The Art of

Painting Still Life

in Acrylic
Contents
Chapter 1: Introduction
Tools & Materials
Color Theory
Drawing Techniques
Acrylic Painting Techniques

Chapter 2: Traditional Still Life with Varvara Harmon

Macarons
Oil Bottle & Jasmine
Coffee Cup
Red Zinnias
Teacup & Books
Pottery

Chapter 3: Light, Shadow & Color with Janice Robertson

Bottles
Cherry Tomatoes
Roses
Lemons & Teapot
Teapot & Apples

Chapter 4: Everyday Inspiration with Elizabeth Mayville

Stack of Books
Butter
French Press
Windowsill
Toys

Chapter 5: Realism & Detail with Tracy Meola

Cupcake
Candlestick
Bottles & Flowers
Bowl of Tomatoes
Floral Scene

About the Artists

Index
CHAPTER 1

Introduction
A time-tested genre, still life
painting focuses on the simple
beauty of everyday scenes and
objects. From gorgeous floral
setups to cozy kitchen scenes,
this book includes a range of
lovely subjects to re-create in
acrylic. Before you begin the
step-by-step projects, it’s
important to acquaint yourself
with the materials and techniques
you’ll be using. The following
chapter covers everything from
paints and brushes to color theory
and basic drawing, giving you
invaluable information as you lift
your painting skills to the next
level.
Tools & Materials
The vast array of art materials available to artists today can
overwhelm beginning and experienced artists alike. The following
pages will help you simplify the process of setting up an acrylic
workspace. This versatile paint is water-based and nontoxic, so you’ll
need only a small selection of materials.

ACRYLIC PAINT
Acrylic is a water-based paint consisting of pigment in a binder of
acrylic polymer emulsion. It comes in tubes, tubs, jars, and squeeze
bottles. Tubes are generally used for higher-quality, artist-grade
paints. You can dilute acrylic with plain water (no solvents needed!),
but once it’s dry, the paint is waterproof. You can apply the paint in
thin or thick layers, imitating both watercolor and oil paint. But unlike
oil, acrylic dries quickly so you don’t have to wait long between
layers.

MEDIUMS & ADDITIVES

To thin and clean up acrylic, water is the simplest medium. However,
you can also find mediums and additives made specifically for acrylic.
A range of gels, pastes, and additives allow artists to alter the behavior
and properties of acrylic paint, such as extending the drying time or
and properties of acrylic paint, such as extending the drying time or
creating a coarse texture.

PALETTES
Palettes for acrylic paints are available in many different materials—
from wood and ceramic to metal and glass. Plastic palettes are
inexpensive, and they can be cleaned with soap and water.
BRUSHES
Synthetic brushes are the best choice for acrylic painting because their
strong filaments can withstand the caustic nature of acrylic. Sable and
soft-hair synthetic brushes are ideal for watercolor. A selection of hog
bristle brushes is a staple for all oil painters. Build your starter set
with small, medium, and large flat brushes; a few medium round
brushes; a liner (or rigger) brush; a medium filbert brush; and a
medium fan brush. Brushes are commonly sized with numbers,
although the exact sizes vary between manufacturers. Generally #1 to
#5 are small brushes, #6 to #10 are medium brushes, and #11 and up
are large brushes. Flat brushes are often sized by the width of the
ferrule (or brush base), such as 1/4-inch, 1/2-inch, and 1-inch flat
brushes.
SURFACES
Acrylic paint needs a “toothy,” porous, absorbent surface to which it
can bind and adhere. For this reason, many surfaces need to be primed
first to accept the paint. The most common primer is gesso, which
prepares your surface to accept subsequent layers of paint. The most
popular acrylic painting surfaces are pictured at right.
Traditional painting surfaces:
A. Canvas paper
B. Masonite or hardboard
C. Pre-primed canvas panels
D. Canvas
E. Watercolor paper
F. Primed mat board

ADDITIONAL SUPPLIES
Some additional supplies you’ll want to have on hand include:
• Paper, pencils, and a sharpener for drawing, sketching, and tracing
• Jars of water, paper towels, and a spray bottle of water
• Fixative to protect your initial sketches before you apply paint
• Palette knife to mix large quantities of paint or to apply paint
creatively to your surface.
Color Theory
Acquaint yourself with the ideas and terms of color theory, which
involve everything from color relationships to perceived color
temperature and color psychology. In the following pages, we will
touch on the basics as they relate to painting.

COLOR WHEEL
The color wheel, pictured to the right, is the most useful tool for
understanding color relationships. Where the colors lie relative to one
another can help you group harmonious colors and pair contrasting
colors to communicate mood or emphasize your message. The wheel
can also help you mix colors efficiently. Below are the most important
terms related to the wheel.
Primary colors are red, blue, and yellow. With these you can mix almost any other
color; however, none of the primaries can be mixed from other colors. Secondary
colors include green, orange, and violet. These colors can be mixed using two of
the primaries. (Blue and yellow make green, red and yellow make orange, and blue
and red make violet.) A tertiary color is a primary mixed with a near secondary,
such as red with violet to create red-violet.

COMPLEMENTARY COLORS
Complementary colors are those situated opposite each other on the
wheel, such as purple and yellow. Complements provide maximum
color contrast.
ANALOGOUS COLORS
Analogous colors are groups of colors adjacent to one another on the
color wheel, such as blue-green, green, and yellow-green. When used
together, they create a sense of harmony.
NEUTRAL COLORS
Neutral colors are browns and grays, both of which contain all three
primary colors in varying proportions. Neutral colors are often dulled
with white or black. Artists also use the word “neutralize” to describe
the act of dulling a color by adding its complement.

A hue is a color in its purest form (A), a color plus white is a tint (B), a color plus
gray is a tone (C), and a color plus black is a shade (D).

COLOR & VALUE

Within each hue, you can achieve a range of values—from dark
shades to light tints. However, each hue has a value relative to others
on the color wheel. For example, yellow is the lightest color and violet
is the darkest. To see this clearly, photograph or scan a color wheel,
is the darkest. To see this clearly, photograph or scan a color wheel,
and use computer-editing software to view it in grayscale. It is also
very helpful to create a grayscale chart of all the paints in your palette
so you know how their values relate to one another.

A grayscale representation of a color wheel can help you see the inherent value of
each hue.
A single color family, such as blue, encompasses a range of hues—from yellow-
leaning to red-leaning.

VALUE RELATIVITY
Values are perceived relative to others in the same scene. A color may
appear dark against a white surface or light tint, but the same color
may appear light against a dark surface. Above are middle-value
strokes of purple over light and dark backgrounds. The same value
can appear very different depending on its surroundings.

COLOR TEMPERATURE
Color temperature refers to the feeling one gets when viewing a color
Color temperature refers to the feeling one gets when viewing a color
or set of colors. Generally, yellows, oranges, and reds are considered
warm, whereas greens, blues, and purples are considered cool. When
used within a work of art, warm colors seem to advance toward the
viewer, and cool colors appear to recede into the distance. This
dynamic is important to remember when suggesting depth or creating
an area of focus.

The paintings to the right by artist Robert Moore illustrate warm and cool palettes.
Compare the energy and glow of the yellow and orange autumn scene (A) to the
soothing blues and purples of the tea still life (B). However, notice hints of
contrasting temperatures in the scenes that create effective accents, such as the
patches of cool blue sky and the warm teacup.

Artist’s Tip
Art & craft stores sell spinning, handheld color wheels for painters that
Art & craft stores sell spinning, handheld color wheels for painters that
serve as color mixing guides. The wheels also show a range of gray
values for reference.
Drawing Techniques
While the focus of this book is on painting, it’s important to hone your
drawing skills so you can set yourself up for a successful painting
from the start.

USING A CENTERLINE
Using a centerline when drawing shapes can help you achieve
accurate measurements and symmetry. Before sketching a basic
shape, draw a vertical and/or horizontal line; then use the guideline to
draw your shape, making sure it is equal on both sides. Remember:
Drawing straight lines and uniform circles takes practice and time. As
you progress as an artist, these basic skills will improve.

ESTABLISHING PROPORTIONS
To achieve a sense of realism in your work, it’s important to establish
correct proportions. Using centerlines, as shown above, will provide
starter guidelines. From there, you must delineate the shape of the
starter guidelines. From there, you must delineate the shape of the
object. To do this accurately, measure the lengths, widths, and angles
of your subject. Examine the vertical, horizontal, and diagonal lines in
your subject and make sure they relate properly to one another in your
drawing. You can check proportions and angles by using your pencil
as a measuring tool. Use the top of your thumb to mark where the
measurement ends on your pencil (A, B), or hold it at an angle to
check your angles (C, D).
DRAWING THROUGH
You can transform basic shapes into forms by “drawing through”
them. Imagine the form is transparent, and then suggest the surface of
the backside in your sketch. This process will help you acknowledge
the volume of your object as you add the surface shadows in later
stages. It will also help you understand your object as it relates to its
surroundings.

VALUES & SHADOWS

There are five main aspects of value that are used to create the illusion
of volume. As mentioned previously, value refers to the tones of
lightness and darkness, covering the full range of white through
shades of gray to black. The range of lights and darks of an object can
change depending on how much light hits the object. With practice,
you will develop a keen eye for seeing lights, darks, and the subtle
transitions between each value across a form. The five main values to
look for on any object are the cast
shadow, core shadow, midtone,
reflected light, and highlight, as
illustrated at right.
1. Cast Shadow This is the shadow of the object that is cast upon
another surface, such as the table.
2. Core Shadow This refers to the darkest value on the object, which
is located on the side opposite the light source.
3. Midtone This middle-range value is located where the surface turns
from the light source.
4. Reflected Light This light area within a shadow comes from light
that has reflected off of a different surface nearby (most often from
the surface on which the object rests). This value depends on the
 overall values of both surfaces and the strength of the light, but
remember that it’s always darker than the midtone.
5. Highlight This refers to the area that receives direct light, making it
the lightest value on the surface.

FOCUSING ON CAST SHADOWS

Every object casts a shadow onto the table, chair, or surface that it sits
upon (called the “cast shadow” as explained above). The shadow will
fall to and under the dark side of the object, away from the light
source. Including this shadow is very important both in depicting the
illusion of form and in grounding your object, which gives the viewer
a sense of weight and space. Note that these shadows are the darkest
at the point where they meet the object (often beneath the object) and
lighten as they move away from the object. Generally the shadow
edge is also sharpest at the base of the object, softening as it moves
away from the object.
Acrylic Painting Techniques
Learn to manipulate acrylic paint to create a wide range of strokes,
textures, and interesting effects. The following pages show you some
of the most common techniques, but experimentation shouldn’t stop
here—try coming up with your own unique methods for applying
paint!

WORKING WITH PAINTING TOOLS

The way you hold your tool, how much paint you load on it, the
direction you turn it, and the way you manipulate it will all determine
the effect of your stroke. The type of brush you use also has an effect;
bristle brushes are stiff and hold a generous amount of paint. They are
also excellent for covering large areas or for scrubbing in
underpaintings. Soft-hair brushes (such as sables) are well suited for
soft blends, glazes, and intricate details.
Flat Wash To create a thin wash of flat color, thin the paint and stroke it evenly
across your surface. For large areas, stroke in overlapping horizontal bands,
retracing strokes when necessary to smooth out the color. Use thinned acrylic for
toning your surface or using acrylic in the style of watercolor.
Glazing As with watercolor, you can apply a thin layer of acrylic or oil over
another color to optically mix the colors. Soft gels are great mediums for creating
luminous glazes. Shown here are ultramarine blue (left) and lemon yellow (right)
glazed over a mix of permanent rose and Naples yellow.
Graduated Blend To create a gradual blend of one color into another, stroke the
two different colors onto the canvas horizontally, leaving a gap between them.
Continue to stroke horizontally, moving down with each stroke to pull one color
into the next. Retrace your strokes where necessary to create a smooth blend
between colors.
Drybrushing Load your brush, and then dab the bristles on a paper towel to
remove excess paint. Drag the bristles lightly over your surface so that the highest
areas of the canvas or paper catch the paint and create a coarse texture. The
technique works best when used sparingly and when used with opaque pigments
over transparents.
Dabbing Load your brush with thick paint and then use press-and-lift motions to
apply irregular dabs of paint to your surface. For more depth, apply several layers
of dabbing, working from dark to light. Dabbing is great for suggesting foliage and
flowers.
Scumbling This technique refers to a light, irregular layer of paint. Load a brush
with a bit of slightly thinned paint, and use a scrubbing motion to push paint over
your surface. When applying opaque pigments over transparents, this technique
creates depth.

Artist’s Tip
Use an old, dull pizza cutter to make straight lines; just roll it through
the paint and then onto the support.
Painting Knife Applying paint with a painting knife can result in thick, lively
strokes that feature variations in color, value, and height.
Stippling This technique involves applying small, closely placed dots of paint. The
closer the dots, the finer the texture and the more the area will take on the color
and tone of the stippled paint. You can also use stippling to optically mix colors;
for example, stippling blue and yellow in an area can create the illusion of green.

Thick on Thin Stroking a thick application of paint over a thin wash, letting the
undercolor peek through, produces textured color variances perfect for rough or
worn surfaces.
Lifting Out Use a moistened brush or a tissue to press down on a support and lift
color out of a wet wash. If the wash is dry, wet the desired area, and lift out with
a paper towel.
Scraping Create designs within your paint by scraping away paint. Using the tip of
a painting knife or the end of a brush handle, “draw” into the paint to remove it
from the canvas. For tapering strokes that suggest grass, stroke swiftly and lift at
the end of each stroke.
Sponging Applying paint by dabbing with a sponge can create interesting,
spontaneous shapes. Layer multiple colors to suggest depth. Remember that you
can also use sponges to apply flat washes with thinned paint.
Impasto Use a paintbrush or painting knife to apply thick, varied strokes, creating
ridges of paint. This technique can be used to punctuate highlights in a painting.
Spattering First cover any area that you don’t want to spatter with a sheet of
paper. Load your brush with thinned paint, and tap it over a finger to fling droplets
of paint onto the paper. You can also load your brush and then run a fingertip over
the bristles to create a spray.

Wiping Away Use a soft rag or paper towel to wipe away wet paint from your
canvas. You can use this technique to remove mistakes or to create a design
within your work. Remember that staining pigments, such as permanent rose
(above with Naples yellow), will leave behind more color than nonstaining
pigments.
Mask with Tape Masking tape can be placed onto and removed from dried acrylic
paint without causing damage. Don’t paint too thickly on the edges—you won’t get
a clean lift.

BLENDING LARGE AREAS

A hake brush is handy for blending
large areas. While the area is still
wet, use a clean, dry hake to
lightly stroke back and forth over
the color. Be sure to remove any
stray hairs before the paint dries
and never clean your hake in
thinner until you’re done painting,
as it will take a long time to dry.
CHAPTER 2

Traditional Still Life

with Varvara Harmon
Explore the art of still life
painting alongside accomplished
artist Varvara Harmon. With her
simple compositions and cheerful
subject matter, Harmon teaches
you how to bring each scene to
life with lively color. Learn how
to paint a charming floral scene, a
tempting mound of macarons,
and more as you hone your
acrylic painting skills.
Macarons
The bright colors and buttery strokes of acrylic paint make it a perfect
medium for representing these festive sweet treats. I choose to place
the cookies in a neutral-colored environment to help them “pop”
within the composition.

Color Palette
alizarin crimson • burnt sienna • cadmium yellow • cobalt blue •
Hooker’s green • Payne’s gray • raw umber • titanium white •
ultramarine blue • yellow ochre
Step 1 I draw the composition with burnt sienna. You can do so with pencil or any
paint color you wish.
Step 2 The primary colors I use to block in the wall and table are yellow ochre,
burnt sienna, and raw umber. Notice that the table combination is a little darker
than the wall. Also, as I paint the tabletop, I stroke in the direction of the boards
and add slightly darker color below the saucer to create a shadow.
Step 3 To add texture to the wall and table, I use similar colors; however, I do not
add water to the paint, keeping it thick. Using a 1" wide brush, I place random,
crisscrossed strokes over the wall. For the table, I mix burnt sienna and ultramarine
blue. Then, barely touching the canvas, I drag the brush in the direction of the
wood grain. I also add darker lines to separate the individual table boards.
Step 4 I paint the green macaron near the back of the cup with Hooker’s green,
cobalt blue, and Payne’s gray. For the lighter areas, I add just a little more white to
Hooker’s green; for the areas in shade, I add Payne’s gray to create the three-
dimensional effect.
Step 5 I mix alizarin crimson and cadmium yellow to create the base color of the
two red macarons (top and right side).
Step 6 To finish the red macarons, I add a little white to the mixture and paint the
light areas. For the areas in shadow and the lines between the macaron layers, I
use a mix of Payne’s gray and alizarin crimson. For the middle section of the red
macarons, I use white mixed with a bit of alizarin crimson and ultramarine blue.
Step 7 I start painting the yellow macaron using a mixture of cadmium yellow and
white. For light areas, I add a bit more white; for areas in shadow, I use pure
cadmium yellow.
Step 8 To paint the white cup and saucer, I begin by mixing white and cobalt blue
to create the base colors. I vary the values of this mixture to set the light and
shadow areas of the cup and saucer.
Step 9 I use a mixture of white and cadmium yellow to show light on the left side,
and I emphasize the shadow with cobalt blue and a touch of alizarin crimson. Also,
I show the reflection of the table’s color on the bottom of the saucer using a mix
of burnt sienna and white. As a final touch along the rim of the cup, I add
reflections from the yellow and red macarons.
Step 10 To complete the painting, I address any final details and sign my name in
the lower right corner.

Details
The wall and wood background elements add interest with subtle
texture, but their neutral colors—browns, creams, and grays—keep them
subdued against the playful colors of the cookies.
Oil Bottle & Jasmine
As you prepare your still life, remember that the viewpoint is an
important aspect of the composition. The slightly elevated viewpoint
of this setup—rather than a straight profile view—creates pleasing
oval shapes within the bottle and enhances depth through receding
lines of wood.

Color Palette
burnt sienna • burnt umber • cadmium yellow deep hue • cobalt blue •
Hooker’s green • Payne’s gray • raw umber • titanium white •
ultramarine blue • yellow ochre
Step 1 I use burnt umber to draw the composition onto the canvas. This step can
also be done with pencil.
Step 2 To paint the table surface, I mix burnt umber, burnt sienna, and a bit of
white. I paint the majority of the background table surface with burnt sienna,
using burnt umber for the darker lines. Then I add white to the mix as I work on
lighter areas of wood grain. Finally I use burnt umber to indicate the spaces
between the boards.
Step 3 To paint the cork in the bottle, I use yellow ochre, burnt sienna, and raw
umber. I apply heavy strokes to suggest the texture of the cork. I apply yellow
ochre along the right side of the cork, burnt sienna along the middle, and raw
umber along the left. For the lighter cork top, I add a bit of white.
Step 4 I paint the upper (empty) portion of the bottle with cobalt blue and white,
adding a bit of Hooker’s green for leaf reflections. I also add burnt umber to show
the color of the table through the glass, suggesting transparency and a reflective
quality. To paint the surface of the oil, I use cobalt blue and white, which shows
the reflection of the glass above, as well as a bit of cadmium yellow for the oil
beneath.
Step 5 To begin the portion of the bottle filled with oil, I use cadmium yellow deep
hue and add Hooker’s green to show the reflection of the flower leaves behind the
bottle.
Step 6 Although light can pass through the glass and oil, we cannot see sharp
details of the objects behind the bottle. However, we can see the brown of the
table, the green of the leaves, and the white of the flowers. Because we see them
through the yellow oil, I adjust all my colors accordingly. I paint the white flowers
using the cadmium yellow deep hue. The leaves appear as a variety of greens, from
dark (a mix of Hooker’s green and raw umber) to light (a mixture of Hooker’s green
and cadmium yellow). I suggest variations of colors from the table using burnt
sienna, raw umber, and cadmium yellow.
Step 7 To finish painting the bottle, I add reflections of light to the far left side
and just a little to the right of the bottle’s center. I do this using a mix of white
and cobalt blue.
Step 8 When painting a cluster of flowers, I start by painting the leaves using
Hooker’s green as the primary color. Then I add raw umber for the shaded areas
and cadmium yellow for the lighter parts of the leaves.
Step 9 For the flower petals, I combine cobalt blue, Payne’s gray, and white to
show the shaded areas of petals. Then I mix white with a bit of cadmium yellow to
highlight the lighter parts of the petals.
Step 10 To finish painting the flowers, I use burnt sienna to paint the stamens in
shadow, and I use cadmium yellow to paint the stamens in light.
Step 11 To complete the painting, I repeat steps 8 through 10 to finish the
clusters of flowers and leaves.

Artist’s Tip
Make sure your brushes are completely clean of paint when you move
on to a new step. It is very easy to create “muddy” colors on your canvas
with a dirty brush.
Coffee Cup
In this painting, I use a palette of neutral colors to depict this tempting
scene of coffee and sweets. Notice how the jam-filled pastry adds an
effective “pop” of red color, which creates a pleasing triangular
composition with the coffee cup and cream pot.

Color Palette
alizarin crimson • burnt sienna • burnt umber • cadmium yellow deep
hue • cobalt blue • Payne’s gray • raw umber • titanium white •
ultramarine blue • yellow ochre
Step 1 I draw the main elements of the composition with pencil, followed by burnt
umber to define the dishes and pastries. (You may choose to simply use pencil.)
Step 2 I start painting the placemat with a mixture of yellow ochre and white,
adding burnt umber and ultramarine to shade the areas to the right of the plate
and saucers.
Step 3 Next I add the white lines between the wooden slats, using a steady hand
and a liner brush.
Step 4 To finish painting the placemat, I paint the dark spaces between the
wooden slats and white design lines. I also add dark lines to represent the threads
that hold the slats together, using a combination of burnt umber and ultramarine.
 Detail
For the areas of white in shadow, I tone down the lines by mixing
Payne’s gray and ultramarine into the white paint.
Step 5 I break down the process of painting the china into a few small steps. First,
I paint the white parts of the cups, saucers, and plates using white as the primary
color. I add a little yellow to the white in the light areas. To paint the areas in
shadow, I add a little cobalt blue and Payne’s gray to the white.
Step 6 In the next step, I mix variations of burnt sienna and white to paint the
band design on the cups and saucers, showing the shapes of the china by placing
lights and darks accordingly. Then, using cobalt blue, I place thin lines along both
edges of the bands. Moving toward the areas in shadow, I add Payne’s gray to
darken the blue. If desired, you can add flowers or other designs, or you can keep it
simple as shown. For the gold design on the cookie plate, I use burnt umber in
areas of shadow and yellow to show reflections of light.
Step 7 Painting a shiny metal spoon can be tricky because it reflects light and
nearby objects. I use Payne’s gray and white as my primary color combination and
then create many shades of gray, from nearly white to nearly black.

Detail
To show the cup’s reflection in the spoon, I add the brownish colors
that I used to paint the cup’s band along with a bit of the same blue.
Step 8 Now I fill the cup with black coffee. I apply several layers of burnt umber to
achieve a deep brown color; then I add reflections of light by adding a bit of white.
Step 9 I use raw sienna as the primary color for painting the jam-filled pastry.
Next I add white to show the lightest areas and burnt umber for shadows. To paint
the jam-filled center, I mix alizarin crimson, raw sienna, and white. I use similar
colors to paint the remaining treats: burnt umber, raw sienna, and white. I use
more burnt umber for the chocolate bun and more raw sienna for the plain
cinnamon bun. As a finishing touch, I add a bit of white to highlight the swirls of
the buns.
Red Zinnias
When designing a composition, it’s always a good idea to consider the
“rule of thirds.” Imagine your canvas divided into thirds, both
horizontally and vertically. The focal point of a composition should
rest where two of the imaginary lines intersect, as demonstrated in this
floral scene.

Per the “rule of thirds,” the red zinnias serve effectively as the focal point near the
upper-right intersection of lines.

Color Palette
alizarin crimson • burnt sienna • burnt umber • cadmium yellow deep
 alizarin crimson • burnt sienna • burnt umber • cadmium yellow deep
hue • Hooker’s green • Payne’s gray • permanent blue • raw sienna •
raw umber titanium white • ultramarine blue

Step 1 I draw the composition, which is the most important step for this piece.
You can use a pencil or very fine lines of paint.
Step 2 To paint the wall on the left side, I use a mix of permanent blue and white.
While working toward the right, I reduce the amount of white and add a bit of
Payne’s gray to darken the wall’s value.
Step 3 To paint the table’s surface, I mix burnt umber, burnt sienna, and a small
amount of white. Lastly, I paint thin lines with pure burnt umber to indicate the
spaces between the boards.
Step 4 For this step, I underpaint the teapot using white, ultramarine blue, and a
bit of Payne’s gray, establishing the overall values for a 3-D effect. (I will add
details to the teapot in later steps.)
Step 5 I start the flowers by painting the leaves with Hooker’s green, which acts as
the primary color. Then I add raw umber and ultramarine blue for the shaded areas
followed by cadmium yellow for the lighter parts of the leaves and sides of the
stems.
Step 6 I start painting the white zinnias using white mixed with cadmium yellow
and Payne’s gray. I add more yellow and gray to the mix for the darker parts of the
flowers.
Step 7 To complete the white zinnias, I paint the center of each flower with burnt
umber, and I touch up the petals in the light with a mixture of white and cadmium
yellow.
Step 8 To finish the teapot, I add light reflections on the left side with white
mixed with a small addition of cadmium yellow. I also emphasize the shadows in
the vertical groves and other areas with ultramarine blue and Payne’s gray.
Step 9 Using alizarin crimson, I paint the circles to represent red zinnia petals.
Also, I use Payne’s gray for the centers of the flowers.
Step 10 I finish the outline of the flowers and place the petals with a 1/4-inch
round brush.
Step 11 Next I add white to the alizarin crimson and paint over the petals to show
reflections of light.
Step 12 To complete the flowers, I paint small petals in each center using a small
round brush. I use a mixture of alizarin crimson and Payne’s gray for the petals in
shadow, followed by a mixture of alizarin crimson and white for petals in light. I
leave the dark center of each flower untouched.
Step 13 I use a mixture of raw sienna and white to outline the lamp’s shape. Then
I add the darker section on top (where you can see the interior of the lamp) with a
mixture of raw sienna and burnt umber. To show the wall through the lamp glass, I
add a bit of Payne’s gray to permanent blue. For the candlelight, I mix cadmium
yellow with white, adding more white to the center of the flame.
Step 14 To finish the design on the top part of the lamp, I use a mixture of raw
sienna and white; then I add some darker details of the lamp with raw sienna and
burnt umber, and I complete the details of the small ball and ring on top by using
similar color combinations.
Step 15 In this final step, I paint the white zinnia between the teapot and candle
lamp, following the steps and color palette used in Step 6.
 Teapot Sequence

Teapot A
Teapot B
Teapot C
Teapot D
Teacup & Books
It makes sense that metal objects
mirror their surroundings, but
people are often surprised that
white objects similarly reflect
color—an effect that makes them
very compelling. Because the
background and objects that
accompany the white focal point
will influence its appearance, it’s
important to consider their color
composition when planning your
still life. The “white” china cup in
this still life comes to life when
warm yellow-browns pair with
complementary cool blues.

Color Palette
burnt sienna • Payne’s gray • sap green • titanium white ultramarine
blue • yellow ochre
Step 1 On a 14" × 11" canvas, I work out my composition with a graphite pencil
so I can make changes and corrections. When I’m happy with what I see, I outline
the drawing with gray paint to keep my guide visible when I start applying color.
Step 2 I plan the balance of light and dark with a value sketch to avoid a washed-
out painting. My focal point is a white cup, but that doesn’t mean it’s entirely light
in value. I work out my shadows in thinned gray paint for a guide.
Step 3 I start with the back wall, which sets the tone of the painting, combining
burnt sienna, yellow ochre, and ultramarine blue with a small amount of sap
green. As I move into the shaded areas, I add more blue and green for a cooling
effect.
Step 4 I use similar colors on the table, but for a warmer palette, I mix in more
yellow ochre and less blue and green. For the shadow beside the books, I add more
blue. I paint lines between the boards using burnt sienna mixed with ultramarine
blue.
Step 5 For a wood-grain effect, I load a 1/2" brush with a mix of burnt sienna and
ultramarine blue before lightly dragging it across the table. I combine burnt
sienna, yellow ochre, and ultramarine blue for the book pages, adding gray for
contrasting shadows. The cover is ultramarine blue mixed with titanium white, sap
green, and Payne’s gray.
Step 6 I painted the top book to set the ground for my cup, but I’ll establish the
focal point before attending to the others. Mindful of the light source on the left, I
reserve pure white for the directly lit portions of the cup on the outer left and
inner right. I mix the shadows inside the cup with titanium white and the
background’s brown. I paint the shadows on the outside with titanium white and
the book’s blue.
Step 7 I continue layering on the cup until I’ve covered the value sketch shadow
on the handle and lower portion of the bowl. Then I turn my attention back to the
books, layering the same mix from step 5 over all the pages and then adding
shadows—including the deep one under the top cover—by mixing in gray.
Step 8 With the pages firmly established, I turn my attention to the remaining
book covers, applying the same mixture of ultramarine blue, titanium white, sap
green, and Payne’s gray. In addition to painting the lower book covers, I once again
layer over the top cover, mixing in more gray where the cup casts a shadow.
Step 9 Now it’s time to turn my attention to the details in this still life setting: the
bookmark and spoon. I place the bookmark using pure ultramarine blue; I will
worry about refinement later. I start painting the spoon by re-creating its form
with a medium gray tone.
Detail
To give the bookmark a silky appearance, I mix white into the
blue for highlights, adding gray for shadows. On the spoon, I mix
Payne’s gray with burnt sienna for a dark metal base. Then I touch
in reflections, mixing white with both blues.

Bookmark A
Bookmark B

Spoon A
Spoon A

Spoon B
Step 10 The finishing touches are the refining details. In addition to completing
the spoon and bookmark (see “Detail” here), I spend a little more time on the cup. I
re-establish the shadows on the handle and touch up the reflections on the
bottom of the cup, in both cases mixing a bit of ultramarine blue with white. With
a slightly darker mix, I also paint the line around the rim of the china.
Pottery
The reflections on smooth, shiny
objects hold a strong visual
appeal, but so do the natural
variations and inconsistencies of
textured objects. Including
multiple objects with varying
textures produces an even greater
level of interest, thanks to the
contrast, as shown in this
example of vintage pots against a
cracked wall with exposed brick.

Color Palette
alizarin crimson • burnt sienna • Payne’s gray • sap green • titanium
white • ultramarine blue • yellow ochre
Step 1 When I sketch the basic shapes on my 12" × 16" canvas (first with pencil,
then with gray paint), I also take the time to determine the parts of my
composition that matter most, establishing where I’ll be focusing my attention to
detail.
Step 2 After washing in shadow placement with a thin layer of Payne’s gray, I turn
my attention to the wall. For the first layer, I combine yellow ochre, burnt sienna,
ultramarine blue, and titanium white. Next, to age the wall, I somewhat randomly
and unevenly touch in a variety of colors from my palette.
Step 3 To make the wall more interesting, I add a rough texture to its surface. I
use the same random, uneven selection of colors from step 2, this time
drybrushing the paint onto the canvas. I also paint in deep cracks, using a mix of
burnt sienna and ultramarine blue.
Step 4 For the bricks, I begin with a burgundy underpainting. I apply a mixture of
burnt sienna and ultramarine blue, using more blue in the shadows. The
underpainting will speed up painting by establishing the value and direction of
subsequent layers.
Step 5 My initial sketch will help me immensely here, because I paint each brick
individually. Although I use a base mix of burnt sienna and ultramarine blue, this
building is so old that the bricks are uneven in shape, size, and color, so I also
create variations with alizarin crimson, yellow ochre, and titanium white.
Step 6 For the top pot, I mix varying proportions of ultramarine blue, yellow ochre,
burnt sienna, Payne’s gray, and titanium white, laying down a loose underpainting
before layering on value transitions. For lighter values, I include more yellow and
white in the mix, colors that gradually decrease as the blue and gray increase in
the shadows.
Step 7 I don’t want to accidentally paint over the pot edges after they’re finished,
so I take a moment to focus on the shelves. As with the wall, I use a mix of yellow
ochre, burnt sienna, ultramarine blue, and titanium white; however, I use more
blue and white for a lighter, grayer tone, with even more blue in the shadows.
Step 8 The two foremost pots have similar color bases. I underlay a combination of
ultramarine blue, yellow ochre, burnt sienna, Payne’s gray, and titanium white for
both, adding a little alizarin crimson to the middle pot for its clay color. For the
oxidized areas of the copper pot, I also mix in sap green. As with the first pot,
these underlayers include light to dark transitions with slight variations in the
color mix proportions.
Step 9 I like working from the background forward, even when it comes to detail.
So my next move is to refine the clay pot in the middle, painting its cover with a
base of yellow ochre and adding in minor portions of burnt sienna and ultramarine
blue.
Step 10 Turning my attention to the copper pot’s development, I mix ultramarine
blue and burnt sienna for a layering base; then I add a bit of titanium white for
the lighter areas. In the oxidized portions, I mix sap green, yellow ochre,
ultramarine blue, and white.
Step 11 To give the copper pot more character, I add a patina-laced surface detail.
Working with the same mix as in step 10, I vary the color proportions to
distinguish light from shadow. I also add a rougher texture to the shelf for greater
contrast.
CHAPTER 3

Light, Shadow & Color

with Janice Robertson
This chapter celebrates the simple elegance of home. Janice Robertson
shares her painterly style and exquisite treatment of light, shadow, and
reflections in a variety of still life compositions. From flowers to
teapots to cherry tomatoes, any artist can appreciate and be inspired
by Robertson’s ability to find the beauty in familiar, everyday
settings.
Bottles
Colored glass offers a great opportunity to practice painting colorful
light, reflections, and shadows. The bottles in this project may appear
complex, but you can easily build them using base colors followed by
darks, lights, and highlights. As you look at your reference, focus on
seeing the values as simple shapes.

Color Palette
quinacridone red • Hansa yellow medium • phthalo blue • dioxazine
purple • titanium white
 Medium: Acrylic glazing liquid (slow drying)

Step 1 To begin, I apply a thinned layer of quinacridone red over an 11" × 14"
primed canvas. Once dry, I draw the basic shapes of the composition with white
chalk. Then, when I am happy with the drawing, I use dioxazine purple and a 1/4"
flat brush to go over the chalk lines.
Step 2 I block in the base colors of the bottles, thinning the colors with a damp
brush and glazing fluid. For the blue bottle, I use phthalo blue; for the red bottle, I
use quinacridone red and dioxazine purple. I use Hansa yellow for the yellow
bottle. To add shadows, I apply thinned phthalo blue in long strokes.
Step 3 In this step, I focus on adding the darks. For the blue bottle, I use phthalo
blue and quinacridone red. I switch to dioxazine purple and Hansa yellow to create
the darks in the red and yellow bottles. I use the same colors to develop a cast
shadow for each bottle.
Step 4 Now I add the lighter areas of the bottles. I mix a little phthalo blue with
white to develop the blue bottle. I use a mix of Hansa yellow and white for the
yellow bottle, and I switch to white and thinned quinacridone for the red bottle. To
create the tabletop, I apply a light blue mix of phthalo blue, quinacridone red, and
white.
Step 5 To begin the background, I create a pale gray using white, a bit of phthalo
blue, quinacridone red, and Hansa yellow. I add this to the strip of light behind the
bottom half of the bottles. I use less white for the darker strip above. Then I
loosely apply a range of grays to the rest of the background above the strip,
working in more white as I move toward the top.
 Detail

Keep your background strokes loose and painterly, which will keep the viewer focused on the crisp lines
of the contrasting tones of the bottles.
Step 6 To finish, I apply a second coat over the background, cooling it by working
more phthalo blue into the mix. To finish the bottles, I paint small areas of light
with white followed by thin glazes of quinacridone red, Hansa yellow, and phthalo
blue.
Cherry Tomatoes
An imperfect scene often results in a more dynamic piece. For this
setup, a few tomatoes spilled outside of the bowl and a few wrinkles
in the cloth create interesting shadows and balance the composition.

Color Palette
dioxazine purple • Hansa yellow medium • phthalo blue pyrrole red •
quinacridone gold • titanium white
Medium: acrylic glazing liquid (slow drying)
Step 1 I apply an underpainting of thinned quinacridone gold over a 12" × 12"
primed canvas. Then I use dioxazine purple to draw the basic shapes of the
composition.
Step 2 Next, I block in the tomatoes with pyrrole red. To paint the rim of the bowl,
I use quinacridone gold and dioxazine purple. For the inside of the bowl, I use a
bright turquoise mix of white, phthalo blue, and a bit of Hansa yellow. I use a
slightly greener version of this mix to begin the stripes on the cloth. For the areas
of shadow in the composition, I apply dioxazine purple.
Step 3 Now I use white to paint more stripes on the cloth. I use phthalo blue and
pyrrole red to represent the shadows in and under the bowl.
Step 4 In this step, I paint the shadows in the bowl again, this time using
dioxazine purple and quinacridone gold for warmth. To create the rim of the bowl,
I use quinacridone gold, dioxazine purple, and a little phthalo blue. I use
quinacridone gold, pyrrole red, dioxazine purple, and white to develop the shadows
in the cloth.
Step 5 Now I focus on painting the tomatoes. I begin by glazing the darkest
tomatoes with purple. Then I use pyrrole red for the middle values and a
combination of Hansa yellow medium, white, and pyrrole red for the lighter areas.
To emphasize the darks, I add dioxazine purple to the pyrrole red. Next, I paint a
final layer of shadows in the cloth using white, quinacrione gold, phthalo blue, and
pyrrole red. To finish, I paint a second layer of white on the stripes and add white
highlights on the tomatoes.
Roses
In this painting, I begin by toning the canvas with a vibrant layer of
color. This bright pink peeks through and influences subsequent layers
of paint, creating warm, luminous effects in the finished piece.

Color Palette
dioxazine purple • green gold • Hansa yellow medium quinacridone
gold • quinacridone red titanium white • ultramarine blue
Step 1 I prime the canvas with a layer of quinacridone red thinned with water.
Once dry, I draw the basic shapes of the composition with chalk and go over the
lines with dioxazine purple.
Step 2 I paint the first layer of the sofa with quinacridone gold and dioxazine
purple, mixed with a little glazing fluid. For the dark green leaves, I use
quinacridone gold and ultramarine blue. For the lighter leaves, I use green gold and
white. I don’t worry about details at this point; my goal is to get the basic shapes
and colors in place.
Step 3 Now I begin the background. Using ultramarine blue, white, and a small
amount of green gold, I paint the area through the window. I add the background
branches and the patterns on the pillows with quinacridone gold and dioxazine
purple. The shadows on the table are painted with dioxazine purple, ultramarine
blue, and white. The top of the bowl is ultramarine blue and white, and the bottom
of the bowl is ultramarine blue. For the window frame, I use white mixed with a
little quinacridone red, ultramarine blue, and quinacridone gold.
Step 4 Next I apply a layer of white over all the highlights of the flowers, apples,
and vase. I paint the patterns on the pillows with mixes of Hansa yellow,
quinacridone red, ultramarine blue, dioxazine purple, and white. For the tabletop, I
use quinacridone gold and white. I apply another layer over the table shadow with
dioxazine purple tinted with a bit of white. I use glazing fluid in the mixes
throughout the painting, which helps my paint flow and stay wet a little longer.
Step 5 To complete the area through the window, I start with a thin layer of
ultramarine blue, a little green gold, and glazing fluid. While this layer is wet, I
paint into it with white plus touches of green gold and ultramarine blue. I paint a
second layer on the dark areas of the sofa with quinacridone gold and dioxazine
purple, and paint the lighter areas with quinacridone gold and a little white. A
second coat goes on the window frame using mixes of ultramarine blue,
quinacridone red, quinacridone gold, and white. The leaves are painted with
various mixes of green gold, ultramarine blue, quinacridone gold, and white. Then I
paint the apples (see detail here).
Step 6 Now I paint patterns on the pillows with a combination of ultramarine
blue, quinacridone gold, green gold, and quinacridone red. I start painting the
stems in the vase with ultramarine blue and green gold. Once dry, I paint over
them with a layer of quinacridone gold. I paint another layer on the bowl using
mainly ultramarine blue and white with a bit of quinacridone red.

Detail
For the apples, I first paint a glaze of green gold with glazing fluid.
Then I stroke white, green gold, and ultramarine blue into the wet layer.
Step 7 Next I begin the roses. I start with a glaze of quinacridone red and Hansa
yellow all over each flower; then I work white paint into the wet glaze. For the
base of the flowers, I apply a layer of Hansa yellow and green gold. Then I paint
the snapdragons (see detail below).

Detail
I paint the snapdragons with a combination of white, ultramarine blue,
and Hansa yellow. I vary the colors of the leaves with mixes of Hansa
yellow, ultramarine blue, quinacridone gold, and white. Finally, I paint
another layer of white on the highlights of the flowers and leaves. Once
dry, I warm up some of the white highlights with a layer of Hansa
yellow.
Step 8 To finish the painting, I look for areas that need attention. I finish the vase
by adding more details, using green gold, quinacridone gold, ultramarine blue, and
white. I reinforce the white with another layer; then I warm up some highlights by
glazing with yellow. I apply a layer of green gold and Hansa yellow to brighten the
apples. Finally, I paint a few grayish blue shapes on the pillow at right, using
ultramarine blue, quinacridone gold, and white.

Detail
Notice that I keep my background elements muted and low in contrast
—from the suggestion of trees in the window to the pillows on the
couch. Downplaying these areas by avoiding too much detail and
contrast allows the main elements of the composition to shine.
Lemons & Teapot
Working with a limited palette (only a few select colors) is a great
way to create unity in a painting while keeping it bold and simple. In
this project, I use just six colors to bring the scene to life.

Color Palette
cobalt blue • dioxazine purple • hansa yellow medium • pyrrole red •
quinacridone gold • titanium white
Step 1 To begin, I paint a layer of thinned quinacridone gold over a 12" × 16"
canvas. Once dry, I draw the basic shapes of the composition with chalk and go
over them with dioxazine purple. I also use purple to block in the shadows.
Step 2 Now I paint the lemons with a layer of Hansa yellow mixed with titanium
white. Then I paint the shadows on the plate with cobalt blue. I layer pyrrole red
and cobalt blue over the spout and lid of the teapot. Finally, I paint a second layer
of dioxazine purple and quinacridone gold to deepen the shadows.
Step 3 I paint the rim of the plate with a mix of cobalt blue and white. For the
teapot, I layer over the darks using quinacridone gold and purple mixed with
glazing fluid. While the paint is still wet, I paint the highlights with white.
Step 4 Around the rim of the lid, handle, spout, and base of the teapot, I paint a
layer of pyrrole red. When dry, I paint a thin layer of cobalt blue mixed with
glazing fluid over the highlighted bands of the teapot. To finish this step, I paint
white over the brightest highlights.
Step 5 To finish the lemons, I start with a layer of Hansa yellow mixed with
glazing fluid on each lemon. I use Hansa yellow and white for the lightest areas,
Hansa yellow and pyrrole red for the deeper yellow areas, and a combination of
cobalt blue, Hansa yellow and pyrrole red for the shadows. For the lightest areas
on the lemons, I use pure white.
Step 6 For the plate, I apply two layers of white over the light areas. For the
shadows, I use cobalt blue and Hansa yellow mixed with a small amount of pyrrole
red and white. To complete the painting, I use quinacridone gold and a bit of
pyrrole red for the wood grain of the table.

Detail
For a final “pop,” I use white to bring out highlights on the lemon and
wedges. I also add red-orange to areas of the rind for definition and
glow.
Teapot & Apples
In this project, learn how to use a wet-into-wet technique to create
softly blended strokes that remain visible and lively. This painterly
effect creates energy and movement even in areas of solid color.

Color Palette
dioxazine purple • Hansa yellow medium • Mars black • phthalo blue •
pyrrole red • quinacridone gold • titanium white • ultramarine blue
Step 1 To begin, I paint the canvas with a thinned layer of dioxazine purple. After
laying in the drawing with chalk, I go over the lines with a small brush loaded with
thicker dioxazine purple. Using water to thin my colors, I apply ultramarine blue
over the shadows, quinacridone gold over the teapot, and Hansa yellow over the
apples. I also paint the dark handle of the teapot with Mars black.

Artist’s Tip
Toning your white canvas with a thin, luminous layer of paint adds
richness and color unity to a finished painting.
Step 2 Next I paint the apples one at a time, starting with a coat of Hansa yellow
mixed with acrylic glazing fluid, which slows the drying time. The trick is to paint
them quickly so the colors blend together. I use a combination of Hansa yellow,
pyrrole red, phthalo blue, and white. I apply the white highlights last. In this step, I
also add more darks to the teapot with a mix of ultramarine blue, pyrrole red, and
Mars black.

Step 3 Now I paint the background and tabletop with a combination of white,
ultramarine blue, and pyrrole red. I also add a bit of quinacridone gold to the mix
in some areas to gray down the violet color. I use a 1" brush for this and change
the direction of the brushstrokes often to create texture.

Step 4 For the teapot, I start by laying a thin layer of quinacridone gold and
glazing fluid. I add mixes of ultramarine blue, pyrrole red, Mars black, white, and
more quinacridone gold. I try to set in the darks first, adding the lighter colors last.
I work in one area at a time, allowing me to work wet-into-wet.
Step 5 I finish the teapot with my variations of gray, using chunky brushstrokes as
I focus on painting the shadows and reflections.

Step 6 Then I move on to the plate, adding reflections with Hansa yellow, pyrrole
red, ultramarine blue, and white. For the darkest areas, I use ultramarine blue,
pyrrole red, and a little black. I use a small round brush to paint the white
highlights last. I apply a very thin layer of quinacridone gold and Hansa yellow
(thinned with glazing fluid) over the teapot to warm it up.
Step 7 To complete the painting, I focus on the background. I mix ultramarine
blue, pyrrole red, white, and glazing fluid and work wet-into-wet over the
background. For the lightest areas, I paint a thin layer of ultramarine blue, pyrrole
red, and glazing fluid first; then I work pure white into the wet glaze. I finish by
adding a few final details throughout the piece.
CHAPTER 4

Everyday Inspiration
with Elizabeth Mayville
Elizabeth Mayville’s crisp, clean style turns everyday scenes into
calm, intimate works of art. From a simple neighborhood view from a
windowsill to scattered toys on the stairs, this chapter holds both
traditional and unconventional subjects for a more detailed look at
what defines a still life.
Stack of Books
The flat surfaces of books make them great subjects for studying
planes and light. Notice how the crisp edges of the books contrast
with the more organic color shifts in the foreground. The defined
shadows of this scene add to the depth and contrast.

Color Palette
alizarin crimson • burnt umber • cadmium red medium • cadmium
yellow light • phthalo blue • titanium white • ultramarine blue • yellow
ochre
 ochre

Step 1 I use a pencil to draw the composition on heavy watercolor paper. Some
artists prefer to create the initial drawing with paint so the pencil doesn’t muddy
up the colors, but I like some of the line to show through in the finished piece.
Executing an accurate drawing is important; with this many angles, getting the
perspective wrong in a few spots can throw off the entire composition.
Step 2 Now I fill in the darkest spots of the painting. For the shadows on the floor,
use a combination of burnt umber and ultramarine blue. Paint the black book with
the same colors, using more blue than brown as well as a little more white for the
areas in light. For the dark green bits, mix phthalo blue, ultramarine blue, yellow
ochre, and burnt umber.
Step 3 Next I fill in the mid-range tones, keeping my brushstrokes loose and not
worrying too much about getting the color exactly right. The looseness will add
some movement to the finished painting, and remember that you can always
correct colors later. The most important part is to get the paper covered while
getting an idea of the color relationships you want to develop in the painting.
Step 4 At this point, I block in the lights. I use white with a little ultramarine blue
for the pages of the open book and black book. I paint the cover of the top book
with a mix of white and both yellows in my palette. I avoid pure white when
painting lights because few things in this world are actually white. Instead, I
reserve my brightest white for the occasional highlight.
Step 5 To begin refining the painting, I darken the floor shadows with more burnt
umber and ultramarine blue. I also address the rest of the floor with varying
washes of burnt umber, yellow ochre, cadmium red medium, and white. I add
stripes to the pillow at the top of the frame and apply a wash of white and yellow
over the rug.
Step 6 I darken the shadows and tone down the rug with additional washes,
darkening as I move from left to right. I apply a wash of white, ultramarine blue,
alizarin crimson, and yellow ochre over the portion of the rug farthest to the right.
As I move left across the rug, I add more white and yellow to the mix.

Artist’s Tip
If your composition feels a bit stagnant, try adding another object. In
this painting, I’ve added the corner of a striped pillow to the top, which
serves to redirect the eye down to the books.
Step 7 Now I refine the lightest areas and add some highlights. The shift from
light to shadow appears too harsh on the pages of the open book, so I add some
darker values between the lightest and darkest areas.
Page Sequence

Page A
Page B
Page C
Page D
Step 8 I add text to the spine of the teal book and cover of the top book. I don’t
want the text to stand out too much, so I make sure the values of the text aren’t
too different from the value of the books. The text on the teal book is gold, so I
paint it first with a brownish mix. Then, using a mix of white and both yellows, I
go over the parts that catch the light. To finish, I add just a bit of a highlight with
cadmium yellow and white.

Detail
Unless the text is the focus of your painting, avoid writing and
replicating exactly as it appears in your reference. I find it more helpful
to instead focus on the general shapes of the letters in perspective. This
will help keep the text from seeming hyper-refined against a generally
loose painting.
Butter
Butter is a treat for the palette as well as the palate. I love to paint
butter because it involves plenty of subtle color shifts, both in the
butter itself and in its waxed paper wrapping. Due to the complexity
of the subject matter, I find it a good idea to leave the composition
simple and straightforward.

Color Palette
alizarin crimson • burnt umber • cadmium red medium • cadmium
yellow light • phthalo blue • titanium white • ultramarine blue • yellow
ochre
Step 1 I use pencil to draw the butter on heavy watercolor paper. After developing
and refining my sketch, I lightly erase the pencil so that just a ghost of the
drawing remains. This step is particularly important if your subject is light in value.
Step 2 I block in my dark values with a mix of ultramarine blue and burnt umber. I
use more ultramarine blue for the spots on the waxed paper, and I use more burnt
umber (with only a dab of ultramarine blue) for the background. The light source is
coming from the left, so I add white and yellow ochre to lighten as I move toward
the left.
Step 3 Now I block in the mid-range values. I paint the waxed paper with white,
ultramarine blue, and alizarin crimson. I use the same mix in the foreground and
background with a little yellow ochre added to warm it up. The front of the butter
includes mostly white with a bit of yellow ochre, cadmium yellow light, and
cadmium red medium. The side also calls for plenty of white with a bit of
ultramarine blue, yellow ochre, and cadmium yellow light.
Step 4 At this point, I quickly block in the light values. The key to this painting is
capturing the subtle shifts of color, so when I move from area to area, I alter my
paint mixes just a touch. I paint the top of the butter white and yellow. I go over
the lightest part of the waxed paper with white, both blues, and alizarin crimson.
The light portions of the foreground and background use the same colors as the
waxed paper, plus a touch of alizarin crimson.

Artist’s Tip
To keep the painting unified, develop it as a whole. Work all over the
surface as you move from dark to light, and avoid focusing on one area
from start to finish.
Step 5 Next I focus on refining the background and foreground. I focus on
darkening the shadows, lightening the light areas, and adding little shifts of color
in otherwise barren areas. I also make sure to have a little light spot to the right of
the butter, which defines the shadows and draws the eye all the way across the
painting.
Step 6 Now I work on the waxed paper, which is perhaps the most challenging
part. I don’t want to change the overall value structure of the paper, so I have to
make small adjustments to areas that are darker or lighter. I simply add a bit of
white and phthalo blue to the lighter areas.
Step 7 Now it’s butter time! Again, I focus on nearly indiscernible changes in
color. Warm up the front of the butter with a tiny amount of cadmium red mixed
with a ton of white and a little cadmium yellow. To counter the warmth of the red
in some spots, I add touches of yellow ochre and ultramarine blue.

Detail
When addressing the graphics, I keep them pared down and general without any recognizable words or
logos.
Step 8 I am unhappy with the darkness of the butter’s cast shadow, so I lighten it
up and cool it down with small amounts of phthalo blue. I keep my paint mixes
wet throughout the painting, so I’m always using mixes from one area in other
areas. This helps to create visual harmony throughout the painting—and it also
helps conserve paint!

Artist’s Tip
Don’t be afraid to exaggerate color! My finished painting is not the
spitting image of my still life setup, but it is more interesting and
dynamic.
French Press
Because this still life features so many reflections, remember to work
on the painting as a whole instead of developing separate areas at a
time. Using a color mix throughout a painting, rather than in just one
area, can help create a cohesive image with visual unity.

Color Palette
alizarin crimson • burnt umber • cadmium red medium • cadmium
yellow light • phthalo blue • titanium white • ultramarine blue • yellow
ochre

Artist’s Tip
Generally speaking, it’s not a good idea to place your focal point in the
dead center of a composition, as it can create a dull image with little
movement. In this painting, I decided to do it anyway and added several
compositional elements that direct the eye right back to the center.
Sometimes it’s OK to break the rules if you do it with intention and
enthusiasm!
Step 1 I use a pencil to draw my composition on a sheet of heavy watercolor
paper. I make some parts of the sketch accurate, such as the curve of the banana,
but leave other areas loose, such as the flowers in the background. This will help
the viewer focus on the foreground objects rather than the loosely rendered
background.
Step 2 Next I fill in the darks, beginning with a mostly dark brown mix of burnt
umber and ultramarine blue. I paint the handle of the French press and shadow by
the door with the same colors, adding more blue to the mix than brown.
Step 3 Now I block in the middle values. I begin the table by painting it with a
coat of solid brown, which gives it the foundation for a sense of unity as I develop
it. This initial color also keeps the task from feeling overwhelming. In an area that
could become complicated, it’s best to begin with a quick, basic underlying color
so that you can build momentum before you get discouraged. Then you can return
to the object and refine it until you’re satisfied.
Step 4 In this step, I block in the light values. I am careful to make sure these
doors—although white in terms of local color—are darker than what we can see of
the brighter outdoor world in the background.
Step 5 Now I address the table. I begin by darkening areas in shadow and move on
to highlighted areas reflecting light. Through a series of small adjustments, I work
on creating an effective amount of contrast while making sure the table reads as a
solid surface.
Step 6 Now I refine the dishtowel and banana. The dishtowel is a bit tricky
because it has only a few high-contrast areas and could easily read as flat and
boring. The trick is to really examine the subtlety of color and make small, smart
shifts in color and value. I paint the banana with a mix of warmer yellows for its
shadowed areas along with cooler yellows and greens for the areas in light.
Step 7 Next I move on to the French press. I enjoy painting reflective metal
because it allows me to use several paint mixes from my palette—and if I get it
right, the visual payoff is huge! I make sure the value structure is accurate;
otherwise, it won’t read as reflective. I use paint mixes from the table, towel, and
banana as well as some new grays made with ultramarine blue, burnt umber, and
white.
Step 8 Now I sort out the flowers and back wall. I also darken the walls and doors
and add minimal highlights and shadows.

Detail
I paint the flowers loosely, using only one dark value and one light
value for each kind of flower. This helps keep my strokes fresh and
lively.
Step 9 I quickly address the far background, refining the greenery and putting
down another coat of light orange to help clean up the crossbars of the French
doors. I also take a step back to see if there are any areas that look unfinished. As
it turns out, the space just under the French press looks off, so I return to add
more shadow and a small reflection.

Artist’s Tip
Don’t be afraid to paint glass! If it’s clear glass, then it’s pretty much a
jigsaw puzzle made up of other colors from your painting. Be very
 jigsaw puzzle made up of other colors from your painting. Be very
attentive to the shapes created by the different planes of color, and
don’t get distracted by what you think the glass object should look like.
Paint what you see, and it will pull together in the end.
Windowsill
Still life scenes aren’t limited to
fruit, flowers, and tabletop
scenes. In this painting of the
view from my desk, I sneak in
elements of a landscape through
the window for depth and
interest. If you choose to do this,
focus most of your attention on
the foreground so it acts as the
obvious focal point. Whatever
lies beyond the window should
rest comfortably in the
background, a little muted in
color and painted loosely.

Color Palette
alizarin crimson • burnt umber • cadmium red medium • cadmium
yellow light • phthalo blue • titanium white • ultramarine blue • yellow
ochre
Step 1 I draw the composition with pencil on a piece of heavy watercolor paper. I
add the horizontal lines of the windowsill and the house in the background using a
ruler to make certain they’re straight.
Step 2 Now I block in the darks of the composition. The greens are a mix of
cadmium yellow light, ultramarine blue, and phthalo blue. If I need to warm up the
green, I include more ultramarine blue. If I need to cool down the green, I use
more phthalo blue.
Step 3 Next I block in the middle values. This painting isn’t very high contrast; it is
made up mostly of middle values. As a result, the process of blocking in each value
group separately has more to do with organizing myself and less to do with
establishing dark darks and light lights.
Step 4 I block in the light values and decide to go with a pink sky. It’s not an
accurate depiction of my still life setup, but the composition is fairly
straightforward, so the unexpected color adds some visual interest.
Step 5 In this step, I refine the dark areas. I deepen the black of the watch face
and paint the band with a combination of yellow ochre, cadmium yellow light,
cadmium red medium, ultramarine blue, and titanium white. I add highlights and
subtle shifts of color to the greens of the leaves in the jar. I paint the lighter parts
of the leaves with a mix of cadmium yellow light and phthalo blue, while I paint
the deeper areas with more ultramarine blue and cadmium yellow light with a
touch of yellow ochre.
Step 6 At this point, I add some loose details to the rooftop in the background. I
want to add just enough visual interest so that the background adds to the overall
painting but doesn’t distract.
Step 7 Now I sort out the light areas. I darken the white area of the rooftop to
help it fade into the background a bit more. The windowsill was reading too warm,
so I cool it down with a wash of white, ultramarine blue, and a little alizarin
crimson.

Artist’s Tip
You’ve probably heard some people say, “I could never be an artist; I
can’t even draw a straight line.” Well, drawing a perfectly straight line
is serious business—and after a decade of being a professional artist,
 is serious business—and after a decade of being a professional artist,
I’ve finally admitted to myself that I cannot freehand a straight line. It’s
OK. That’s why rulers and straightedges exist. Take the extra time to
grab a ruler when drawing out your composition. You don’t have to use
it everywhere, but using it on important compositional elements,
especially architectural elements, will help keep a painting crisp and
structured.
Step 8 Finally I add some detail to the bottle. This is going to be the most exciting
part of the painting, so I spend a lot of time looking at the different shapes and
making sure the highlights are accurate. I also add roots growing from the leaf
stems. I wait until the end for these because they’re quite delicate, and it would be
a hassle to paint around them throughout the course of the painting. Once I’ve
worked out the bottle, I clean up the pink sky and lighten it just a little. This
painting is now complete!
Toys
Instead of using my small studio space to arrange props for my still
life setups, I use well-lit areas around my house and incorporate
meaningful backgrounds. In this painting, I depict some of my son’s
toys waiting to ambush the next person who might come down the
stairs. The different levels provided by the stairs create an interesting
composition, and the primary colors of the toys offer me the chance to
use a bold palette.

Color Palette
alizarin crimson • burnt umber • cadmium red medium cadmium yellow
light • phthalo blue • titanium white ultramarine blue • yellow ochre
 light • phthalo blue • titanium white ultramarine blue • yellow ochre

Step 1 I draw the composition on heavy watercolor paper with pencil. I use a ruler
for all of my straight lines and make sure the angles are correct. I pay particular
attention to the stacked blocks because they sit in the center of the painting, with
several lines pointing to them. If the angles are off, it will be very obvious to the
viewer.
Step 2 Next I fill in the darks. I paint the toy elephant with a dark mix of burnt
umber, ultramarine blue, and titanium white.

Artist’s Tip
No matter the subject matter, I always approach a painting the same
way: First I draw the composition; then I block in the dark values,
followed by the medium and light values. Then I settle in for the bulk of
the work, refining each part of the painting.
Step 3 Now I block in the medium values, which cover a good portion of this
painting. For the cool brown of the duck on a stick, I mix a little ultramarine blue
and yellow ochre with burnt umber and white. I treat the floor with a warmer mix
of burnt umber, cadmium yellow light, and cadmium red medium.
Step 4 Next I block in the light values. I add cadmium red and alizarin crimson to
the white of the molding near the second step, as it is reflecting the color of the
red knob at the end of the duck’s stick. I go a little overboard with this color at the
very top, which I’ll tone down later.
Step 5 In this step, I dive into the stairs and wall. I refine these areas first because
I can develop them quickly, and the speed of the process will give me the
confidence to tackle the remaining areas. I shade the left sides of the stair risers
using white, ultramarine blue, and a bit of burnt umber. As the eye moves right,
the risers move into direct sunlight, so I add more titanium white and a touch of
cadmium yellow light. I take into account all the brown color shifts of the stair
treads—both major and subtle. For the wall, I start from the left (where the light is
strongest) and apply a mix of phthalo blue, ultramarine blue, yellow ochre, alizarin
crimson, and white. As I move right, I add more ultramarine blue, burnt umber, or
yellow ochre.
Step 6 In this step, I work on the elephant. The lights of this toy aren’t very light,
so I am careful not to create too much contrast within the grays. I try to see the
elephant as part of the overall composition, rather than a focal point that requires
plenty of detail. The elephant acts as an interesting dark spot before the eye moves
to the duck.
Step 7 Refining the duck mostly involves a few color adjustments on the wheel,
such as darkening the foot and adding green. The feathers and eye are hand-
painted on the toy, so they are easy details to re-create with my brush. Then I
move on to the color shifts of the blocks, which is an exercise in color theory. It
takes some work to get the light, medium, and dark values right to create a
convincing cube. In these cases, it’s always a good idea to test your colors on scrap
paper before applying them to your painting.
Step 8 At this point, I decide I’m not satisfied with the wall and stair tread (left of
the duck). I rework the wall with a larger brush so the strokes aren’t distracting,
and I darken the stair with a deep grayish-brown. Last but not least, I add the
duck’s smile!
CHAPTER 5

Realism & Detail

with Tracy Meola
In this final chapter, artist Tracy Meola shares her polished,
stunningly realistic style as she walks you step-by-step through five
still life projects. From a bowl of fresh tomatoes to crisp apples and a
cupcake that looks good enough to eat, you’re sure to find pleasure in
this lovely selection of artwork.
Cupcake
I enjoy painting realistic still lifes because I prefer clean edges and
plenty of detail. It is a thrill when others view my work and initially
think it’s a photograph. To achieve this level of realism, I always start
with a detailed drawing. I continue to develop my drawing as I
progress, using a white charcoal pencil over dark areas and graphite
pencil over light areas.
 Color Palette
burnt umber light • carbon black • Hansa yellow medium • magenta •
neutral gray • raw sienna • raw umber • titanium white

Mixes
Pink orchid = magenta + Hansa yellow + white • Warm black = carbon
black + raw umber
Step 1 I paint the entire board with pink orchid mixed with white. While wet, I
add a second coat of color, picking up white in my brush with the orchid color and
painting lines along the folds of the cloth. I also blend white into the wet orchid in
the bottom-left corner. When dry, I lightly draw a line separating the brown
background from the tablecloth. I paint the background using burnt umber light,
allowing the brown to taper off as I reach the cupcake. I add another coat of burnt
umber light; while wet, I blend in some orchid mix to the upper-left quadrant of
the board. I blend raw umber into the wet upper right corner, adding a bit of warm
black near the right edge.
Step 2 Now I outline the cupcake, separating the frosting from the cake and
indicating the drizzle. I paint the frosting with pink orchid, working around the
larger chocolate drizzle. While this dries, I paint the cupcake and liner a middle-
value brown, such as burnt umber light. Along the left side, I create a long shadow
by first stroking a bit of water, followed by small amounts of pink orchid mixed
with burnt umber. I leave the edges of the shadow fuzzy.

Artist’s Tip
I prefer to develop my paintings in this order: middle values, dark
values, light values, and then color reflections. Don’t try to accomplish
any single element with just one application; building the values in
 any single element with just one application; building the values in
layers will create depth.

Step 3 I draw lines to indicate the folds of the paper liner and swirls in the
frosting. I mix magenta and Hansa yellow medium, using this to create the deepest
areas and crevices in the frosting. I use a lighter version of the pink orchid mix to
create the paper liner. I add a little water to the paint to make it transparent and
then paint the heavier areas toward the top of the liner. Using the mopping
technique (see “Mopping Tip” below), I add paint to the lower areas of the liner.
Then I add a layer of raw umber over the deep areas of the cake, dabbing for
texture. I also use this paint to create a shadow on the cake under the frosting. I
add tiny chocolate drizzles using burnt umber light.

Mopping Tip
Use the mopping technique to achieve an area that is soft and well
blended. You will need a large flat brush for water, a smaller flat or
oval brush for paint, and a fluffy mop brush for blending. When the
surface is dry, moisten the area with water (A). Smooth the paint over
the center of the damp area, but not too thickly (B). Quickly mop the
area to smooth out the paint and blend it using the tip of the mop
brush. Lightly sweep back and forth so that the color graduates from
intense in the center to nothing on the outer edges. Remember not to
extend the sweeping out beyond the moistened area (C).
Step 4 I add lighter values to the frosting with a mix of white and pink orchid. For
the dark values of the chocolate drizzle, I use warm black.
Step 5 I paint over the cake with burnt umber light, toning down the darks a bit. I
add dark values to the paper liner with raw umber to create recessed areas. I also
use this color to create the shadow under the blob of cake that hangs over the
liner. Then I apply raw sienna to the lightest areas of the cake and chocolate
drizzle. For the lightest values of frosting, I use white and a touch of pink orchid. I
use this mix to lighten the paper liner, create folds on the liner, and lightly define
its top edges.
Step 6 At this point, I begin fine-tuning the piece. I deepen the dark areas of the
frosting with magenta plus Hansa yellow medium and a bit of raw sienna. I deepen
the dark areas on the paper liner with warm black, and I add lighter values of
frosting with white. I highlight the drizzle with white and pink orchid. For larger
areas, I use the mopping technique; for the drizzle, I apply dots. I add lighter
values to the paper liner, mostly on the top half, using white with a small touch of
pink orchid. With a loose mix of raw sienna and titanium white, I dab very small
dots of highlight onto the cake, adding texture. I create some larger areas of color
variation on the tablecloth by mopping on deeper areas with magenta plus Hansa
yellow medium and neutral gray. For the small cast shadow at left under the
cupcake, I use raw umber.

Artist’s Tip
If your subject is very intricate—or if you prefer having established
guidelines from the start—draw the composition first on a separate
sheet of paper, and then transfer it to your board using transfer or
graphite paper.
Step 7 I dab small dots of raw umber on the cake using the tip of a liner brush. I
add a final highlight on the chocolate drizzle with a very light value of pink orchid,
also using this color to bring light onto the tablecloth. I deepen the small cast
shadow with warm black. Then I mix a light value of raw sienna and white to dot
on the lightest areas of the cake. At this point, I evaluate the piece and step back
to determine if I need to add any other details. To finish, I sign the painting!

Artist’s Tip
To seal and protect your finished painting, add two or three coats of
water-based varnish, following manufacturer’s instructions carefully.
water-based varnish, following manufacturer’s instructions carefully.
Candlestick
In this patriotic scene, learn how to create subtle shadows and tone
down a bright palette with a range of grays that result in a realistic still
life.

Color Palette
cadmium red medium • carbon black • neutral gray • primary cyan blue
• Prussian blue • raw umber • red oxide • titanium white
Step 1 I paint the board with a cool gray mix of white and carbon black. Once dry,
I measure and pencil in the background stripes. For example, use 3/4" stripes for an
8" × 10" board.) Then I sketch the taper candle, candleholder, and metal tag.
Step 2 I lighten the background mix with white to paint the white stripes. Then I
use primary cyan blue to paint the candle. For the candleholder, I use a warm,
neutral, medium gray mix, adding a touch of raw umber if necessary. I paint the
tag using the original background mix. For the table, I use red oxide and a touch of
raw umber. Using the mopping method (see “Mopping Tip”), I lightly blend in the
sags of the background with a lighter value of the “white” used for the background
stripes.
Step 3 Using neutral gray and the mopping method, I deepen the sags by adding
paint opposite the lighter value added in Step 2. I create some gnarls in the
wooden table by dabbing in areas of raw umber. Once dry, I use raw umber to
deepen the table behind the candleholder, where the table meets the background.
Step 4 I use cadmium red medium to paint the red background stripes. Then I add
dark values to the candleholder, starting with raw umber and adding black and
neutral gray to deepen it further. I paint the cast shadow of the candle on the
background with neutral gray, keeping it thin where the light in the background is
strongest. I deepen the left side of the table with raw umber.
Step 5 To suggest rust, I add some red oxide to areas of the candleholder. I place
the dark and light values on the front of the holder to create the indentation; then
I highlight it with neutral gray and white. Noticing that areas of the candle
shadow are a little darker, I deepen them with touches of black and neutral gray. I
deepen the darker areas of the taper candle with Prussian blue. I paint the wick
with light gray at the base, and then I apply black the rest of the way up, ending
with a touch of red oxide at the tip. I apply a layer of dark values over the metal
tag using a medium dark gray mix. I continue deepening by adding more black to
the mix with each layer.
Step 6 I paint the chain with dots of a middle-value gray. I add water to black and
use this to deepen areas between the chain beads and parts in shadow. I highlight
the metal tag with white and a touch of black. Once dry, I add more white and
lighten the lightest areas. I mix black and Prussian blue to deepen the candle on
the right side.
Step 7 I further highlight the candleholder by adding more white to the mix. I also
add more light touches of red oxide to the holder. I highlight the taper candle with
primary cyan blue mixed with white. To create the cast shadow on the table under
the holder, I use thinned raw umber plus black. I paint the flame with white and a
tiny touch of red oxide.
Step 8 I paint the base of the flame with thinned red oxide. I place the final center
shine on the taper candle with white, letting it fade out near the bottom. I
highlight the beads of the chain with white and a tiny touch of black. Once dry, I
create the lightest areas with white. I add the shine reflection on the table with
middle-value gray using the mopping technique. (See “Mopping Tip,”). When this
dries completely, I add more white to the gray mix and brighten the shine closest
to the candleholder. I step back, evaluate, and fine-tune where necessary.
Step 9 I brighten the red stripes with two coats of cadmium red medium,
deepening the areas of sag with a touch of black. I add white to the brightest
areas of the white stripes, tapering it off where the cloth goes into shadow. Then I
brighten the flame tip with white. I add a touch of white to primary cyan blue and
brighten the center of the taper candle. To brighten the candle’s shine, I apply a
line of white. I also add more dots of white to lightest areas of the chain. To finish,
I sign the painting and seal it with a water-based varnish.
Bottles & Flowers
This nearly monochromatic palette of blues, greens, and grays will
allow you to focus on form and reflections without fussing too much
over color. A simple background emphasizes the subtle shifts of value
within the glass and allows the flowers and dark bottle to “pop” as the
focal point.

Color Palette
burnt umber light • carbon black • Hansa yellow • Hooker’s green •
neutral gray • permanent green light • primary cyan • Prussian blue •
raw sienna • titanium white
Step 1 The key to painting glass is working in thin, transparent layers. Planning
ahead is essential. I begin by painting the board white, keeping it smooth and
avoiding ridges. This step may require multiple coats. I load a large flat brush with
primary cyan and use the chisel edge to haphazardly swipe blue slashes across the
upper three-quarters of the board.
Step 2 I pick up medium gray in my brush and wipe off excess paint on a paper
towel. I swipe a few dry gray slashes on the board. When dry, I paint over the
entire board again with white to quiet the intensity of the blue and gray, pushing
them into the background. You may need to add an additional coat of white.
Step 3 I measure three-quarters of the way down from the top of the board and
lightly draw a horizontal line across the board. Then I outline the bottles with
pencil, positioning them a little lower than my horizontal line. Next I thin
permanent green light with water and wash light color over the three clear bottles
at right as well as the bottom of the bottle at left. When dry, I add more color to
the areas with thicker glass or where another bottle shows through. I wash over
the frosted bottles with cyan and white. I use this color to deepen the background
where it meets the table. I also add this color inside the clear bottles. For the dark
blue bottle, I use a mix of Prussian blue and gray. With the bottles established, I
erase the pencil lines.
Step 4 I paint the corks with a mix of Hansa yellow, raw sienna, and white. I
create shadows and suggest deeper areas of glass with a mix of permanent green
light and Hooker’s green.

Artist’s Tip
If you prefer working with established guidelines from the start, draw
your composition on a separate sheet of paper, and transfer it to your
painting surface with graphite paper. This allows you to reposition it
and trace guidelines as needed.
Step 5 I add another coat of blue to the frosted bottles and then add darker areas
with cyan blue. I start defining the bottles using a liner brush and continue
applying slightly darker values to all the bottles. I deepen the thick bottom glass of
the bottles with colors from my palette. I add dark specks on the corks with burnt
umber light and deepen areas of shadow.
Step 6 I continue layering the darker values. I add black to the Prussian blue mix
for the dark blue bottle. To create shine and transparency, I place lighter blue in
the lower-middle area of the bottle.
Step 7 I paint the flower stems inside the bottle with Hooker’s green. I add white
to the first cork mix and apply light specks on the corks. Then I apply my first layer
of white shine on the bottles. For the frosted bottles, I use the mopping method;
for the other bottles, I add more defined strokes with a flat brush. I paint the
flowers with a mix of white plus a little raw sienna (which makes a cream color). I
paint the stems and leaves with Hooker’s green plus a touch of the raw sienna mix.
Step 8 I apply another layer of white over the bottle highlights. I add dark values
to the flowers by adding more raw sienna to the first mix; then I further deepen
with raw sienna. Finally, I add burnt umber and raw sienna to the darkest areas. I
stroke white highlights on the lightest areas of the petals. For the dark values on
the stems and leaves, I use Hooker’s green and a touch of black for more contrast.
I add lighter values with Hooker’s green plus my Hansa yellow mix. If they need
more lightening, I add more Hansa yellow. I paint shadows on the table under the
bottles with cyan, gray, and a touch of Prussian blue. I re-evaluate everything and
fine-tune where necessary. To complete the painting, I sign it, let it rest, and add a
protective finish.
Bowl of Tomatoes
One way to make your painting “pop” is to surround your main
subject with neutral colors. In this scene, the red-orange of the
tomatoes stands out against the creams and light browns of the bowl,
cloths, and wood.

Color Palette
cadmium orange • chromium oxide green • Hooker’s green • napthol
red light • medium gray • raw sienna • raw umber • red iron oxide •
titanium white
 Mixes
Mud = white + raw umber + a touch of napthol red light • Shadow =
napthol red light + a small amount of black • Orange tone = cadmium
orange + a touch of gray • Mustard = cadmium yellow + raw sienna

Step 1 I use a small roller to cover my entire painting board with white. Once dry, I
place white and the mud mix on my palette, roll the two together, and then roll
over the board. The result is a background texture with a vaguely uneven
appearance.

Artist’s Tip
If you want to work with an established sketch, draw the composition
on a separate sheet of paper, and use graphite paper to transfer it to
on a separate sheet of paper, and use graphite paper to transfer it to
your painting surface.
Step 2 Now I outline the elements. I use a smooth flat brush to paint the bottom
cloth and dish with white and a touch of the mud mix, creating a soft white. I
paint the top cloth with white and a touch of medium gray to create a very soft
gray. I paint the tomatoes with the orange tone mix. Using the same mix that I
used for the dish, I use a liner brush to paint the lines of the table’s wood grain.
For the separations between the planks of wood, I use the mud mix.
Step 3 I paint the stripes on the bottom cloth with napthol red light. The stripes
on the top cloth are a mix of white, napthol red light, and orange tone. I keep
them light to push them into the background. (If they seem too bright, you can
quiet them down with a layer of white paint.) I use a liner brush to add the design
on the dish with mud plus a touch of white. I also use this mix to add dark values
to the dish.
Step 4 With the mopping method, I apply dark values to the cloths, suggesting
fold lines, indicating where the two cloths meet, and showing lower-lying areas of
the top cloth. For the bottom cloth, I use the mud mix; for the top cloth, I use a
mix of white, gray, and the mud mix. I deepen the darkest areas on the dish with
the shadow mix plus mud and a touch of white (which will result in a deep gray
mix). I paint the two tomatoes on the right with the orange tone mix plus red iron
oxide. I paint the three tomatoes on the left with napthol red light plus the orange
tone mix. I apply the orange tone mix alone over the bottom center tomato. The
tomatoes underneath are varied values of napthol red light plus a touch of black
and the orange tone mix. I paint the stems and leaves with chromium oxide green.

Step 5 I add highlights to the cloths and dish using white. I build these slowly,
applying them twice to some areas and three or four times to the brightest areas.
Reflect a hint of color on the dish behind the tomato at right with thinned napthol
red light. I use a liner brush to lightly and loosely dab on the dark ceramic edges
with black toned down with the mud mix. I apply dark values to the tomatoes by
first adding the shadow mix to the tomato color. Then I apply the shadow mix over
the darkest areas. I add cadmium yellow to the orange tone mix and add a lighter
value to the tomatoes (the lights—not the white shines).

Step 6 Now I bring the tomatoes to life by adding shine marks with white. I stroke
directly over the green where necessary, as I will develop the sepals in subsequent
steps.
Step 7 In this step, I complete the tomatoes, stems, and leaves (see detail below). I
add darker lines of value to the table boards with the mud mix plus white. Then I
add some lines with the mud mix, followed by mud mixed with a touch of red iron
oxide. I keep all my lines watery and light. I also go over the plank, separating lines
with the mud and shadow mixes.
DETAIL
I brighten the tomato shines with more white. I repaint the stems and
leaves with chromium oxide green. I add a little water to Hooker’s
green and use a liner brush to apply the dark value to the stems.
Step 8 I wash white over the left side of the painting, on the background, and over
the table boards, tapering it off. I apply the darkest value to the stems and leaves
with Hooker’s green plus black. I apply lighter values to the stems and leaves with
the mustard mix plus chromium green oxide. I add more mustard to the mix for
the lighter areas. I add orange reflections on areas of the stems, followed by white
shines to the stems and leaves. I add the cast shadow of the cloth on the table
using the mud mix thinned with water. I deepen areas of it with thinned mud and
the shadow mix. For the water droplets, I start by painting them with one coat of
orange tone mix (not opaquely). I add darker areas of droplets using the shadow
mix. I add some of the shadow mix to the outside of each droplet as well,
suggesting its shadow. I add a small amount of mustard to the lightest side of the
larger droplets using a liner brush. Then I add the final shine with white. Using the
shadow mix, I add cast shadows on the tomatoes under the leaves.
Floral Scene
In this painting, I focus on creating depth by painting in several layers.
As I often do, I begin with middle values, followed by dark values and
then light values. I finish by adding color reflections.

Color Palette
alizarin crimson • burnt umber • cadmium orange • cadmium yellow •
Naples yellow • Mars black • quinacridone magenta • quinacridone red
• sap green • titanium white

Mixes
 peach = cadmium orange + white • orange tone = cadmium orange + a
touch of gray • dirty white = white + small amount of cadmium yellow +
a touch of gray • light green = cadmium yellow + sap green • taupe =
white + a small amount of burnt umber + a touch of cadmium yellow

Sketch Before I begin painting, I work out my composition with a line drawing.
Step 1 I paint my board with neutral gray. Once dry, I paint it gray again, this time
working alizarin crimson into the wet paint. I let the board dry. Then I draw the
outline of the pitcher, flowers, and apples. I paint the apples with Naples yellow,
the pitcher with the dirty white mix, the orange daisies with the peach mix, and
the pink daisy with white and alizarin crimson. I paint the burgundy flower with
alizarin crimson and a touch of white; then I paint the rose with quinacridone
magenta and white. I paint the flower center with Naples yellow. To paint the
table, I use a mix of burnt umber, white, and a touch of cadmium yellow.
Step 2 I add a light green mix to the apples near the stems and on the bottom of
the front apple. Then I paint the stem of each apple: sap green for the apple at
left, burnt umber for the middle apple, and Naples yellow mixed with burnt umber
for the apple at right.
Step 3 I use the taupe mix to add dark values to the pitcher. Using a liner brush, I
tap sap green mixed with a touch of black around the flower centers. I mix
quinacridone magenta and a touch of white for a bright pink and apply this to the
red areas of the apples. I use the chisel edge of a flat brush to touch on the striped
areas of red. For the larger areas, I use the mopping method (see “Mopping Tip”) so
the transition from pink to yellow isn’t too harsh. To deepen some of these areas, I
apply quinacridone red.
Step 4 I mix burnt umber and quinacridone red for the darkest areas of the apples,
including the centers. Where needed, I deepen some areas with pure burnt umber.
I tap brown into the scaly area of the bottom-center apple with the chisel edge of
a flat brush, using a mixture of sap green and burnt umber. I add a touch of black
to the taupe mix and apply the darkest values on the pitcher. Once dry, I apply
highlights on the pitcher with white in several layers. I brush raw sienna onto the
table to warm up the areas that are mid-value. I use a liner brush with burnt
umber to create lines in the table. I add shadows on the table with burnt umber.
Step 5 I highlight the apples with white mixed with a touch of Naples yellow. I
give form to the apple stems using dark and light values, tapping on the color for
texture. I put tiny flecks of the dirty white mix on the front stem. I begin layering
dark values on flowers. For the orange daisy, I use the orange tone mix. For the
pink daisy, I use alizarin crimson and white. For the burgundy flower, I use alizarin
and black. I use quinacridone magenta and a touch of white for the rose. Then I
loosely add greens among the flowers using sap green.
Step 6 I add some alizarin crimson and white to the orange flower. Then I add
darker values in areas of shadow with the orange tone mix, adding burnt umber to
darken. I add lighter values using cadmium yellow, followed by cadmium yellow
mixed with white. To deepen the areas of shadow within the rose, I use alizarin
crimson followed by alizarin crimson mixed with black. I add highlights with
quinacridone magenta mixed with white. Within the pink daisy, I add areas of
shadow with gray. I add deeper pinks from my palette as needed. I add light petals
to the burgundy flower with quinacridone magenta, and then I add a bit of the
dirty white mix to the magenta. For the flower centers, I add light green (for a dark
value), followed by cadmium yellow and white. I use colors from my palette to
deepen flowers where desired and to create color harmony throughout the
painting. I also use a liner brush to define petals and add ridges to the petals. For
dark values within the flower greens, I mix sap green with black.
Step 7 I add specks to the apples with a liner brush and thinned Naples yellow.
While still wet, I tap the specks with my finger to blur and dull the color. I paint
the baby’s breath flowers by tapping the dirty white mix onto the painting board
with the liner brush. I add a touch of sap green into the mix for darker areas. Then
I add a touch of white to dirty white and tap lighter areas. I pull the stems with a
liner brush using the light green mix. I add darker values to the stems with sap
green, followed by highlights using the light green mix and white. I deepen the
table shadows with burnt umber and black. I paint the fallen petal on the table
using colors from the palette. I don’t forget to add a cast shadow under it with
burnt umber. I evaluate the painting and sign once I am satisfied. To protect the
finished piece, I apply two to three coats of water-based varnish, following the
manufacturer’s instructions.
About the Artists

Varvara Harmon of Windham, Maine, is an award-winning

multimedia artist who has mastered oil, acrylic, watercolor, silk
painting, and ink and pencil drawing. Her work has been juried into
national and international exhibitions and is in private collections
around the world. Varvara’s work has been published in International
Artist and American Artist magazines, as well as in The Best of
America Oil Artists book in 2009 and The Best of World Landscape
Artists in 2012. Varvara is a member of the International Guild of
Realism, Oil Painters of America, and Landscape Artists
International. Varvara is currently represented at several art galleries
across the Northeast and teaches workshops and classes in acrylic,
watercolor, and oil. Visit www.varvaraharmon.com to learn more.

Elizabeth Mayville of Grand Rapids, Michigan, is a professional

artist and illustrator. Since earning her BFA in 2006, she has become
increasingly interested in the idea of “home” and all the seemingly
small bits of life that bring us comfort and a sense of stability.

Tracy Meola of Plaistow, New Hampshire, is a professional artist

who specializes in still-life acrylic paintings. As a child, Tracy loved
crayons and coloring books and eventually graduated to sketchpads
and pencils. She majored in advertising and illustration at The Art
Institute of Fort Lauderdale, but she still considers herself self-taught
because, lacking confidence, she left college and entered the business
world, leaving art behind. Ten years passed before she picked up a
paintbrush, but her love of painting was instantly restored. Life
experience gave her the confidence she previously lacked, and in
1991, she began painting and teaching professionally. Tracy paints
with acrylics using her own adapted technique of lightly applying
multiple layers of paint with the use of water, which creates a soft,
blended look in her artwork. Tracy chooses elements for her still-life
paintings that have texture and light, which is why many of her
subjects include glass or candles. She wants her artwork to give others
a sense of home, peace, joy, and nostalgia.

Janice Robertson of Fort Langley, BC, Canada, has received many

awards, including three bronze medals in the Federation of Canadian
Artists 2000 Signature Members show, the Margaret and William
Foley Award at the 2001 Adirondacks National Exhibition of
Watercolors in New York, and the Foreign Award in the 2004
Houston Watercolor Society exhibition. Janice holds senior Signature
membership in the Federation of Canadian Artists, Landscape Artists
International, the Northwest Watercolor Society, and Artists for
Conservation. She is author of Walter Foster’s Acrylic Basics.
Index
A
Acrylic paint
brushes for, 9
characteristics of, 8
mediums for, 8
palettes for, 8
surfaces for, 9
techniques with, 14–15
Additives and mediums, 8
Analogous colors, 10

B
Backgrounds
color and, 23, 42, 44, 60, 79, 90
detail in, 60, 71, 94, 100, 102
texture and, 128
treatment of, 91, 99, 104, 123
value and, 23, 61, 77, 89, 96, 130
Blending techniques, 15, 112
Blocking-in technique, 90, 95, 96, 104
Books
stack of, 82–87
teacup and, 42–47
Bottle, Oil & Jasmine, 24–29
Bottles, 56–61
Bottles & Flowers, 122–127
Bowl of Tomatoes, 128–133
Bowls, 62–65, 66–71, 128–133
Bristle brushes, 9, 14
Brushes, 9. See also specific Brushes, cleaning, 15, 29
Brushstrokes, direction of, 19, 77
Butter, 88–93

C
Candlestick, 115–121
Canvas, 9
Canvas, toning, 14, 66, 72, 76, 79
Cast shadow, 13
Centerline, 12
Cherry Tomatoes, 62–65
Cleaning brushes, 15, 29
Cleaning palette, 8
Coffee Cup, 30–35
Color
complementary, 10, 42
cool, 42, 61, 93, 100, 105
harmony, 10, 138
neutral, 11, 18, 30, 110, 122, 128
theory, 10–11
warm, 42, 43, 66, 92, 97, 110
Color wheel, 10, 11
Complementary color, 10, 42
Composition
focal point, 22, 36, 42, 44, 94, 100, 106
transferring, 114, 124, 129
treatment of, 30, 62, 85, 88, 103, 104
 viewpoint, 24
Computer-editing software, 11
Contrast
color and tone, 10, 60, 71, 101, 106
design, 48, 82
shadows, 44
Cookies, 18–23
Cool colors, 42, 61, 93, 100, 105
Core shadow, 13
Cupcake, 110–115

D
Dabbing technique, 14, 112, 117
Depth, creating
dabbing technique for, 14
design for, 24, 100
layering techniques for, 15, 111, 134
scumbling technique for, 14
shadows for, 82
Direction of brushstrokes, 19, 77
Drawing techniques, 12. See also sketching Drawing through, 12
Drybrushing technique, 14, 49
Drying time, 8

E
Edges
color and, 112
defining, 33, 51, 113, 131
hard, 82, 110
Edges, continued
 masking, 15
shadow and, 13
soft, 13, 111

F
Fan brushes, 9
Filbert brushes, 9
Fixative, 9
Flat brushes, 9, 112
Flat wash technique, 14
Floral Scene, 134–139
Floral still lifes
assortment of, 122–127, 134–139
roses, 66–71
zinnias, 36–41
Focal point, 36, 42, 44, 94, 100, 106, 122
French Press, 94–99
Fruit and vegetable still lifes
apples, 76–79
lemons, 72–75
tomatoes, 62–65, 128–133

G
Gesso, 9
Glass, technique for painting, 99, 122
Glazing technique, 14, 69, 74
Graduated blending technique, 14
Graphite paper, 114, 124, 129
Grayscale, 11

H
H
Hake brush, 15
Hardboard, 9
Harmon, Varvara, 53, 140
Coffee Cup, 30–35
Macarons, 18–23
Oil Bottle & Jasmine, 24–29
Pottery, 48–53
Red Zinnias, 36–41
Teacup & Books, 42–47
Harmony, color, 10, 138
Highlight value, 13, 46, 56, 70, 75
Hog bristle brushes, 9

I
Impasto, 15

J
Jasmine and oil bottle, 24–29

L
Lemons & Teapot, 72–75
Lifting out, 14, 15
Light
movement of, 86
reflected, 13, 27, 33, 34, 39, 96
source direction of, 44, 89
values of, 11, 13, 42, 98, 104, 111, 134
Liner brushes, 9

M
M
Macarons, 18–23
Masking tape, 15
Masonite, 9
Mat board, 9
Materials and tools, 8
Mayville, Elizabeth, 81, 140
Butter, 88–93
French Press, 94–99
Stack of Books, 82–87
Toys, 104–107
Windowsill, 100–103
Mediums and additives, 8
Meola, Tracy, 109, 140
Bottles & Flowers, 122–127
Bowl of Tomatoes, 128–133
Candlestick, 116–121
Cupcake, 110–115
Floral Scene, 134–139
Midtone light value, 13
Mixing guides, 11
Monochromatic palette, 122
Mop brush, 112
Mopping technique, 112, 136
Muddy colors, avoiding, 29, 82

N
Neutral colors, 11, 18, 30, 110, 122, 128

O
Oil Bottle & Jasmine, 24–29
P
Paint, acrylic, 8
Paint, removing, 14, 15
Painterly technique, 55, 60, 76, 87, 98, 100
Painting knives, 9, 15
Painting techniques, 14–15
Palette, color. See also individual paintings
limited, 72
monochromatic, 122
neutral, 11, 18, 30, 110, 122, 128
Palette cleaning, 8
Palette knife, 9, 15
Palettes for mixing, 8
Paper, watercolor, 9
Paper for transferring sketches, 114, 124, 129
Pencils, 9
Pizza cutter, 14
Pottery, 48–53
Primary colors, 10, 11, 104
Primer, 9
Proportions, establishing, 12

R
Realism, 12, 109, 110, 116
Red Zinnias, 36–41
Reflected light, 13, 27, 33, 34, 39, 96
Removing paint, 14, 15
Rigger brushes, 9
Robertson, Janice, 55, 140
Bottles, 56–61
 Cherry Tomatoes, 62–65
Lemons & Teapot, 72–75
Roses, 66–71
Teapot & Apples, 76–79
Roses, 66–71
Round brushes, 9
Rule of thirds, 36
Rulers, 103

S
Sable brushes, 9
Scraping technique, 15
Scumbling technique, 14
Sealing finished painting, 115, 121, 139
Secondary colors, 10
Shadows, about, 12, 13
Sketch, transferring, 114, 124, 127, 129
Sketching
basic shapes, 48, 88
centerline, 12
drawing through, 12
loose vs. accurate, 94
value sketches, 42
Soft-hair brushes, 9, 14
Software, computer-editing, 11
Spattering technique, 15
Sponging technique, 15
Stack of Books, 82–87
Stippling technique, 15
Supplies, additional, 9
Surfaces, 9
Symmetry, 12
Synthetic brushes, 9

T
Teacup & Books, 42–47
Teapot & Apples, 76–79
Techniques, acrylic painting, 14–15
Temperature of color, 10. See also cool colors; warm colors Tertiary
colors, 10
Textured objects, 48
Thick on thin, 15
Tomatoes, Cherry, 62–65
Toning canvas, 14, 66, 72, 76, 79
Tools and materials, 8–9
Toys, 104–107
Tracing and transfer paper, 114, 124, 129
Transferring sketch, 114, 124, 129
Transparency, 25, 125

U
Underpainting, 14, 49, 50, 62

V
Values, of light, 11, 13, 42, 98, 104, 111, 134
Value sketches, 42, 44
Varnish, water-based, 115, 121, 139
Vases, 36–41, 66–71, 94–99, 100–103, 134–139
Vegetable and fruit still lifes
apples, 76–79
 lemons, 72–75
tomatoes, 62–65, 128–133
Viewpoint, 24
Volume, 12, 13

W
Warm colors, 42, 43, 66, 92, 97, 110
Washes, flat, 14
Water-based varnish, 115
Watercolor paper, 9
Wet-into-wet technique, 79
Windowsill, 100–103
Wiping away technique, 15
Workspace, 8

Z
Zinnias, 36–41
© 2015 Quarto Publishing Group USA Inc.
Published by Walter Foster Publishing, a division of Quarto Publishing Group
USA Inc.
All rights reserved. Walter Foster is a registered trademark.

Artwork on front cover (center) and pages 3, 4, 6, 16, 18–53 © Varvara Harmon.
Artwork on front cover (top right) and pages 80, 82–107 © Elizabeth Mayville.
Artwork on front cover (bottom right), and pages 54, 56–79 © Janice Robertson.
Artwork on pages 1, 108, 110–139 © Tracy Meola. Photographs on pages 8
(“Mediums & Additives”), 9 (“Surfaces”), 10–11, and 14–15 © Elizabeth T.
Gilbert. Artwork and photographs on pages 12–13 © Vanessa Rothe.
Photographs on pages 8 (“Acrylic Paint” and “Palettes”) and 9 (“Brushes” and
“Additional Supplies”) © Shutterstock. Artwork on page 10 (“Color
Temperature”) © Robert Moore.

Authors: Varvara Harmon, Elizabeth Mayville, Tracy Meola, and Janice

Robertson Project Editor: Elizabeth T. Gilbert Page Layout: Britta Bonette

Digital edition: 978-1-63322933-4

Softcover edition: 978-1-63322-087-4

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