This very muted dull green will balance with the painting, yet give a bit of background colour to isolate the clear glass from the background. I make a more muted mix using the Yellow ochre, Titanium white and a touch of the black. I’m not going to paint the green as bright as in the photograph, as for this study I want to keep it quite tonal and monochrome. Using a mix of Yellow Ochre and a touch of Titanium White, I scrub in some of this yellow tone into the background. Notice how there are still elements of the warmth from the Burnt Umber showing through. I then swap to the smaller round brush painting in any of the grey tones in the detail at the bottom of the glass. I’m keeping the paint at a reasonable thickness to cover over the white and to give me enough paint so I can mix it with the other tones whilst they’re still wet. Now with the whole string of colours ready, you can paint quite quickly working between the tones and scrubbing in the greys. I don’t go to completely white, but am aiming for the lightest tone to match the brightest areas in the photograph, which in this case is the area in the middle of the glass and on the surrounding tabletop. The colour string continues right down to nearly white. You can read more about colour strings here. If you’re just starting painting, working with a stay-wet palette can help to keep the colour strings wet when you first mix them making your painting quicker after you’ve made the initial mixes. I’m looking for small incremental jumps in tone, that aren’t too big but can still enable me to see a slight difference on the canvas. I now mix a colour string using Titanium white and the Mars black. Mix a colour string with your palette knife Using thicker paint than the previous application because I know I really want these areas to be dark and don’t want any of the white of the canvas shining through. I now put out some Mars Black and using the hog filbert, start blocking in the darker tones to the painting. I’m using a round synthetic brush, dipped in water so it is quite a watery wash. There isn’t very much in this particular painting but it just helps to add a slight glow for when we add in the darker tones in the next stage. Just using Burnt umber, I wash in any areas in the picture where I can see a slight warm glow. Having the brilliant white underneath adds an underlying glow to the piece and a luminosity to the water. There are some odd occasions when if the subject matter you want to paint is very light in tone, you can use the white of your canvas to your advantage. Because it is quite a monochrome study, we’re going to be relying on the drawing to help us create the illusion of realism.Īlso, notice for this particular painting, I haven’t used a coloured ground, I’m just painting straight onto the white canvas. Spend some time checking the shapes before you begin the painting. Using a 3B clutch pencil, I draw out the main shapes and lines paying special attention to the shape of the ellipses in the water, make sure the edges of the ellipses have a slight curve to them. Artist quality Titanium white – Invest in this white even if you use student quality paint for the rest of the colours.Size 5 Kolinsky sable from Rosemary & co – round – (any small round will be fine).Size 6 Black Hog Oil brush from Jackson Arts – filbert.Materials you will need for this tutorial: Here’s my pencil drawing you can also work from: It can be ‘right clicked’ and ‘Save image as’, so you can use it as a guide. The image below is going to be my reference photo to work from for this tutorial. So for Part 3, we’re on to the painting… A step-by-step acrylic painting of a glass of water In Part 2we saw how small incremental changes in your composition and lighting can instantly create a more dramatic and pleasing image for a painting. In Part 1 we looked at how to master the basic features of your digital camera, so you can emulate how your eyes see things in nature to give you fantastic reference photographs for your still life painting.
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