This still-life formed the basis of a demonstration workshop I led for the Third Annual Meeting of the Ontario chapter of Wet Canvas!, a world-wide website for artists owned by F.P. Publications, who publish such magazines as Artist's Magazine and own the North Light Book Company. This was done on Arches 300 lb cold pressed paper, using W&N Artist quality paints.
In case you'd like to take the same workshop, but on-line, click here to download a full-sized image for tracing purposes. Once you've got your basic tracing on paper you can carefully re-draw the image ready for misket and painting. If you have trouble with creating cylindrical objects, try turning your paper upside down as shown - it sometimes helps to correct flaws.
Here is how your image should look before you begin any misket work or put on any colour. In fact, I always urge a "quiet time" with your reference picture in front of you (or if painting from life, the actual objects). Now is the time to paint this picture in your head, so to speak. What will you do first? What has to be masked out in order for it to show through later? I always write down these steps in sequence and number them. That way I can always remember where I left off if I have to leave the painting for a few days.
Some transfer papers leave quite a heavy image and I recommend you try to buy the lightest graphite tracing paper you can find, or rub a soft pencil on the back yourself. Here I'm erasing some of the heavy lines I needed to show you how the image should look.
Here I've shown you the areas I masked out with liquid misket. If you haven't used this technique, click on here for a brief illustrated review. I eventually removed that area along the top of the tray handle as it wasn't needed. I began my first wash with a mixture of Antwerp Blue and Brown Madder, thinned down to suit. These two give me a cool grey. Ultramarine Blue and Brown Sienna gives a warm grey. Another tip: I always use a scrap sheet of the same paper and compare my wash with my basic reference photograph.
I've jumped ahead a bit here by painting in the lid and handle of the coffee pot, plus the two chrome bands around the pot. Note how the colour changes as these chrome bands are affected by the lighting around them. Before putting a wash over the coffee mug I actually pencilled in the letters "...appucino" and with the aid of my magnifying glass painted these letters with liquid misket. I later removed the misket and then erased the pencil marks to leave white lettering..
After completing the coffee mug I matched up my basic wash to begin the doughnut. I often use this technique when working from photographs. The shine of the doughnut results from careful use of liquid misket at the beginning of this planning stage.
I put the basic wash on the tray using a wet-in-wet system, and if you're not used to this click here, and cursor down to "Background Wash". Click on each image for a full-sized version. I left the area of white for the paper napkin of course. At one point I turned my board up upside down to ensure a smooth flow of the wash.
In putting in the shadows from the coffee pot I made a mistake and painted beyond my tray edge as shown. What follows is a tip you might want to use if you run into similar problems
I masked off the area involved and used a stiff bristle brush, water and facial tissue to dab off the colour. With practice you'll be able to judge the amount of water and how hard you need to scrub.
All gone and cleaned up. I should have been more careful of course. Providing you use a good quality heavy watercolour paper you'll find many minor mistakes can be easily corrected.
This same dab and blot technique is being used here to emphasize the shine and reflective light on the tray.
Here I use much the same technique to make my glass look more glass-like.
Even with heavy watercolour paper you must be careful not to damage the surface when you remove your masking tape. Use your hairdryer at a shallow angle and pull away gently.
This unique still-life actually stands out from the paper by making the image appear to be in front of the background area, and then by adding a slight shadow from the tray. I could have masked this rectangle but I was nervous about all those layers of dark colour bleeding under the tape, so after mixing up plenty of colour I painted each segment separately (and carefully!)
Here I'm completing the first wash. As you can see, each segment is separate so I didn't have to worry about the opposite corner drying out while I was trying to make an even wash. It took three such washes in all. Notice how the sides of the glass coffee pot, the handle and the china mug now stand out from the background. These are these things to "paint in your head" before you even put colour on the paper. You must plan ahead and know what is supposed to happen.
Just before my final background wash I placed the mat over the painting to gauge my colour values. I always try to keep the mat close at hand during any painting. It acts as a "cheer-up" moment when you're sometimes feeling doubtful about your progress. It's amazing how a mat will make you feel like a professional!
Almost finished! Before I applied my final wash I used a ruling pen to make sure my edges were perfectly straight. Now for a final look at this with the mat in place.
All done. This unusual still-life seems to leap out of the page I think, and one of my class-mates used much the same theme with a loaf of bread, a crisp, clean towel and a bottle of wine. If this inspires you to try a similar still-life, look around your kitchen or living room, and see if you can group some familiar objects. Use some these techniques and I think you'll be pleased with the results.
