becomes a

bit cooler,

as

its

edge becomes lost in the

dark tone that she

now adds

as the

added and
blended with the shadow tone, and the
background is extended upward and

shadow. Yellow-green

is

around.

Dark red-violet is now scrubbed in to

form the two flower masses at top left
and top right center, and blue-violet is
added for the four smaller blossoms.
Understanding Color Principles

57

STEPS

Defining Flowers. Working across the

painting. Falk begins to define individ-

ual blossoms, extending the composi-

upward and out.

tion
lets

at

r ight

center

is

Tlje cluster

roughed

in,

of viothen

and center. Falk

prefers to work on shadow areas first,
coming back with the lights. This way
the irises at top right

she can easily manipulate the full range

of values.
The bright light striking the picture
the highlight

on

ward through
then

left to

the poppies, curving right,

the

background at

softening values at
vertical

is

moving up-

the bowl,

left

and

top.

By

right, this

emphasis will become even

more important as

the painting prog-

resses.

Purplish-grayed whites are used to

lay in the flowers at right,

and more

shadow-toned petals are added

to the

daisies at center. Highlight-white brushstrokes bring

ward

some of these petals for-

to create the brightly

lit

daisy at

left.

STEP 6

Bringing

It

Up. With basicflower shapes

established, Falk

adds dark green values

between the masses, working all over the

canvas. Scrubbing in leaves
ery,

and green-

she establishes a rhythm of dark

masses that travel horizontally across

the canvas.

Continuing outward, she adds the

lighter-tone flower at top

left.

Tfjen,

standing back from the painting, she decides that the

poppy petal values need

rethinking. The artist reevaluates

and

adjusts the values in each area in relation to those just developed

58

around

it.

Basic

Still Life

Techniques

STEP 7

Dealing With the Background. Before

detailing any

more of thefoliage around

the perimeter of the

arrangement, Falk

turns her attention to the background.

grayed, dark violet

soft,

is first

Blended with a
mid range grayish green it becomes

scrubbed in at top

lighter
tions.

as

it

left.

widens out

in

both direc-

Falk scrubs her background right

into the already

painted flower masses,

causing some to disappear entirely.

(They

11

be recovered

later.)

The area that will become the

iris

at

out of the background

with Turpenoid on a brush, then
top

left is lifted

brushed

with dark purple values.

in

Lighter shades of the violet are

and blended over

added

these.

With the background brushed

in,

Falk rebuilds the smaller flowers

around the perimeter. Then she turns her

attention to the varied greens of the
leaves and to the highlighted and shadowed daisy petals.

STEP 8

Add Dimension and Sparmade in

and color of all the purple

Highlights
kle.

Further adjustments are

the values

blossoms. Before beginning on the tiny

yellow flowers, Falk brushes

ery strokes in

soft,

feath-

a range of light greens into

shadow areas,

the darkest green

suggest-

a network offine stems and leaves.

Because the poppies and iris are so

ing

large

and

bold, the tiny wild/lowers,

added gradually,
in

both size

and

create a nice contrast

color.

As she paints the yellow flowers, Falk

continually goes back to other areas to
spot in white, pale violet

and yellow-

green highlights, adding bright sparkle

across the surface.

Understanding Color Principles

59

STEP 9

Heading for the Finish. More time was

spent on the background, intensifying
and wanning it at top left and darkenof it. Some
flower shapes have been developed,
ing

much of the

- s

show against

especially those that

of the

rest

uMr*

&

4n

too,

the

^HI^^HEbS^I^

**'.

m2 ^j^v*

'-

S-

background.
The painting
colored, so for a

warmed many

is

predominantly cool

warmer feeling, Falk

of the whites

and

the

background.
The process of highlighting

and add-

ing contrast to the surface with small

and violet has

and is beginning to

points of white, yellow

also been continued

-''"

-'r

Bfc>

create a bright outer "shell" of highlights

that sparkle against the inner,

shaded

core values.

Falk begins to detail the bowl, being

careful that

it

doesn't distract from the

floral arrangement.

The cloth

is

also

more fully modeled

now brightest where

it is

struck by

re-

flected light from the white bowl, disap-

pearing against the background in shad-

owed areas.

The Color Dynamic for lavender and Blue

The artist has played her monochro-

matic scheme against yellow-based complementaries. Greens

and

blues soften

the color contrasts.

60

Basic

Still Life

Techniques

--

-.

.'>." <.

Lavender and Blue

Joni Fa Ik
12" x 16"
oil

on canvas

Understanding Color Principles

61

Hopi Treasures
Joni Talk
12" x 16"
oil

on canvas

The brilliance of color in the kachina doll breaks it free from the restrictive confines
of the limited palette employed everywhere else in the painting, bringing this composition to

life.

The Taramara pot at

right, with its wonderful patina,

yellow of the onion as a secondary center of interest.

is

contrasted against the

Textural contrasts are also employed to advantage in Hopi Treasures, as textures

of blanket, flowers, basket

and kachina

of the onion and pot.

62

Basic

Still Life

Techniques

are expertly played against the smoothness

Petals

and Clay

Joni Fa Ik

5"x7"
oil

on canvas

The simplicity, directness

this

painting belie

and power

diminutive

its

of

size,

proving that miniature paintings need

be no less effective than their larger
counterparts. Strong contrasts in

size,

and color are the

keys. Sotice particularly how the
smoothness of both background and pot
shape, value, texture

contrasts with the rough-edged, brightly

illuminated: high-value, high-chroma

flowers. Tfjere can be

no doubt about

the

center of interest in this painting.

TalC_
Summer Radiance
Joni Folk
36" x 3(5"
Joni Falk
oil

on canvas

This

arrangement of Gerber daisies

appears to include every color

rainbow. In

reality, it is

color composition in intense

tones, with violet

contrasts.

and

in the

an analogous

warm

blue color

is formed by
and the folds of the cloth
moving upward to the pink

strong vertical

the fallen daisy

at bottom,

daisy at

top.

The viewer's

at the yellow daisy

on the

entering

eye,
left,

follows

the increasingly red blossoms to the

same pink daisy and

to the repeated

pattern of the daisies at

violet

right.

White and

blossoms further involve the eye in

a circular movement through the

bowl and dark

painting. The brass

bronze background echo the golden

daisy, confirming the

warm character of

the composition.

Understanding Color Principles

63

DEMONSTRATION
Building Color With Lines
Many

artists

use lines for the

drawing of their paintings, but

James makes
process

initial

James does not rub

to James's practice of

warm

Bill

line part of the painting

itself.

tal

to

create form or depth, but rather he

bouncing

colors against cool colors. Rather

ished piece. For example, the violet

vibrate against each other.

From

a dis-

tance, the eye blends the separate

up

dances with

vitality.

STEP

is vi-

In this

close the painting

in the

demonstration, you can see

main elements using

colors complementary to the color each

element will finally be rendered

in.

STEP 2

He works

in the

background to get a

bet-

of how the subject matter is

progressing. Before doing the final renter idea

dering on the vases, he draws the flow-

ered pattern

and

shadow and

color separations on the

also indicates the

glasses.

64

Basic

Still Life

and pink
vase are

Techniques

first

still

used

is

to the fin-

to outline the large

visible in the finished

painting. In James's work,

color

James draws

add sparkle

bright colors to

strokes, but

leaving individual strokes of color

outlining objects, he uses strong

than blending strokes to achieve

the elements being drawn.

down and

when

grayed colors, he allows the colors to

uses a series of color strokes to form

This technique of laying

James's imaginative use of color. Even

no stroke of

"throwaway." Every single

line helps build the final image.

STEP 3

James

starts

working

in the color

on the

vases. Notice that

because the colors of

the vases themselves are on the warm
side, he did the initial drawing in complementary blue and green colors. He
also started working on the color of the

table.

STEP 4

He

continues rendering the table

starts

adding color
left

completed. Final

touches are

is

corner

is

added

to

really jump out at you.

Blue

and Gold

Bill James

18"x27"
pastel

nderstanding

<

olor Principles

is

in,

added to all the elements in

More complementary color
make the subject matter

the painting.

Still Life in

worked

rug in the lower

and

the table

and

to the glasses. The

Chapter Six

SPECIAL TECHNIQUES
For Some Difficult Subjects

This chapter covers only a few of

many techniques you

the

using in

still-life

the ones

painting but

will

most often asked about.

will study

be

some of

We

techniques for painting both

transparent and reflective surfaces in

oil

and watercolor, which can add

touch of mystery or dazzling sunshine

to a composition.

We

will also

look

at

good, solid techniques for handling

oils

with brush and knife. Once these

skills

well

have been mastered, you'll be

on your way to creating satisfying

compositions.

STEP

STEP 2

Study the vase and look for color in the

water.

Work on a dry surface and paint

in the lightest values, letting the colors

Look for darker shapes within the

vase.

and colors you see

and paint them freely. Here, Jan Kunz
Use the darker values

painted around the stems because their

sunstruck side is lighter than the back-

flood together. Let them dry.

ground. If the stems had been darker,

she would not have avoided them.

Transparent Surfaces
Watercolor
Glass vases and jars

may appear

cult to paint, but they

ingly easy.

The

trick

in

is

diffi-

can be surpristo think of the

shapes you see within the vase or

jar as

just that: a collection of shapes that

can paint one

you

at a time.

The cut crystal vase on the next page

appears more complicated than this
plain glass vase, but the painting

method

is

the same.

/A

STEP 4

Mix a

light-value puddle of cobalt blue.

Use a clean brush

Now

it 's

time to

add

the stems

leaves within the vase.

Kunz has

and

You can

color on the

see that

Finally,

tried to be fairly careful with

ter

these shapes.

66

and a

light

touch to

paint over the entire vase, adding more

STEP 3

and a

shadow

lift

stiff brush.

lights follow the

Basic

Still Life

Techniques

side. Let it dry.

highlights with clean wa-

Be sure the

contour of the

high-

vase.

V%ir
V

~5-

t:

\^

STEP

-.

STEP 2

Working with a fully loaded brush, begin on the left

side of the vase with a pale passage of Winsor blue.

natural stopping places. Reproduce color and value

Warm

ing blues with rose madder.

the color with ultramarine blue as you

approach

This vase

is

divided into faceted surfaces, providing

us-

the other side.

STEP 4

STEP 3

Begin to suggest leaf and stem shapes,

making them extend from one area

now and

to the next.

then

Add the dark accents along

the edges of the faceted sur-

faces. Light streaking through the glass - created by

ing pigments from the previously painted

lift-

shadow -

creates soft-edged designs.

Special Techniques

67

Reflective Surfaces in
Watercolor
Successful painting

is

largely

dent on training your eye to

need

to forget

not

make

you see before you.

in reflective surfaces

may

sense, but they define the

surface of the object

You can do
STEP

You

what you know and

paint the shapes

The shapes

depensee.

it,

and

you are painting.

it's

fun!

Carefully

draw

shapes you

the

cup and include any

may see.

This teacup

is

cream

colored. The vertical side facing the light

is

toward yellow, but

the horizontal sur-

face of the saucer is more toward green.

Let these first washes dry.

STEP 2

The shadow shapes are four values

darker than the sunny

side.

They

may

possess strange shapes, but be as accurate as you can.

Make them appear

to

follow the contour of the surface. Notice

that the interior of the cup receives reflected light from the opposite side.

STEP 3

Now for

the fun part. Paint the extra

squiggles

shadow

you

see within the large

shapes.

Add

the gold trim using

burnt sienna, new gamboge

and aliza-

rin crimson.

68

Basic

Still Life

Techniques

Reflective and Transparent

Objects in Oil
There are no set rules for painting
flective

to

re-

or transparent objects except

keep squinting and looking. Any-

thing reflective or transparent collects

is around it, as the examples on
page and on pages "0 and 71 show.

what
this

Detail of Red

and White by

Moran. Every time you paint there is

vase with its opaque pinkyred top would have been painted in a completely different way in a different
setting. Transparent objects take on the tones of their surroundings and
a new

set

of problems to

Patricia

solve. This little glass

therefore look different each time you paint them.

Detail of

Chrysanthemums

in Oriental

Vase by Patricia Moran. Same

vase with a completely different set of tonal values. Glass seems so hard to
paint because there is often a very complicated pattern of light and dark,

some of which is on the surface as reflected light, and some of which is

around and behind the object, visible because of the transparency of glass.
The only answer is to simplify by squinting until only the most important
tones can be seen, and then paint what you see, not what you know.

special Techn iques

The pictures on

this

page are details of

paintings by
Patricia
in

artist,

Moran. as seen

her book. Painting

the

Beauty of Flowers

With

Oils.

Detail. Reflective objects "collect"

their

surroundings by reflecting

them. Ifyou tried to define the silver

pot

better,

more

with harder edges or a

"silvery" color,

you would ac-

tually be losing the likeness rather

than getting

picking up a

lot

and isn

't

would look completely

it

was

the

know

same jug. You're not painting jugs; you're

highly polished, so

it

isn 7

of its surroundings.

Detail. This polished copper pot

low-rose color.

as direct

Remember

light. It s like

is

Basic

Still Life

Techniques

picking up some of the yelis not as bright

that reflected light

moonlight compared

the reflections belong to the object

70

different

with the tulips or a different setting. You wouldn 't

painting tonal patterns.

closer.

Detail. In contrast to the silver coffee pot above, this copper

teapot has aged beautifully

Detail. This glass jug

to sunlight

and don't just

sit

Be sure

on

it

WFM
*
?^t

Wr

K
STEP

77;/s

step-by-step

STEP 2

Moran.

First,

a detail of a demonstration by Pat

the soft, nondecisive tones have been
is

placed.

Using oil

same

''

.*

WW

medium and establishing

the darkest darks.

The flowers are one step ahead of the vase. Notice that
the glass vase and the bowl are progressing at the
rate.

JN
STEP 4

STEP 3

A little more work on both

the

bowl and the

vase,

more

measurement, reassessment and adjustment. That is,

more rubbing out and putting in again' Ellipses can

Completed. If the vase looks like glass and the bowl

looks like china, it's because the artist painted what

was observed tone, edges and proportion.

be a problem.

Special Techniques

71

,.

Surfaces for Pastel Painting

These three

show how

by Richard Pionk

still lifes

the type of surface can affect

the finished image. In Bittersweet

and

Apples on Canson paper, the color has

an overall smoothness to

it.

and the

val-

ues tend to stay in the middle tones.

Working on

gessoed board for Re-

flection, Pionk was able to underpaint

to get greater value contrast

the stronger

shadow

notice

area. Also, the

board gives greater texture to the pastel

strokes, creating a

more

interesting

surface texture.
In

Grapes and Apple, he was able

get the greatest value contrast

paper; the luminous grapes

bounce

off the bottle.

to

on sand-

seem

to

Because sand-

paper grabs the pastel and holds many

layers of pigment,

to build

it

enables the

up intense color

artist

that rivals the

finest oil paintings.

Bittersweet

and Apples

(top)

Richard Pionk
19"*24"
pastel

and Canson paper

Reflection (middle)

Richard Pionk
I6"x20"
pastel

and gessoed board

Grapes and Apples (bottom)

Richard Pionk

9"xll"
pastel

72

and sandpaper

Basic

Still Life

Techniques

Using the Brush With Oils

How well you know your brushes
determine
is

how

well you paint.

sample of brushstrokes by

Joyce Pike.

lowed
will

Below
artist

For the scrubbing stroke,

load a brush with paint thinned to the

best consistency for your purpose.

To

ground, use a no. 10 or 12,

bristle

or long-

brush; each gives a slightly

You

ferent finish.
to

flat-

will

need

dif-

to practice

determine what you want and

where. Contrary to

common

best coverage occurs

part of the brush
vas.

is

when

it

and

for

dripped
is

down

hard to describe a brushstroke, so

interesting for

some

low the steps

strokes add

back-

to see

up

how many

grounds. Leaves are often painted us-

As you prepare to paint, you

ing a loaded no. 6 brush. Faint leaves

to follow a pattern; putting the

with a direct straight stroke as you see

fore the horse can result in

in the

brush-

will

a controlled

sometimes

uncorrectable problems. Following a

make

simple procedure can save time and

leaves, don't

realistic leaf

rendered

A more

prevent

many problems.

shape can be formed with

scrubbed stroke. Stems and leaves

are best painted with a rigger.

Better Brushwork
Demonstration
In this step-by-step by Joyce Pike,

drip,

where a large amount of turpenwas mixed with the paint and al-

will see

tine

this

STEP

how

you

to paint a single object, in

case an antique pitcher.

It's

very

scrub in a light tone with turpen-

First,

tine-thinned oil paint. The brushstrokes

are purposely

random at this point to

and a neutral founda-

provide a tone
tion

on which

brush,

draw

to build. With

in the outline

carefully, starting with the

and being especially

a small

of the pitcher

plumb line
draw the

careful to

ellipses correctly.

STEP 2

of the canvas with

adding darks and

Softly hit the surface

the brush bristles,

need

can be-

green area of the sample. For

shape, but use a straight stroke.

fol-

to a finished painting.

belief, the

the thin

touching the can-

One example shows

distant areas

most

cover larger areas, such as a back-

to pattern as

the canvas. This effect

lights to the pitcher.

Here

Special Techniques

is

a sample offoyce Pike's brushstrokes.

STEP 5

Load

y4

the brush with a dark mixture to apply the

background with loose and easy strokes. Think
about creating lost and found edges as this dark

STEP 6

meets the light of the pitcher.

brush.

Basic

Still Life

TJje

shadow

cast by the pitcher onto the white cloth

using a scrubbing stroke to use the full

Techniques

is

placed

amount ofpaint

in the

STEP 8

STEP 7

Here you can see how

found

brushstrokes.

to soften

an edge

to create lost

and

Add

the decorative trim using a thin application of Grum-

bacher Red with a no. 2 long

of the

rosettes. If some

bristle brush. Suggest

of your lines are a

little

only a few

weak, don't

worry. The eye can fill in softer areas.

STEP 9

make a finished
painting- that would defeat the purpose of practicing. Here
you can examine the loose, direct brushstrokes.
Practice subjects are just that. Don't try to

Special Techniques

75

Using the Knife With Oils

place

Knife work can be added to any paint-

pull

ing. It's a

good way to make a strong

The knife can be used, often

it

directly

down

edges are a

better than a brush, to apply clean

laying the knife

have painted

If

you

gray background and

moving the

paint off the knife onto the canvas.

statement.

paint over a spot of bad color.

on the wet canvas, and

or push up,

lightly.

sharp, soften

little

flat

too busy.

If

them by

and scrubbing

This blends the edges into the

background.

It's

best to

when adding

brush can work together as

add more

knife strokes over a dry surface will give

the brush. For

this,

load your knife,

beaded

stroke

effect.

Do

if too many

this

with one

strokes are placed

In this study, the loosely painted petals were placed in with

and knife. The initial lay-, n was done with the

and a few overlaid strokes with the knife created some

both brush
brush,

finished petals.

76

Basic

Still Life

knife

where the
and the brushwork on the backlightly soften

ground come together. Knife and

wet, but there are times

color, the knife can fre-

brush and

work wet on

wish to break up negative space or just

quently do a more interesting job than

manner, the

effect will become

You may find it necessary to
soften some edges when knife work is
added wet on dry as well. If so, take a
in this

Techniques

a team.

Learn to handle both and determine

for yourself

where each

is

best used.

Practice study of blossoms

done with

the painting knife.

Practice using the knife for flowers with only a few blossoms.
First,

paint the darker center areas of the flowers with your

lily. Pike used alizarin crimson. With a knife

brush. For this

loaded with Weber Floral Pink plus a touch of white, she used
single, direct knife stroke to create each petal. TJje brush was

also used to suggest stems

and

leaves.

of the leaf pattern were added with a

Most of the background was brushed

on. The overlay stroke

was applied directly with a knife

and preserved by not overmixing.
with touches of cerulean blue

Special Techniques

A few finishing touches

knife.

Chapter Seven

DEMONSTRATIONS

IN OIL

DEMONSTRATION
Beginning With a Neutral Tone
For the

first

demonstration, begin

Many

the painting in a neutral tone.

tonal realist painters begin this way,

and

it's

good way

you are painting

jects,

to

understand that

a light effect

on ob-

not the objects themselves. Alter

the light source and a different pattern

of lights and darks will appear.

To

method, squint your eyes and look

the subject.

leaving the light areas

untouched on

the white primed canvas. The

28"x36"
oil

79,

you

at

Then with one neutral

Pastel Shades

see the steps that led up

to this full-color painting. Color

your eyes

midtone, establish the shadow areas,

Pat Moran

On page

will explain the object.

paint the block-in with this

and

detail were added, but the tonal values

have stayed consistent with the neutraltoned block-in.

Basic

Still Life

Techniques

shadow

fully

If

you mix with

open, the local color will

take precedence over the tone. Re-

member, the correct tones

mary consideration

are your pri-

in establishing the

truthfulness of a subject. Think tone.

STEP

STEP 2

Here, one neutral midtone has been applied for the

The darkest darks are added, again in a neutral tone,

shadow area, and a vase offlowers is already appearing. You can see how the shadows explain the object.

and
to

become

no mistaking what's beginning

is

a tonal picture.

Now

to take

these tones have

color.

STEP 4

STEP 3

By observing from

this

and keeping the

colors, you will be

standpoint

eyes half-closed while mixing the

able to see the tone take precedence over the local

color.

there's

shape. This

As you add some local

color, take care that the

Here, stand oil

is

added to

the turps,

and

the darkest

darks are established. You can see that there is a dark

green and a dark purple; different colors, the same
tone.

tonal value of the color matches the tonal value that

you

see with

your eyes

half-closed.

Demonstrations

in Oil

79

DEMONSTRATION
Fruit With Luster

the luster a gaily decorated piece of art

merge slightly with the background.

They are softened, yet still visible.

commands attention. What do you do

when your subject is bright and colorful? How much can you safely say with-

glass.

Touches of the

out becoming gaudy? In this setup, the

and

This painting

is

busy with

sorts of

and (lowers. Color also obviously

fruit

table full of cut

and whole

with rich color. With so

the

all

fruit, a

fruit is alive

much

color in

strong color was needed in

the flowers.

The one

luster

is

ruby glass

glass, the

red showed through, making

In the finished painting, unity

achieved by tying together the values

colors.

The darks

STEP

is

ways need to

ing

it

is

strongest in the

delicious to look

at.

fruit,

mak-

A few flowers

seen

di-

details

do not albe strong and glaring;

subtle compositions can be even

merge with the background, allowing

in

vice

loose and

everywhere except where

The color

more

exciting.

forward. The white vase and lus-

STEP 2

artist

intended

to use bright colors, she

didn

't

The composition

apply a wash or a toning but went directly to areas of thinly

applied pure color. This shows how the colors will relate in the

out the color

finished painting.

or finishing.

80

The brushstroke

are strong. Compositions

come

Because the

rect

fruit colors are

and background, and

together with the darks in the foliage.

When

in the

versa.

in the fruit tie

the ones around the focal point to

was etched

the flowers

is

under an overlay of white porcelain.

the design

ter

Basic

Still Life

terns.

The easiest

Techniques

is

established by securing all the dark pat-

way

to see

where you are going

and composition first,

is

to

work

before you consider detail

carefully placed so detail

work can be

started.

Fruit With Luster

Each object

Joyce Pike

24"x20"

Keep stepping back to take a good look at your composition

as you paint to make sure you don't go too far. This painting

oil

is

is

alive with color,

maintain the busy

warm dominating
look the artist

cool.

point: The strongest dark-and-light contrast

foliage

is

near the

Brushstrokes

wanted. Note the focal

is

where the dark

light flowers.

Demonstrations

in Oil

81

DEMONSTRATION
Iris and Hat
As the

artist

selected objects to go

with a beautiful hybrid

iris,

she

first

considered color. The blue-violet back-

ground drape and the blue Spanish

shawl on the table are major elements
in this painting.

hat

The pink ribbon on the

in the background

and pink tones

tie in

with the light pink-violet

iris.

The

three yellow irises in the bouquet are

a

complement, repeated

yellow hat.

in the gray-

The jeweled box and pearls

add animation by giving the eye

a place

to go.

STEP

STEP 2

Toning and Sketching. A wash of dominant and complemen-

Lay

tary colors

without

is

applied using paint thinned with turpentine

In.

Each object
detail.

is

laid in according to shape

loose, direct

and

color

brushstroke keeps things from

and allowed to drip. Tints of color are suggested where the

objects may be placed. Allow the canvas to dry about fifteen

looking finished too quickly. This approach will allow you to

minutes before starting

sure all colors

to sketch, then sketch the

placement

be more selective with detail

of each major object in a simple but accurate drawing.

82

Basic

Still Life

Techniques

and

and

also will allow you to

values are working

make

Iris

STEP 3

and Relating Objects. Your eye

darkest dark and lightest light come to-

Selecting the Focal Point

will go to

where the

gether. In

a floral

arrangement

still life, this

itself.

should be within the floral

40"x30"
oil

If all other objects are closer in value, this

focal point can be seen first. Here, the light

point. The composition

is

planned so

iris is

the eye

a focal

moves down

to

the hat, then to the pearls, completing the trip through the

painting. The drapes

of color or value.

and Hat

Joyce Pike

and subtle

objects continue the balance

The color and value balances are set. At this stage, as long as
you don't make major changes, you can finish as much or as
little as you wish. Step back frequently and take a good look.
It's a mistake to start having such a good time that you forget
to check how you are doing.

Demonstrations

in Oil

83

DEMONSTRATION
Pretty Bouquet
This setup was used for a
lesson.

workshop

selection of several flowers

makes up

a pretty

roses, daisies

and

violet gladiolus,

bouquet: mums,
a

few

one

and two on the table

stalks of red-

in the

bouquet

for color.

dark vase brings out the

light

The

of the

small porcelain pitcher. In the photo-

graph, you see a pink ribbon draped

over the gladiolus. The

to place

it

artist

chose not

in the finished painting.

Photograph of the setup.

STEP

STEP 2

Toning the Canvas. Toning the canvas first allows you to see
relative values more clearly. Using ultramarine blue thinned
with turpentine draws in the correct placement of each object.
Use an oil wash of red-violet grayed with sap green. Here the
dominant hue is violet with only a touch of yellow complement, seen in the centers of the daisies
hues throughout the painting.

84

and used

to

gray all

Basic

Still Life

Blocking

what

In. This

part of the painting process will let you see

when completed Ttoe only thing

the painting will look like

missing

is

the detail.

Each object

is

blocked in using correct

and value both in shadow and light, keeping shadows

and lights u arm Always block in flowers with stronger

color

cool

and darker

Techniques

color to increase contrast.

Pretty

Bouquet

Joyce Pike
24" x 18"
oil

Now detail can

or colors.

be added without changing established values

Work first on the white daisies against the dark green

foliage. They are the focal point.

Develop each remaining

Some flowers are only suggested.

The vase holding the bouquet is almost lost to make the small,
blue-violet pot and porcelain pitcher come forward.

flower relative to the

daisies.

Demonstrations

in Oil

H5

DEMONSTRATION
Setting in the
Look

Yard

for a comfortable corner of

your yard where setups can be placed

and models posed. Work with what you

have or add props. In the painting on
these pages,
eral rose

make

some concrete

bushes and

steps, sev-

a retaining wall

cozy area where chairs, tables

or even a blanket can be placed

on

ground and can become exciting

the

to

paint. Try using large pots of petunias.

Here, an orange tree in a large whiskey

barrel with rusty bands adds a lot of

character.

You can do a lot to arrange

The grass and sunlight

things yourself.
will

make

it

clear that

you are painting

outdoors.

is the corner ofJoyce Pike's yard where she sets up a lot

outdoor
paintings. There are many elements to help make
of

This

interesting compositions.

The contrast

is

strong to show the strong

bright lights hitting the white objects in

front of the dark foliage. The strong cast

shadow makes the composition complete.

up

The blue shawl in the chair breaks

all the white. The entire painting will

be cool blue-green with beautiful

lights that

summer

day, use

there are clouds, or

your lights

warm

On a hot
warm lights. When

touch the whites.

on an overcast day,

will be filtered, so

make them

cool.

86

Basic

Still Life

Techniques

Setting in the

Yard

Here, a few

more poppies were added

in the background,

and detail was added

to

added

to

Joyce Pike

the ones in the pitcher on the wicker table. The embroidered flowers were

30"x40"

the shawl. With a

oil

Once everything was complete, a few final touches of light were added on the chair,
table and matilija poppies, and the yellow centers were completed. When viewers

bit

more

look at a painting like

this,

refining, the wicker

they should

want

to

comfortable sitting in the chair in the sunlight.

Demonstrations

in Oil

and fruit were brought

to

a finish.

be a part of it, to mentally feel

Chapter Eight

DEMONSTRATIONS

IN

WATERCOIOR

DEMONSTRATION
Basket of Fruit
A basket of
for learning

fruit

how

is

a perfect subject

to paint

still lifes.

The beautiful forms of the

enhanced by

fruit are

their rich color

and pro-

vide an ideal challenge for the watercolorist.

STEP
/

nderpaint the basket with raw

si-

enna. Next, use a mixture of alizarin

crimson and cobalt blue

to

underpaint

the top edge of the basket that reflects

the sky. Use alizarin crimson to

left

do

the

side of the basket that's turned from

it dry. Suggest the form of

weave by moistening the area
with water and adding darker value to

the light Let

the basket

the individual vertical ridges.

2. Underpaint the yellow fruit with new
gamboge and the red fruit with alizarin
crimson. Remember to keep vertical surfaces warm and horizontal surfaces, or
areas turnedform the light, a cooler hue

88

Basic

Still Life

Techniques

STEP 2

Paint each piece offruit one at a time,

exploring the possibilities for capturing
color

and

want

to put white artist's tape

light

as you go. You might

along the

are hotter than horizontal ones.

Now

paint the apple, plum and peach, using

mixtures of alizarin crimson,
red,

new gamboge and raw

cadmium

sienna. The

rim of the basket to protect it. Let's start

with the orange in the front, using new

area in shadows should be 40 percent

darker than the sunny side. You can add

gamboge and cadmium red light to

make a rich orange color. Add alizarin

echoes the color to be found in the adja-

crimson to

this

mixture to

slightly cool

reflected light to the

shadow

side that

cent fruit. Remember, cast shadows usu-

have no reflected

and are 40 +

shadow area is alizarin

crimson with a bit of new gamboge at

percent darker than the areas upon

the base. To create the illusion of sun-

which they are

the top. The

light,

remember

ally

light

cast.

that vertical surfaces

Demonstrations

in

Watercolor

89

STEP 3

manner going from fruit to

and let
dry thoroughly. Then add the shadow

Work

in this

fruit. First,
it

paint the local color

side including the reflected light color.

Be careful of the edges where the sun and

shadow meet on the rounded surface,

and keep them soft.

is dry, add the

side

After the

shadow

cast shadows. The

crevice darks between the fruit are

combination of burnt umber and alizarin crimson.

90

Basic

Still Life

Techniques

STEP 4

Now finish the basket.

First,

some

in-

with hints of new gamboge to suggest

re-

and pat

OUt enough water to leave

flected light. Reflected light isn 7 very ob-

an open weave by using a dark

vious until you get something dark next

into the wet

to

it.

draw

Paint the detail on the basket loosely.

gest the weaving.

mixture of burnt sienna

and

alizarin

crimson. Treat the body of the basket as

a solid form, painting the areas turned

away from the light with alizarin crimson and burnt sienna. Use a darker
value of these colors on the shadow side

pigment on the basket and

the paint out horizontally to sug-

Begin with a very dark value mixture of

alizarin crimson and burnt umber un-

tail.

der the vertical straws. While the pig-

ture of the basket.

ment

is still

wet,

it

moist but not really wet. Dip your brush

detail sug-

side of the basket with

gesting

paint the

It is

not necessary to paint every de-

Paint just enough to suggest the

tex-

wash out your brush

Demonstrations

in

Watercolor

91

DEMONSTRATION
Casting Shadows
William Wright thinks of his
paintings as abstract designs of

dark and

light.

He

uses strong

backlighting to create long shad-

ows

that

become

as

much

a part

of the composition as the objects

themselves.

When

Wright chooses objects

for a setup,

that

have

he looks for pieces

range of forms and

He selects them with an

eye toward how light acts on
them how it passes through

textures.

glass, reflects off silver

bounces

light

or

and color

deep shadows.

In

some

"

Family Setup

into

William

of his

39"y>29"

paintings, he will even crop off

C.

Wright

watercolor

the flower arrangement and

make

the painting just about the

STEP

shadows.

very precise pencil

all the value

shapes

Wright uses traditional water-

drawing

lays out

and most of the

STEP 2

de-

tails.

lighter values in the areas

color techniques, working from

light to dark.

He

always starts by

painting the white objects

Now some of the key colors are painted,

first,

using

where sunlight

and shadow areas are defined

falls.

The light

from

the very beginning.

mixing several grays predominantly from cerulean blue with

touches of vermilion and raw

4*

si-

enna. As the painting progresses,

he layers stronger and darker

ors over each other to

.'J*'

model

form, saving the blacks for

col-

*r

9*

last.

^"^-W

STEP 3

More

colors are added,

and

those that are

already there are intensified.

STEP 4

Try working over a whole painting at once,

keeping the entire painting moving along at

the
92

Basic

Still Life

Techniques

same pace.

STEP 5

In the last step,

add

the darkest darks.

From

composition with
isolated bits of color, the painting becomes a cohesive

an intriguing pattern of light and cast shadows falling from

Demonstrations

the

in

window.

Watercolor

DEMONSTRATION
Designing With Black
Kendahl Janjubb specializes
cate, decorative

in intri-

images built of numer-

ous textured shapes. She works on

bal-

ancing the textures so the composition

will

the pivotal shape

the patterns that lead

into individual patterns. Values are cru-

She says that

if

the values are

off,

the painting will pull itself apart.

Jubb
is

is

away from or

integral part of her compositions,

by using black she

to

arrangement of

that form, using the

negative space

movement.

textures to provide

hang together and not break apart

cial.

and then develops

one of the few painters who

powerful dark value with

spect, she relies

on

it

lot

more importance.
as drama and uses

developing her composition, she

a weighty contrast to her intricate pat-

starts

with the focal point. She puts in

terns.

She sees the negative space

as

it

has. Black

makes other colors more

heavily to provide

gives the negative space

brilliant

an

*
J

*:

*y T4
STEP 2

Jubb begins with a careful drawing of

all of the shapes that will go into the

Working color by
the yellow

color, she

adds

all of the blue,

and green, and some of the

most of

red.

painting, including even the tiny shapes

that will be the pattern in the flowers.

She starts painting by completing all of

the

EXERCISE: NEGATIVE SPACE

pink petals.

Arrange

three or four objects into a simple

of each of the objects and

fill

all

still life.

Draw

the outlines

of the space outside the objects with

Do not draw anything inside the objects.

When the negative space and the objects are divided into black and white,
you can clearly see how the objects fit into the format. Are the objects balblack.

anced

in the

composition'

If

they are not balanced, do they need to be

moved, or could you add another object somewhere

to balance

94

Basic

them?

Still Life

Techniques

else in the

and

more depth

and more weight.

'?

STEP

of contrast. She uses black because

of the dramatic value

re-

In

/'

and

able to give the

Jubb sees value

unafraid of black. Although she does

treat the

is

composition

<*
STEP 3

Sow

with all of the colors placed in the

subject, she begins to

add black

to the

negative space. The flowers have a light

air)' feel

will

wJw\m.

cv

with white around them. This

change as she fills

in the negative

space.

July Arrangement With Peaches

Kendahljanjubb
25"*22"
water color
STEP 4

more

Colors get

intense

and

the flowers

look more dramatic as they are sur-

rounded by

black.

to this final image,

By comparing Step 3
you can see how

much more powerful

the composition

is

with black rather than white in the back-

ground.

An

element

is

gle peach

interesting compositional

the repeated shape of the sin-

and

the

group of peaches. Re-

peating shapes or patterns, especially

a design with

many

adds harmony

in

shapes or textures,

to the tonal structure.

Demonstrations

in

Watercolor

95

DEMONSTRATION
Daisies: Painting Reflective Surfaces
STEP

This demonstration provides an op-

portunity for you to paint several

flective surfaces

To paint any
may find it best

re-

wet-into-wet, using various blues to

along with flowers.

reflective surface,

create a pattern of color. Leave sev-

you

eral white areas for the daisies, but

to simply turn off the

logical voice in the left side of

darken the outer corners of the paper

your

to

brain and just

Begin with the background. Work

keep the eye within the page.

draw and paint what you

see.

Set

up

a stage to arrange a setting

for the flowers

ette

and backdrop. Your pal-

should include W'insor blue, cobalt

blue, ultramarine blue, W'insor green,

alizarin

STEP 2

As soon as the surface is dry, begin

painting the daisies. Darken the color

crimson, rose madder genuine,

W'insor red,

raw sienna and new gam-

around some petals,

to emerge from

boge.

pear

letting

them ap-

the background.

Next, develop the fold in the back-

ground drapery. Wet

then

add

the area

color, letting

and

your brush-

strokes follow the direction of the

fold.

STEP 3

Underpaint the lightest value of blue on the vase and lid. Add darker shapes
as they appear. To paint any reflective surface, think only of the shapes
see and reproduce them as carefully as possible. Use raw sienna, new
gamboge, burnt sienna and rose madder to suggest the gold color on the

you

cups.

96

Basic

Still Life

Techniques

STEP 4

Begin with the large vase. Paint blue-

green on the right side

and add a

cooler

blue toward the center. Use a fully

loaded brush and keep a wet edge as you

work across the surface. Paint around
the circular highlight
lar reflection.

Make

and

the rectangu-

sure the brush-

strokes follow the contour of the vase.

Add darker color as you approach

shadow

the

side.

The cups require a careful look. Ex-

amine

the color

and

the shapes you see.

Take them one shape at a time

and

they

become manageable.

STEP 5

Rewet
vase
is

the

itself.

background area left of the

Let the colors merge and be

demanding

too

much

drape back farther

still,

attention,

add

vase.

Use bold brushstrokes of color across the background

and

into the

one another. Now for the final appraisal. If the background drape
less important with a glaze of blue and rose madder. To s

lost in

make

it

leaves to intersect

(and break the

thrust) of the fold.

Demonstrations

in

Watercolor

97

Chapter Nine

DEMONSTRATIONS

IN PASTEL

DEMONSTRATION
Interesting Light in the Studio
Richard Pionk

is

New York

his studic,

beautiful

where he

still lifes.

sets

life,

paints

Using the traditional

method of setting up
working from

up and

the subject and

Pionk has

He

artist,

but he prefers to work exclusively in

maximum

is

especially interested in the

fects of light. In

one
ows

of French pastels, which he prefers for

structure the painting. Pionk lets

the light

come

and the
because of

source of unchanging

light.

The lower

window is blocked off to

light a downward direction as

from the

Pionk's interest in light

Another

give the

working from value

STEP

a skylight.

on

is

his

method

to color.

of

Working

builds

their softness

up

his colors

and

brilliance of color. In

between workings of
lightly

with

with strokes

fixative,

pastel,

he sprays

holding the can

about twelve inches from the surface.

He warns

that too

darken the
liberately
it

off

much

spray can

pastel. Occasionally,

he de-

darkens an area by masking

and spraying

it.

His thinking

the darker the area, the

is,

more drama.

STEP 2

and a fast gesture drawing

with me-

vine charcoal, developing objects slightly off center.

This pastel is painted on sandpaper.

Basic

and correct the drawing with charcoal, wiping outand smoothing areas with your fingers. Concentrate

Block in

dium

98

one of

a variety of surfaces, he begins each

Start with a triangle

is

the reasons his paintings have a classical look.

were coming from

the

The background is dark,

on objects gradually gets
it moves to the right.

part of the

if it

left to

light

brighter as

the north window, which provides a

in

to blocking in shapes of color.

He

section to another, and the shad-

focal point.

his studio

place shapes and values, and then goes

on

ment and

Pionk chose

painting with a charcoal drawing to

the eye follows the light, going from

control of the choice of objects, placelighting.

ef-

chiaroscuro painting,

lines

on the larger shapes, giving no thought

Stilt Life

Techniques

to detail here

STEP 3

Now start

with hard pastel, blocking in

the basic colors with corrections as

see the

you

need for them. Pionk often draws

his strokes from left to right to reinforce

the direction of the light.

STEP 4

Continue to fill in the large shapes with

hard pastel, using

and

light

the side of the pastel

pressure on the pastel stick,

working from dark

to

medium

to light.

Demonstrations

in Pastel

99

STEPS
Begin to pull out more objects by basic

shape ana" additional

color,

sharpening

more clarity. In the

some edges will be

up some edges for

finished painting,

hard and others soft, depending on

tion

and

loca-

lighting.

Melon and Grapes

Richard Pionk
15" x 15"

pastel

Give the surface a light spray offixative,

to soft pastels, giving only the

and move

necessary detail. Constantly have the

thought offocal point in mind (the large

melon piece). The dark grapes and

melon

slice act

as a frame to pull the eye

to the lighter, larger

background
shape

and

is

melon. The

given a rich balance of

color.

The single grapes are

added detail because of their

closeness. A final light spray offixative

given

is

applied.

100

Basic

Still Life

Techniques

you can see how Pionk merely sugsome shapes and carefully renders others. Those that
are closer and in more light will be more precise. For softer
edges, he either draws rough strokes ofpastel or blends the
Detail. In these details,

gests

stroke slightly with a finger.

Apples on Table

Richard Pionk
9" x

15''

a simple composition that focuses on the intrinsic beauty of each

piece offruit. There are no tricks or gimmicks in Pionk's work, only deft
craftsmanship combined with great patience and concentration
This

is

pastel

Demonstrations

in Pastel

101

DEMONSTRATION
Rendering Fine Detail
A passion for detail is the key to Jane
Lunds virtuoso pastels. Her still lifes
and figures go beyond realism in their
Lund works up
year on each painting, adding one
attention to detail.

to a
tiny

stroke at a time.

The various
up

layers of color are built

Rembrandt

slowly, beginning with

soft pastels,

then blended

with hard

in

spent

NuPastels. Quite a bit of time

is

sharpening the pastels with a

craft

knife in order to achieve the fine detail.

Lund does not use

tel

retains

its

fixative,

so the pas-

intrinsic softness. Careful

inspection of the surface of many of her

paintings will reveal the worlds within

worlds that she sees in each object.

Lund

likes to

work with

the subject

before her so she can constantly com-

pare the painted image:

Is

expressive of the subject?

each section

Do

all

tions balance with each other?

enough
all

sec-

It is

not

to paint every single detail, but

of these details must

work together

for a unified painting.

STEP

Lund

begins a painting with a series of

small sketches, one of which is enlarged
onto newsprint paper (top). The composition

and the scale of the painting is de-

termined. She then transfers this drawing onto Canson paper using a light

cobalt blue pastel. She refines the drawing with the light cobalt
eraser.

Lund feels

and a kneaded

that the light blue

lines are easier to see as the

painting

progresses.

STEP 2

Lund paints with

the painting upright

(bottom), one section at a time, usually

working from top

dustfall

and from

to

bottom

left to

to

avoid the

right to

have a

place for the mahlstick that supports her

drawing band.

102

Basic

Still Life

Techniques

These close-ups demonstrate the rendering of an object. In the early stages, Lund
tries to put in all the visual information she can see. This usually creates too intense

an image, so she softens it with a "glaze" of tiny

a more unified appearance.

Demonstrations

in Pastel

strokes that blend the details into

103

STEP 3

and jug, she

and pitcher. She wanted
to paint the squash and eggs early in the

After completing the squash

starts the eggs

painting so they would not spoil before

she

was able

to

complete them.

This view of Lund's worktable

some of the
is

shows

tools she uses. The craft knife

used for sharpening pastels

in the foreground. She

blades often

and also

like those

changes knife

uses the paper bor-

der of her painting for fine tuning the

points of chalk. The odd-shaped device
of the table is a car battery
which she uses to blow away

in the center
filler bulb,

excess pastel dust.

104

Basic

Still Life

Techniques

White

Still Life

STEP 4

Jane Lund

Lund continues to add one section at a time

30'//x29'//

composition. The final painting

pastel

because of the sustained concentration on details throughout the painting

is

until she has completed the entire

unified, despite the

piecemeal appro

process.

Demonstrations

in Pastel

105

Establishing Values

Working From a Black-andWhite Photo

we

As

Anything receiving

light

Translating Black- and-White

has a value.

Not only does an object have

discussed earlier, tonal values,

also has a

local or

degree of

the relative lightness or darkness of a

intrinsic color,

tone or color, acts as the skeletal struc-

lightness or darkness of that color.

it

The range and pattern of a

to Color
Without some kind of planning

for

tonal values, the pastelist often spends

much

time correcting and redoing the

upon which a painting is built. Just

there are many shades of gray, from

values are usually best determined in

achieve a balanced pattern of lights and

white to black, every color's shade has

the thumbnail or color/value sketches

darks that can be interpreted into

an equivalent gray value, from the very

that

ture
as

on

yellow to the darkest purple

lightest

very easy to see and interpret

tonal values in black

why simple

and white;

that

tion,

is

black-and-white photo-

graphs are an excellent tool for an

to use

when

make before working

a simple way to assign

artists

a pastel.

It's

value to the larger masses and then

close to black.
It is

many

picture's

artist

studying values. In addi-

photographs without color force

re-

painting. Planning values can help

color.

Rather than locking the

five to

There are also subtle value tones

You can then match

within light and shadow.

dark to go
to

go

in the lights,

in the darks

is

Knowing how
and how

light

an important part

of the versatile vocabulary of pastel.

artist into a

crop the scene

without wasting precious painting time

discovering problem areas, reverse day
night,

and explore the atmosphere

and emotions of

No two

a scene.

artists will

ever interpret a

black-and-white photo in precisely the

same way proof of the range of

ative effort that

On the
how four

cre-

simple photos can

re-

lease.

following pages, you will

see

skilled artists interpret

same source photo in a variety of

ways. Comparing their techniques and
the

results will

ness.

But

expand your own

first let's

look

at

inventive-

how

black-

Black-and-iihite photo reference for this section.

and-white value studies translate to

color.

106

Basic

Still Life

Techniques

a black-

a for-

working out color decisions.

thumbnail.

portunity to investigate techniques,

and

for

each value

approach to a subject, black-

light patterns,

work out

seven values. This provides

mat

and-white photographs offer an op-

change

helpful to

arrange or manipulate those values.

painters to explore their creativity.

specific

It's

and-white thumbnail in approximately

in

color values to

your black-and-white

The Artists' Interpretations

Because of the preponderance of darks

Tim Gaydos rearranged all the objects,

using a complementary color scheme,

and the crowded number of objects,

creating texture, and flooding the

most of the

artists

whose work is shown

in this section felt that

rearrangement

and selection of objects was

Jill

in order.

Bush created two versions of the

same scene. One,

a mysterious, shad-

scene with sunlight. Foster Caddell,

with a major rearrangement of objects,
created an intimate table scene with a

subdued

palette of beautiful low-key

color. Anita Wolff created a tactile,

owy rendition, while the other shows

a more tactile close-up of some objects.

glowing

Tea Time

Sheean moved the window and chair farther back from the
much deeper space than shown in the photograph.

Mary Sheean
15"

finish

by using multiple

each sprayed with

layers,

fixative.

table, creating

18i/4"

pastel on paper

Demonstrations

in Pastel

107

DEMONSTRATION
Enhance
Working on oversized, dark gray

Canson Mi-Teintes

pastel

paper with

Rembrandt, Sennelier and Grumbacher

soft pastels,

Tim Gaydos moved

the objects in the setup to obtain a

strong abstract pattern.

warm, subdued colors

STEP

He chose

to

evoke the

the

Mood

With Contrasting Values

feeling of nostalgia, quiet,

and the

tered light of the photograph.

He

light-and-shadow contrasts

fil-

arranged the crowded composition to

eliminate objects and introduced

elements into the

were designed
light,

pastel.

as the

in his

following: a

new

a 3"

The windows

white linen

natural

warm

only source of

since he seeks to create strong

brown wooden frame with

or alternately, a

liner,

wooden frame

with a 3V2"

gray outer mat and a 3/V' ivory

inner mat.

After

moving

objects

and completing

thumbnail value sketches, Gaydos

placed the drawing on the gray Canson

paper with charcoal. This

map

of color areas.

is

basically a
STEP 2

Next, he laid in darks

decided
light

to

make

and

a pattern and
dark to make the

lights to create

the lower right corner

pattern more interesting.

He postponed making

color

decisions.

STEP 3

Here.

Gaydos extended

the painting to the right for better balance

and reHe

versed the high chair back to the original position to promote rhythm.

decided on a

warm

color scheme

to the focal point.

108

Basic

Still Life

Techniques

work.

For framing, Gaydos suggests the

re-

and added

reds

and pinks

to gil e contrast

STEP 4

He continued changing and refining

shapes and colors. The colors in the curtain are light cobalt blue,

and

raw umber

a very light yellow. All the vessels

received more color in the light and

shadow sides. The brass was rendered in

Prussian blue, ochres, burnt umber. English red

and

olive green.

STEP 5

Gaydosfelt the vessels in front did not

have interesting enough shapes

to

hold

such an important place in the composition. He substituted a jug and teapot

and added dried grasses and flowers to
give some life and variation to the collection of vessels. He eliminated the
shadows of window sashes because they
run in the same direction as the stripes

on the

tablecloth.

Timeless Room, Precious Objects

Tim Gaydos
25"x34"
pastel

STEP 6

Finishing touches included refining the

tablecloth
the pot

and shadows, and

on the

left

side

more

turning

to the left

to contrast with the other vessels.

Gaydos added Japanese lanterns

center jug

and made

to the

corrections in the

chair.

i
Demonstrations

in Pastel

109

DEMONSTRATION
Creating Value Patterns: Two Views
Jill

Bush did her

first

version of the

gested themselves lavender and old

things traces of her

setup on prepared 100 percent rag

lace

a woman's

board (dusky rose), textured with Res-

life,

showing the warmth

N-Gel and Pyrotrol. Pyrotrol

is

must have brought

brand name for pyrophyllite,

the

member

of a large family of hydrous alumina

sili-

make clay and porcelain

The Res-N-Gel is rolled on

(sunlight) she

to her family

and

the softness and comfort that was hers

to give.

Making corrections

in the divi-

She zoomed

ground and the high

fires

-the

greets

darks to alleviate overcrowding, and

sunny winter's

surface

is

wet.

Then

on while the

the surface grit

is

dusted evenly over the surface. She

used the photo

had

it

made

ied the

as a value

study and

into a laser print. She stud-

photo intermittently

worked

to

some

objects,

Bush

develop a soft-edged paint-

ing to reflect the overall

mood.

Bush worked on her second version

with the same preselected assortment
of pastels.

for a

month to consider how she would

make changes. She felt the colors sug-

STEP

eliminating

Her working surface was

tones

and darks. She also introduced ca-

of the board,

is

close to the

hue

and a lighter value for clar-

ification of lights

on the handles of the

collected objects.

no

Basic

Still Life

Techniques

lip,

and

ered with white

up on

silver

finish

and

wood liner covlinen. An alternate

a -W'

framing would be 2" wide gold, mottled finish with carved

linen.

drawing and developed negative shapes.

put mortuum, which

a carved

she rendered a slightly cooler version.

She used the charcoal to establish mid-

get

frame with rosy red mottled

wood

first

day.

Bush suggested a VA" wide

stretched Fredrix pastel canvas, and

Using vine charcoal, Bush placed her

warmth of

breakfast table that

you when you

sions and proportions of lights and

sifted

She wanted

the day's activities, with the

kitchen

products.

is

chair.

the feeling of a cool morning, before

cates used to

and the Pyrotrol

on one section of the

in

photo and eliminated the dark back-

liner

lip,

and

a Va"

covered with a natural

n1

STEP 2

Keeping her palette subdued, she began

choosing colors for the chair (sienna

II
\

and

violet),

for the tablecloth

and off white), pinks

and soft greens, golds,

and

vase

(whites

for the

roses,

reds

and

blue for the coffeepot, She stroked the

pewter items with gray-violets and

'i

the
fc.

^0*

and worked on
handle of the coffeepot with indigo

greenish-yellow umbers,

\ j^-

'It

and

BH

shadow pat-

light gray-violet. The

tern falling across the table acted as

halftone. At the lower

the

left,

she darkened

shadow with dark purple-gray to cre-

ate a mystery. Light areas were devel-

oped with Sennelier pale violet, and medium value purple-brown was used for

Rembrandt red-viowas used for the table edge, for the

vertical shadow between the curtain
the table midtones.

let

,,

lU

and

wall,

and

to illuminate the chair.

STEP 3

Correcting drawing errors, Bush contin-

ued developing light-and-shadow patterns on the table and illusion of the

folded napkin. Sennelier pastel
clear peach
tions,

was used for

in pale,

bright reflec-

edges of napkins, and the brighest,

light filtering through the cur-

glowing
tains.

Demonstrations

in Paste/

111

STEP 4

At this point. Bush discovered that all

the colors

flesh

needed

and peach

intensifying. She

put

tones into the curtains,

used Supastel blues for the inside of the

large pitcher

and improved

color in all

parts of the picture. To remove the somewhat monochromatic look, she worked
pinks, red-violets

and

blue-violets into

the shadows. The picture took

on a

late-

afternoon quality.

Timeless Room. Precious Objects

Jill

Bush

2Q1/X30"
pastel

112

STEP 5

Even though the palette for

this

painting included 115 pastels, Bush felt she

had maintained a strong value pattern throughout the evolution of this painting. For the final step, she made last-minute adjustments of drawing, color,
light-and-shadow patterns, and lost and found edges. At last, she used large
mat corners to look at the finished pastel
Basic

Still Life

Techniques

Version 2
STEP

Working from the preliminary altered

photocopy, Bush blocked in the masses
with a violet Le Franc pastel of medium
hardness. She blocked in the masses, cutting into them with titanium white pigment and turps substitute (a turpentine
substitute that cuts fumes and odor).
Then she pushed and pulled shapes to

place the composition.

STEP 2

Bush worked in cool analogous color

combinations of blue-green through redviolet,

enlivened by small touches of

complements or split complements.

The colors are purer in hue for the sec-

their

ond

version, with few grays or umbers.

Timeless Room, Precious Objects

fill

Bush

12" x 18"

pastel

II

STEP 3

Many

subtle touches were completed in this layer. Highlights were placed on

creamer and tops of vessels, and vases were reshaped. With slight corrections to the drawing and color, Bush brought the painting to a close.
the

Demonstrations

in I'astel

113

DEMONSTRATION
Subdued Color for an Intimate Scene
Using Canson dark brown paper to

develop the rustic charm of the scene,

Foster Caddell departed from the pho-

tograph to reassemble the scene.

He

across the table. Using a carefully

made

worked drawing placed in a light pastel

on dark paper, he developed the major

lieves in the

value range and a strong abstract pat-

nicating to the public, and his

rearranged the objects into a more

tern to give the pastel beauty

open composition with

thenticity. Caddell says

light drifting

STEP1

charm of the
work on Can-

In keeping with the rustic

subject,

Caddell chose

to

son paper with Sennelier pastels

(above). Sketching with great freedom,

he aimed for good design

and placement

of objects, rather than specific delineation.

STEP 2

After designing the subject, he estab-

lished the

main value range (above

He was

right).

intrigued by the large

area of light coming in the window

through the curtains. He covered the pa-

per with a layer ofpastel to tone down

the dark brown color and introduced

warm

tones across the table

areas in the crockery on the

and

cool

right.

STEP 3

Here

(right),

Caddell carried the image

and developed the variations of

color. He imagined some foliage outside
the window to give green to the light
mass. He kept the ellipse at the top of the

further

vase at right angles to the axis of the obThe whole butter dish on the left is

ject.

drawn, even though some of it will be

cropped.

114

Basic

Still Life

and au-

he has never

Techniques

sign.

a true abstract painting but be-

He

importance of abstract de-

sees art as a

means of commuwork

always has interesting subject matter.

STEP 4

Aiming for a greater sense ofform and

subdued rallies, ( .added used the fid I
range, placing black on the right foreground. All objects were developed with
a sense of where the light is comingfrom.
This

is

ments
the

one

of the

most important

in depicting reality

left

ele-

The hook on

thrusts diagonally to direct the

Viewer's eye bach into the picture

STIP5
In this final stage, Caddell brought ev-

erything to the conclusion that he felt the

subject deserved. Colors in the crockery

were deepened and highlights around

the rim of the foreground pitcher were

made

window light, which

one small section a full

to reflect the

gave even

this

range of tonal values.

Demonstrations

in Pastel

115

DEMONSTRATION
Layering With Fixative for a Glowing Surface
Anita Wolffs interpretation of the

photo was impressionistic. Her goal

was

to

show

the luminosity of color.

Preparing a master drawing on white

namic and moving composition, giving

dations for framing were to use a gold

careful attention to patterns, a comple-

molding, semi-ornate and wide. To

mentary color scheme, strong tonal val-

complement the blue in the

a wide silver molding would

ues,

and

good

directional light

trans-

source. She created a tactile and glow-

ferred the traced drawing to black Can-

ing finish by using multiple layers, each

son paper. She then works out a dy-

sprayed with

drawing paper, she traced

it

and

fixative.

painting,
also be ef-

fective.

Her recommenSTEP 2

The traced drawing was

coated with orange pastel

and taped chalk-

side-down

to the black

Canson paper. The

drawing was transferred by pressing

on the

lines with

down
a

pencil.

STEP

Wolff made a complete drawing of the

subject, checking relationships
still-life objects:

and

of the

napkins, fruit, basket

tablecloth. She then

made a

tracing

of the drawing.

STEP 3

With attention
the basket in

for the napkin,

116

Basic

to lighting.

Wolff laid pastels in flat to tone the picture, starting with

a purple-brown,

and

the pears with

two shades of violet, a burnt sienna red

turquoise for the tablecloth.

Still Life

Techniques

STEP 4

The artist then usee/ a paper tone/ to

wipe off excess pastel and rub it into the

texture of the Canson paper She outlined the pit it basket

and some

other

items with black pastel

STEP 5

Wolff worked over the underpainttng of

violet The colors took on a glowing
quality because of the complementary
influence. She kept her pastel strokes

apart

and continued working on the

some of the pears on

pears, basket arid

the table. She used a blue-gray on the

glass compote

A Symphony

and

the tablecloth.

of Pears

Anita Wolff
143/4" x 19.V4"
pastel

STEP 6

Final details were laid

in,

and she made

and

careful choices about emphasis

color change. The compote

with Thalo blue.

was

refined

make
are more

She worked to

each piece offruit glow. There

than fifteen separate color notes
pears, which enhance

in the

the richness of the

painting.

Demonstrations

in Pastel

111

INDEX
Autumn

Still Life,

back-, 92

Drawing

Apples on Table, 101

bold, creating, 50

board, 10

35

Backgrounds, painting, 18-19, 32, 47,

preliminary, 36

reflected, 70, 91

project, 24-25

sources, 22

59-60

studio, 2

Bittersweet

and Apples, 72

Easel, 10

Lines

Edges

Black Antique Clock, 37

creating fine, 7

Blue Ginger Jar, 12

blending, in

Board, texturizing, 110

lost

Brush Can,

soft, 22, 35, 67,

oil,

76

See also Color, building, with lines,

and found, 74

demonstration

101

Lund, Jane, 102-105

73

Effects, special, controlled drip,

Brushes

Mahony,

bristle, 10

Falk.Joni, 56-57, 61-63

Pat,

Family Setup, 92

Medium

dauber, 4
Fixative, using, with pastel, 11, 98, 100,
oil, 4.

painting,

73

storage and transportation, 7

washer, 4
watercolor,

Bush,

Jill,

2,

84

5,

tion, 50-51

See also Form; Shapes

creating, 48

Moran,

See also Modeling; Shapes, massing in

in Oriental Vase, detail,

69

Patricia, 69-71,

78

Nice, 49

Framing, 108, 110, 116

Objects

Fruit With Luster, 81

collecting, to paint, 12-13

building, with lines, demonstration,

64-65
creating rich, with limited palette, dem-

Gaydos, Tim. 107-109

flat,

Gesture, capturing, 26

grouping, 30

Gesture-value sketch, demonstration, 41

relating, in a setup, 83

Gouache, 49

onstration, 56-60
families, 52, 54

Oil painting, 3, 5, 12, 16-19, 31, 35, 37,

Gray, using, 18

intensity, 38, 53-54, 112

Happy Wanderer,

90

61-63, 78, 81, 83, 85, 87

considering color, demonstration, 82

19
materials, 4-5, 22

Highlights, adding, 59-60

palettes, 4-5

mixing, 54-55

Hopi Treasures, 62

planning, 82

Hue, 38, 52, 54

Humidor With Easter Basket, 51

primary, 52

Iris

properties, 38
vibration, 64

and Hat. 83

tying values

James,

Bill,

and colors together,

64-65
using neutral tone, 78-79

Jubb, Kendahljan, 94-95

and

Flowers, 18

See also Brushes, oil

July Arrangement With Peaches. 95

Oils,

Composition
Kitchen Interior With Flowers,

and design, 16-17

in,

setting in the yard, demonstration, 86-87

demonstration, 80-81

Color wheel, 55

balance

project, 22-23

surfaces,

principles, 52-65

Colorful Fruit

painting, 28

round, painting, 28

Grapes and Apples, 72

high-key, 17

See also Techniques,

oil,

knife

work

Paint thinner. See Turpentine

Painting

high-key. 44

Contrast

Lavender and Blue. 61

low-key.

Light

miniature. 63

38-39

textural, 62

color

Dcichler. Deborah. -i9-51

Dimension, creating illusion

suggested colors, 4

chiaroscuro, 98

Kunz, Jan, 21, 66

planning, 14, 18

in tonal value,

Knife, painting, 4

14-16

improving. 15

118

Modeling, 23, 32, 34, 44, 51, 60

Mood,

Color,

39

painting

unifying, exercise, 30-31

Chocolate Brunch, 48

local,

22

Melon and Grapes, 100

defining, 28-29, 32, 35

Carnations in Winter, 48

Chrysanthemums

Focal point, 39, 81, 83, 85, 94, 98, 100, 108

capturing three-dimensional, demonstra-

Caddell, Foster, 107, 114-115

5,

See also Oil painting; Pastel; Watercolor

building, 23

107, 110-113

Canvas, toning,

116

Form

6-7

49

Materials, basic, 2-11

cleaning, 4-5, 7

of.

direct.
of. 1". 28. 32.

outdoors, 86-8"

54

"0

Paper

and board. 8

indirect. 26

colored.

Lighting

Basic

Still Life

Techniques

Shapes

etching, 11

transparency, 66-67, 69

texture, 72

massing

See also Board, texturizing; Surfaces

negative, 110

Paper, gray

charcoal and chalk on, demonstration,

26-27, 32

in,

undcrpainting, 57, 72, 88, 96, 117

using black, 95

Sheean, Mary, 107

washes,

Sideboard, 49

wet-into-wet, 22

Sketches, monochromatic, 56

42-43
Pastel, 49-51, 65, 72, 100-101, 105, 107,

109, 112-113, 117

Sovek, Charles,

Space, negative, 16, 18-19, 94-95

applying, 11

overlay, 76-77

arrangement, 22

creating value patterns, demonstration,

110-113

assembling

for,

10-11, 102-104

enhancing mood, demonstration,

108-109

Still Life

wash, 23, 27-28

a stage, 20,

Blue

Still Life in

drawing, materials

and

22

Texture

Gold, 65

With Plums, Knife, Glass

paper,

and

light,

demonstration,

98-101
removing,

detail,

demonstration,

72

Timeless Room, Precious Objects, 109, 112

Strawberries on the Deck, 44

Timeless Room, Precious Objects

Strokes

Tone. See Values, neutral, laying

samples

rendering fine

8, 11,

watercolor, 8

See also Contrast, textural

Bottle, 31
Stine, Al, 6

painting studio

oil

knife work, 76-77

Still life

98

color, building,

84

wiping out, 8
Techniques,

31, 35

2, 5,

8, 36, 56, 82,

Tulips

73

of,

scrubbing, 73-74

and Sweet

Turpentine,

II,

113

in

Peas, 17

Studio, workspace, 2-3

102-105
soft, selecting,

Value scale, painting, exercise, 45

Subject treatment

10

Value-pattern sketch, demonstration, 40

storing and transporting, 10

suggested colors, 10
surfaces for, 11-12, 72

types

of,

10

flowers, 13, 15-18, 37, 56-58, 63, 71,

87-91, 100-101, 117

fruit, 18, 80,

adjusting tonal, exercise, 38

color, 38, 53

64-67

glass, 19,

using subdued colors, demonstration,

Values

76-77, 80, 82-85, 87, 96

home,

leaves, 73
in

Summer Radiance,

Perspective, drawing, 36

Surfaces

and

47

reflective objects, 68-70, 96-97

114-117
Pastel Shades, 78

Petals

45,

composition, 16-17

neutral, laying

shadow, 48
transforming color into, exercise, 42-43

Photos, working from, 106-117

canvas, 3-4,

Pike, Joyce, 12-13, 16-19, 36-37, 73-75, 77,

Masonite,

35, 61-63

5,

4,

31

using, to define form, 28, 32, 54

Pionk, Richard, 72, 98-101

sandpaper, 72

Porcelain Pitcher, The, 16

See also Paper, and board

Symphony of Pears,

Pretty Bouquet, 85
Prior, Scott,

translating to color, 106

using, to create center of interest, 46

paper, 72, 107

81,83,85-87

working with, 22-23, 38-51,

58,

69

See also Contrast, in tonal value

A, 117

Venetian Glass, 19

44
Watercolor painting, 44, 48-49, 92, 95

Tea Time, 107

Razor blade scraper,

Red and White, detail, 69

Red Sneakers, 44

designing with black, 94-95

Techniques

materials,

dry brush, 8

painting cast shadows, demonstration,

effect of,

92-93

on paper, 8

layering color, 102

Sandpaper, 10
See also Surfaces, sandpaper

6-9

drawing, rule of thumb, 37

Reflection, 72

palettes, 9

suggested colors, 9

laying in color, 56

Setting in the Yard, 87

lifting out, 7-8, 56-57,

Setup

locking

in,

59

surfaces, 8

See also Brushes, watercolor

84

105

composition, 20-21, 32

masking, 8

White

grouping objects, 30-31

passage principle, 46

Whites, creating, 8

Shadows
cast, 16,

78-79

planning, 106

board, 72

Clay, 63

in,

63

reflectivity, 68-70,

48-49. 74-75, 89, 92-93

drawing, exercise, 48
using, to create

mood. 48-49

96-97

7,

Wolff, Anita, 107, 116-117

Wright, William C, 44, 48,92-93

rubbing out, 71
scrubbing,

Still Life,

57-59

smearing, 50

Index

II')

i.1

lie

this

ART REFERENCE

Basic

Still

Life

This guide shows you

how

Whatever your medium,

your

up arrangements

You'll learn
artists,

you'll learn to paint beautiful

from collecting

artist's

still lifes

interesting

to the actual painting techniques

from

eye.

convey
objects and

that

start to finish.

from exercises and demonstrations by twenty outstanding

Jan Kunz

your subject with an

including:

Foster

to look at

vision. All the basics are here

setting

TECHNIQUES

Caddell

Charles Sovek
Ted Goerschner

Joyce Pike

Doug Dawson

Patricia

Moran
Pat Moran demonstrates how to
paint shiny, reflective objects in
oil.

Joni Falk shows you

how to paint afresh bouquet offlowers

in

oil.

fan Kunz shows you how

to paint

transparent

objects in watercolor.
fill

to

Bush demonstrates how

paint a backlit interior

setup in pastel

90000
Front cover

art by-

Rachel Rubin Wolf

30618

780891 "345886