There are no special tricks or techniques when it comes to painting a still life other than a good sense of observation. Study your subject and try to focus on important visual elements that characterise it. In the case of glass, it is transparency. The most important thing to keep in mind when painting any subject is to let the work evolve. Here are some process images from my last post that show how the glass bottles came into being.
1. The basic forms are drawn with paint and mineral spirits and colours are blocked in. The focus is on getting the right shapes and tonal relationships.
2. I continue to block in the colour and focus on tonal relationships. The interesting thing about coloured glass is that the cast shadows take on the colours of the subject which they would not do with opaque objects. The shadows are also seen through the subject. This is what creates the sense of transparency.
3. At this point, all of the colours are blocked in and I can start to refine the tonal structure. I will also apply paint in a thicker fashion.
Thursday, June 17, 2010
Tuesday, June 15, 2010
|oil/canvas, 10 x 12 inches|
The opposing directions of these two little bottles made me think of an argument or a breakdown in communication. Funny how simple studio props start to personify the ideas that we are trying to express without intentionally starting out that way.
Friday, June 4, 2010
|Melancholy Smile, oil/canvas, 11x 14 inches|
Wednesday, June 2, 2010
|oil/canvas, 9x12 inches|
There are some paintings that just happen, they just paint themselves and then there are those that don't. This one emerged with a bit of reluctance, but it emerged none the less. It is another study in white, this time using the complementary pair of violet and yellow (with a touch of ultramarine and magenta).