Articles

Introduction to Still Life PaintingTheory and Terminology

 

A popular art form

Still life painting has been a popular art form since the 17^th century. Still Lifes contain inanimate objects such as fruits, vegetables, flowers, and food. Also these designs could include manmade objects such as glass, porcelain, and metal. The ranges of objects that can be used in a still life setup are extremely broad, and are not restricted to any particular medium or subject. Commonly, the artist often creates a rendition through the collection of objects that share a common theme, or they could tell a story through the use of symbolism and allegory.

 

Allegory played a major role in the use of certain flowers and fruits throughout art history. Artists would tell a story through the use of an object to symbolically illustrate a moral or religious belief. Certain objects give us a sense and feeling of a larger meaning. The American flag can be used as an example to illustrate this point. The flag with its red, white and blue colors can represent a wide range of abstract emotions and meanings. Depending on who is being asked, the flag stands for patriotism, freedom, unity, liberty, or remembrance. In relation to art, inanimate objects such shells, or sand relate to that of the beach delivering the thoughts of vacation, relaxation, and the sound of waves crashing against the shore. Religion, culture, determination, and life lessons are all possible allegories that are embedded within paintings and other works of art. Past experiences of the viewers will determine how they will absorb the art and what it has to offer.

 

Still life terms

Below is a list of terms that will be used in the upcoming still life painting lessons.

 

Background. The background is to be supportive but should stay in the back. Because it is the largest area of color, it should not be too interesting or it will distract from the overall painting. The background will determine in which Key the painting will be described--light backgrounds = High Key, dark backgrounds = Low Key, middle-value backgrounds = Middle Key.

 

Cast shadows. Cast shadows must be present in a realistic still life as a result of the light source. They are used to reinforce the fact that the three-dimensional object is taking up real space and blocking the path of light. Cast shadows have distinct qualities: (1) they are always transparent, (2) they exhibit three values, with the darkest value nearest and underneath the object, (3) they are cooler in temperature than the surface upon which they sit. Cast shadows fall in the opposite direction from the light source and take on the shape of the receiving object.

 

Cylinder, sphere, cube, and cone (shape and form of objects). All objects are made of one of these four shapes or a combination of them. Learning how to paint these shapes will enable you to paint anything. Paint the shape first using values of dark and light, and then add the needed details to give character. If you do not understand how to paint the forms, you can order my lesson on Value and Blending Study on my web site.

 

Dimension. Dimension is needed in order to make a two-dimensional surface appear three dimensional. This is achieved by understanding where to place values within the painting to create depth, as two objects cannot occupy the same space. Dimension is also achieved by understanding how to paint the form (cube, cylinder, sphere, and cone) of each object within the composition.

 

Ellipse. A circle tilted in perspective is referred to as an ellipse. The degree (width) of the ellipse (can be the opening or top of a cylinder, glass, container, etc.) is determined by the eye level of the viewer. When the ellipse is viewed at eye level where you can no longer see the back side of the ellipse (opening), it is no longer an ellipse but a straight line.

 

Eye level. The horizon line will determine the eye level of a painting. Simply put, if the horizon line is at the level of your eye this is called an 'eye level'. If the horizon is below your eye, this is called a 'below eye level'. If the horizon line is above your eye, this is called 'above eye level'. In a still life composition, the horizon line will be the back of the table or surface on which the objects are sitting.

 

Focal area. This is the area of a painting that should be the main focus of interest. This refers to an entire area, not just on object, or isolation will occur. The focal area will have contrast of values, intensities, textures, and the most details. This is the area of the painting that will direct the viewer's eye into the painting. The supporting areas draw the eye back to the focal area.

 

Found edges. These are the opposite of lost edges. Edges that come forward to separate one area from another are called found edges. Also, objects that have sharp edges like a knife, cube/box, and tabletop have found edges. This illusion is developed through contrast in values, temperature, and color.

 

Intensity. Intensity is used to describe the chroma (brightness) or dullness of a color. The intensity of colors determines which will come forward and which will recede.

 

Light source. This is the source of light and the direction from which it is coming. Consistency is important to carry lights and darks throughout the painting. Examples are center, upper right, upper left, lower right, lower left, back lighting, etc.

 

Lost edges. Sides of objects that recede into the background to create the illusion of roundness and form are called lost edges. This can be achieved through value, color, and temperature. Cylinders, spheres, cones, and the back edges of cubes will have lost edges.

 

Reflective light. Reflective light is the light that bounces back from the surface of an object to the underside of a second object (receiver).

 

Temperature. Cool colors recede on cool backgrounds and warm colors advance, whereas warm colors recede on warm backgrounds and cool colors advance. This is important to know for setting up the dimension of where your colors should be placed in relationship to the background color and temperature.

 

Value. The term value is used for explaining light and dark in color, or in black and white. The value of the background will determine which values will come forward and which values will recede. Dark values recede on dark backgrounds and light values come forward. The opposite illusion occurs on the light backgrounds.

 

Perspective. Perspective is determined by the eye level of the viewer. One-point perspective, two-point perspectives, or three-point perspectives are determined by what the artist is drawing. For the person who wants to draw his/her own designs, this subject should be explored further. For this set of lessons, we will use the camera and trace the lines from photos.

  

 

Theory

Look for articles pertaining to color theory coming soon.

Tips

Extender Medium I find in my travels that students don't know how to properly apply the extender and therefore don't experience the benefits of using this product.

Why use extender? Extender allows more open time during the layering process, which then gives you more time to blend one value of paint into another creating a smooth transition between values. Blending lines can be softened using a small mop brush or a clean, dry filbert.

How to apply extender. Use a large, clean, flat brush to apply extender over the entire surface, brushing back and forth until an even sheen is apparent. (Do not mistake this from a wet puddle look.) The purpose of moistening the entire surface rather than just the area where paint is being applied is that the extender dries from the outside in and therefore the larger the area being moistened, the longer it will take to dry. Also this will allow you to work your entire painting at the same time, applying lights and darks to several areas. If an area dries too quickly, the extender can be reapplied in that area.

Heat set between applications. Use a hair dryer to heat set paint. This will prevent it from reactivating or lifting between applications of extender. For further protection between applications, apply a thin layer of Glaze Medium after heat setting.