Watercolor Still Life Painting Step by Step

This lesson is courtesy of Rod Webb. Rod is a veteran Watercolorist from New Zealand. You can learn more about Rod and view more of his work by following this link to reach his Website.

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Watercolour Painting  My Way :Still Life

Note from the author: Since authoring “Still Life Painting, My Way!” I have had a lot of emails, from folks all around the world thanking me for the demo. Some have asked for a line drawing. I have created a line drawing for folks who are interested in following along. It is a large image, so a good size printout is possible without becoming too pixelated. To view the actual line drawing,  follow this link, or click on the thumbnail to the right. To save it to your hard drive, SHIFT-CLICK on the link, and save it out to your PC. Enjoy!
	Set up the still life study outside in the sun. Background and base are pieces of masking board. Adjust items for best  composition and then photograph using a digital camera.You could use a normal camera and have the photo scanned at your local photo shop.
	Using your computer image software, first crop the image and then adjust contrast/brightness to give a faded image. When printed in mono this will use far less ink.
	Set up your printer to the size required for your watercolor paper you normally use. Mine is set to 34cms wide and 31cms high. As this is larger than A4 the poster and smooth resize will need to be ticked. Set to mono , we do not need a color print.
	This is the output from the printer. Four sheets of paper with image divided between them.
	We now trim and paste together.
	Glued and lined up, repeat and trim all four ready for tracing.
	I use “Graphite Transfer paper” which should be available from your local art shop. If not cover the back of the printed sheet with soft lead pencil or charcoal pencil. Then drawn around outlines you want transferred to your watercolor paper.Don’t press too hard or you will damage the paper!
	Here is the transferred image on “Saunders 300gm Not”  paper stretched and held with gummed paper strip. We are now ready to start painting.We have our sketch and the original image can be displayed on the computer while we are painting. This has the advantage that you can now eat the apples while painting.
	Masking fluid is applied to the glass, apples and jar to save highlights. The brush shown is an old one. The bristles have been trimmed and washing liquid applied to protect by stopping the masking fluid collecting around the ferrule. With this brush, I can apply fines lines of fluid.
	Mix up plenty of wash for the background, mixture of ultramarine and touch of light red. With the painting upside down, I applied a flat wash around the objects and to the top of the painting. See the nice bead of paint collecting at the edge? This is typical when applying a fluid wash with the board tilted at 15 degrees. Don’t throw away the remaining background wash, save it you will need it later. Don’t worry if it dries in the palette, water can be added when required.
	We have applied the wash over the glass, as the background can be seen looking through it.
	Before the wash is dry. A piece of blotting paper is used to lift some of the paint, giving the reflective look of glass.
	Using some of the original wash, add Payne’s Grey to darken and paint the shadow between the jar and glass. Shadow of glass was painted using background wash and darkened at the bottom with Payne’s Grey. Shadow inside glass painted with background wash and Payne’s Grey dropped in while wet into the center portion.
	Using the edge of a piece of blotting paper lift lines of paint on glass shadow on a curve, to represent ripples of light.
	Dry thoroughly using a hairdryer and remove masking fluid from the glass.
	The white of the paper now shows through for highlights, and ripples show in the shadow where paint was lifted.
	Pencil marks erased using a putty rubber.
	Some edges are softened by brushing on clear water and dabbing with a tissue.
	Computer aid: if a part of your painting is easier to paint from the side, rotate the image on your computer to match. You can’t do this with a normal still life setup!
	The fine edge for the top of the glass is added with a sharpened watercolor pencil. The pencil is used dry, but can be softened if you wish by lightly brushing with clear water. Detail is added to the shadow using the original wash. Add the band around the top rim and random curves across from top to bottom.
	Shadow inside glass darkened slightly at the middle.
	Progress so far: background, glass, and shadows completed. The jar will be tackled next!
	First, we have to define the jar and give it some shape.
	The shading is added using a mixture of burnt umber, Payne’s Grey and a touch of light red. While it was still wet, some extra was added around lid edge to darken. Side handle shown simply by painting in the shadow.
	A light wash of raw sienna painted over all of the jar to give it an off-white china look. Masking fluid is visible on lid and front edge.
	A strong rich blue mix was made from winsor blue and ultramarine. The pattern is painted in and edging darkened before first paint dries.
	When painting detail, magnify the image on your computer. It helps!
	After painting the pattern on the side, the left was lightened slightly by lifting some paint with a tissue.
	Fine detail added after first was dry using a rigger brush. Masking fluid removed from jar, sparkle can be seen on lid and top edge, where the preserved white paper now shows.
	Progress so far. Next step is to paint the apples. By the way they were delicious.

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View Part 2 of this Watercolor Lesson >>

Watercolor Still Life Painting Step by Step – Part 2

This lesson is courtesy of Rod Webb. Rod is a veteran Watercolorist from New Zealand. You can learn more about Rod and view more of his work by following this link to reach his Website.

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This is Part 2

<< Part 1 | >> Part 3

	Masking fluid applied to save highlights.
	Wash of light yellow and a touch of sap green painted over apple.
	Before the wash dries, some areas are lifted with tissue, giving a lighter shade.
	Results after applying wash and lifting with tissue.
	Wet all of the apple with clear water. Using a mix of Alizarin Crimson and Light Red drop in some color wet into wet.
	Wash can be controlled, placed and moved around with your brush. If you get paint in the wrong place lift immediately using tissue or blotting paper.
	Always make sure paper is thoroughly dry before you re-wet the surface. Then it will not disturb the original washes.
	First glazes have been applied to both apples.
	The color was too weak, so I added another wash of yellow!
	Masking fluid painted on stems to preserve lighter shade. Shadows added showing core shape and shadow of stem.
	I re-wet the apple with clear water. Lower your head and look across the paper, you should see just a shine on the paper. No sign of surface water.
	While the paper was wet, I added a reddish brown wash to top of apple and around the core to get a bit more shape. If the paper starts to dry, stop! Let it completely dry the re-wet it and start again. If you continue to add wash to drying paper, you will get a cauliflower effect.
	A watercolor pencil can be used while the paper is wet. Fine red streaks added this way. Or you can use with paper dry and if necessary softened afterwards by lightly brushing with a soft wet brush.
	Shadow around stem darkened. I first applied pencil with paper wet then added final sharp lines when dry. The apple stem is also defined using pencils.
	The masking fluid was removed. Larger highlights had edges softened by wetting and dabbing with a tissue.
	Now I have two apples defying the laws of gravity. Lace cloth will be the next task. That should tie everything down!

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Watercolor Still Life Painting Step by Step – Part 3

This lesson is courtesy of Rod Webb. Rod is a veteran Watercolorist from New Zealand. You can learn more about Rod and view more of his work by following this link to reach his Website.

---

This is Part 3

<< Part 2

	Shadows added to show folds in cloth and holes in lace painted at the back. Light grey with a touch of green used.Whoops, I just spotted a mistake. I painted the blue background right down to the cloth over the table top.
	Soon corrected. I laid a plastic ruler along edge where table should be to protect the background wash. Then used a wet sponge to lift the paint, still left a slight stain but that will be covered with the green.
	Both sides were sponged off.
	Green table surface painted. Made darker at the back and lightened at front.
	Holes in lace painted with the grey/green mix. Remaining graphite sketch lines erased with the putty rubber.
	Lines following the folds and curves of the cloth painted in.
	Dots added over lines for weave effect. Strength and pattern varied.
	Stronger shadows placed around apples to anchor them down, up to now they appeared to be floating.
	Shadows on rear folds strengthened, pale yellow added to front fold to bring out the middle fold.
	Some dots were darkened in the weave, rear shadows touch of blue added, yellow shadow near apple and touch of red added to front shadow. There is only just a hint of each color, although it is difficult to see in the photo.
	Decision time, is it finished?. I usually wait a few days and have another look before deciding.
	Placing a tempory matt around painting makes a lot of difference. Find a nice spot for you signature.  Don’t know what color matt or frame I will use, any suggestions? The image to the left shows what I considered to be my “final painting”.  However, after showing this piece to several of my fellow artists, I discovered that there were a few things I could do to improve this painting. Want to see those changes? Good, then keep reading!
	Added some color into the background to break up the solid blue.
	Left apple. Read more

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Raised in Mississippi, my interest in art began at an early age, but was secondary to my study of music until at the college level when I decided to pursue art as my major…..then studying Advertising Design, and not taking up watercolor painting until much later when my children were in school all day and I could devote long hours to the practice of painting.  Eight to ten hours a day were spent trying to “catch up”. I was driven by the desire to learn the craft and excited when I began winning awards in both local and national shows.

My subjects have been so varied over the years, that I don’t know which is my favorite. As I tackle a challenging subject, and learn the ins and outs of painting it successfully, I move on to another challenge. I, perhaps will never be known for painting one thing all my life, as the world is so full of wonderful experiences that I want to paint them all!

At my ripe old age, I am really having fun learning new things about waterbased mediums, and my latest is painting in acrylics with a palette knife. Using blending mediums and retarders, I can make it feel as if I am painting with oils, yet they dry much faster. It is fun to get three-dimensional textures to my work. Another avenue, another adventure. I try to upload images frequently so that my students and the public can see what I am up to! It is fun, and I encourage your responses to what I produce… Read more

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I was born and educated in England, graduating from the Luton School of Arts (now Barnfield College) in 1945. It was my hope to become a graphic artist, but at the end of the Second World War returning service men and women had first crack at the few jobs available, and rightly so. I took a number of jobs while I tried to break into my chosen field, and ended up being a reluctant carpenter. Many years passed and I emigrated to Canada in 1952, married a Canadian woman, started a family, and in 1955 finally started on a career which took in graphic arts, owner of my own graphics arts company, art director at an advertising agency, and careers in marketing, advertising and public relations.

I wish I could claim that my passion for art burned brightly throughout those years, but alas, the need to make a living took prominence. As with many people, I always promised myself that when I retired I would get back to painting again. That time came in 1989, when my wife and I were living the winter months in our condo in Destin, Florida. Robert Long, a talented watercolour artist, was offering private lessons from his nearby condo. He was my mentor, and made my retirement years infinitely richer.

In those days Robert taught only technique, and there were rarely more than four to six of us in those early classes. From Robert I regained my interest in photography as an adjunct to painting, and as the cliche goes – I never looked back. I have had many paintings accepted and hung in exhibitions in Florida and Ontario, where I now live. I’ve won some prizes, come first in some exhibitions, and occasionally won the Citizens’ Choice awards. But I mainly paint for fun – hence the choice of name for this site.

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The name of this technique is called the “Soft Focus” technique and you will understand why it was given this name after watching the video.

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I showed talent with my drawing from an early age, but my parents discouraged me in the hope ‘that I would pursue something more productive’.

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He exhibits his work in galleries in Canada, the US and the UK and his paintings are in many private and corporate collections, including The Toronto Public Library, The City of Toronto, The Arts and Letters Club of Toronto, Sears Canada, and The Mystic Seaport Museum, Mystic CT, where his painting Tugboat Alley was awarded the Museum Purchase Award in 2005. A major retrospective of his work was held in October 2007 at the Arts and Letters Club of Toronto.

Doug believes that artists should continue the tradition of passing on their skills and knowledge to other artists and does this through his workshops, seminars and writing. He currently teaches courses at Loyalist College, Belleville, Ontario; Bridgewater Retreat, Tweed, Ontario; and the School of Continuing Studies, University of Toronto and in workshops for art associations across Canada.

While he paints his native Ontario, he also enjoys travelling to different locations and has painted in Scotland, England, France, and the American Southwest and on the eastern and western seaboard of North America. He is represented by Studio 737, Tweed, Ontario; Arnold Fine Art, Newport RI; and the Gallery at Mystic Seaport, Mystic CT.

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