Still life oil paintings: how to realize them

Posted On November 27, 2014 by

The term therefore does not indicate a painting technique used to paint, but identifies the type of the subject. In this kind of painting, you can portray various types of objects such as fruits and flowers, plants, utensils, dishes, musical instruments, animals, etc ...
Like almost all subjects, including still life can be performed with various drawing techniques, or any pictorial technique. The advice that illustrate the various techniques are therefore also applicable to this artistic expression. We can say that along with the landscapes is one of the favorite themes of most of the painters. We find examples of still life already in the frescoes and mosaics executed by the Romans and then in all subsequent periods. Only in recent centuries, however, this kind has established itself as autonomous and has become one of the classic subjects of painting. Originally, hardly was used as the main subject, but almost always engaged in more difficult subjects. This painting by Michelangelo Merisi da Caravaggio, who represents the god Bacchus, is one example.

The still life, like other kinds of works is a composition. The composition is the set of objects that make up an image. Composing means then put together of objects in a space in order to create an image. The composition must be created so that the image may be pleasant, but obviously the character and mood of the artist will have influence on it. In the composition of a painting the various elements must constitute a harmonious whole and balanced, both from the point of view of the masses that from the point of view of color.

How to paint a still life

After choosing the size of our work, and consequently those of the substrate, the first step is, as always, perform a series of quick sketches to familiarize themselves with the subject. You can make a pencil or a pen. This exercise is also very useful for the choice of the subject. Obviously you work on two fronts, the distribution of masses and the combination of colors.

When you have chosen your topic, made on the support that you have chosen the design. You may have noticed that I talk about support and not of canvas, paper or other media, because the media depends on your choice and the technique you want to use. So get ready to paint. Choose the technique and then the materials to use. The tips to follow are the same that you have learned for other types of subjects.

Begin to paint the background, although it need not be done, but also that it is only just slightly sketched with diluted colors. It is important that you move in a defined, to correctly choose the colors of the subject and remember that the color of the environment, also affects the color of the subject. This will allow you to avoid indecision or worse mistakes you might make, if you choose the colors of the fund at the end.

Be careful not to smudge the part of the subject that you paint later, to avoid after effects of dirt, especially if you have a painting technique that uses colors very flat and not full-bodied strokes.
After fixing the point from which the light comes, you begin to delineate and paint the shadows that the subject casts on the bottom or on the side on which it rests (ground, table, wall, etc. ...). Even at this stage, use diluted colors and full-bodied. There is no need now to finish the shadows, but just mention them. remember color theory and composition of parts in the shade of a color. Melt the colors that you see and avoid the strokes (except in the case that a particular effect desired).
Begin now to paint the bodies (objects, fruit jars, etc ...). Choose colors to use and define the contrasts between them. Delineate and paint the shadows of the bodies. At this point the entire available surface is painted and covered with color.

Begin now to consider the whole picture. Strengthen the shadows and into the light.
If necessary, correct the color tone to create an amalgam between them.
Pour the contrasts where necessary. Keep in touch up until you are satisfied with the result.
In case of doubt or uncertainty, I recommend you stop and resume work after a bit of time (even days). Put the picture and avoid later time.

When you regain the job, before you begin, look at it carefully without rushing. Look at the work of the mirror, as I suggested before, will help you to detect details that you probably had escaped. Make the necessary corrections, which should be shaded or increase the contrast where it is needed.

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oil paintings, techniques

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