LESSON ONE ~ STILL LIFE

I want YOU to get the most out of this as you can and by making this interactive I believe that you will. With each lesson you are asked to contact me twice via email with your painting(s). Also in each of these 2 emails I want you to include any questions you have as well. It is your chance to ask me any questions and have them answered personally by me. I will respond with critiques and comments on your work and answer all you questions. When applicable I will use Photoshop to show you what to do next or how to do it next. The steps with photos will also be included in the lesson plan to follow.

photo 1

GET IT ON THE PAPER

Secure your paper to a hard non-absorbent surface using masking tape. Sketch the picture onto your paper either by traditional methods or by the grid system. I recommend not fussing too much over detail, as you'll loose a lot of the freshness of the composition and the tendency to over work apiece starts at the beginning. I'm a firm believer in 'less is more.' Leaving things out of a painting gives the viewer a reason to participate in the painting and create his or her own story in it. Making an emotional investment into you painting is vital and will be seen by the viewer and cause them to connect as well. After you are satisfied with your sketch make sure to almost erase all lines so they won't show up in your painting. They are just guidelines.((see photo 2))

photo 2

GET THE PAINTS OUT

Remember that once you go DARK you can't go light in watercolors. Therefore keep in mind that you can add layers of washes to you painting to make it darker but never can you add a light color or white. I am not a purist saying you can never use white but why would you when you can think this through in the beginning and get it right without the white paint.

Start with you lights and go to the mediums and then finish up with the darks to push contrasts that add the excitement of detail.

I used cadmium yellow, cadmium red, cadmium orange, yellow ochre, burnt umber and alizarin crimson to block in the colors. The colors I use are unimportant, as you will soon discover for yourself. Colors are just an expression of your feelings towards the painting. My choice of colors may or may not be your choice. I rarely use the colors that are in an actual photo. The idea when choosing your colors is to choose them prior to starting your painting. It is a good idea to keep it fairly limited and not use every color you have. BUT, you are welcome to find that out as you go and there is nothing right or wrong about using one color or using them all. I know that may sound contradicting but you will find your own way through this and all I can tell you or guide you in is my way through it. Find what works for you and disregard the rest. Don't try to copy what I do but learn from what you see me do.

I started painting the top right apple as I am left handed and have to always consider where my hand will end up over the wet paint. I used a moderately diluted combination of alizarin crimson and cadmium yellow. I found the darkest part of the apple and started there. Dipping my brush in water to stretch out the paint and eventually worked my way over to the side of the apple that had the light hitting it. There I stopped and picked up a paper towel (or paper napkin) and blotted some of the color off the lightest side. I repeated this on all the apples. Keeping it all very damp but not sloppy. You can let the apples dry in between each one you do or in my case I adore the happy accidents of the paint spilling over into each other. You'll find what works for you. For the pot I used burnt umber and cadmium orange, again diluted and created a wash over it using the darkest part in the darkest edges of the pot. I used the paper napkin to dab the lighter areas of extra paint. I used a huge brush to do the background and a very diluted mix of yellow ochre and burnt umber. The table is a combination of cadmium orange, cadmium yellow and yellow ochre. I let this dry completely. You can use a blow dryer to speed this along if you like.((see photo 3))

photo 3

I added deeper shades of alizarin crimson to the apples as well as some cadmium yellow in spots. Keeping the area you're working in moist but not dripping you can move the paint around and keep a nice flow in the colors without muddying them up. ALWAYS use clean water. Change your water often. Muddy colors will become your mortal enemy!!

Darken up the table and add some darks to the pot using burnt umber.((see photo 4))

photo 4

Here is a close up of the apples and pot to get a better idea of what I did. It is still rather primitive but coming along well. You will notice the pot has a stippled look to it now. For that I used a larger round brush and a darker wash of burnt umber and dabbed it on. Using a paper napkin I blotted out the color, as I went along so as not to get it too dark. This will take practice and you will get it. There is no science to this......just trial and error.((see photo 5))

photo 5

I added some permanent blue (or any dark color will do) to the background as I thought it was too dull and did nothing for the composition. I made sure the background was moist and then using a larger round brush I stroked it on in all directions so it would create interest. Add some clean water to it and see the back runs of watercolor appear. Using the same blue I added shadows to the apples and more detail on the pot. For the table I used it very diluted and washed it here and there. I used this blue in bits and pieces and not all at once. Don't just sit there and start going over everything in blue (or your color choice) use some discretion and try little dabs of it here and there. Use different brushes to achieve different effects and use the paint in stronger and lesser consistencies to see what works for your painting. Do this with a few clean paper napkins close by to wipe away the extra or just to soften the whole look. This ultimately will create harmony and repetition in the painting.((see photo 6))

photo 6

Here is a close up of the pot so you can see the detail of the blue and shadows.((see photo 7))

photo 7

A bit of contrast using a stronger version of the blue was added here and there. A good way to see if you have enough contrast or detail is to squint at your painting and if you loose all edges then you need to add some darkness to it.((see photo 8))

photo 8

I used alizarin crimson to add some more color to the apples. ((see photo 9))

photo 9

I laid a black mat over top to see how it'd look if I decided to frame it ((see photo 10))

photo 10

!!IMPORTANT!!

READ and re-read these notes. Write down your questions. Make a few smaller sketches of this before you start out on the final one. Try the ideas I've given you for textures and backgrounds. Make some notes of your own so you won't have to re-create the wheel each time you go to paint.

Keep in mind that not every painting you create will be framed. You need to start each painting wanting it to be your very best but be real and know that not every painting will be a masterpiece. Always try to finish what you start. Meaning that every painting deserves to have a beginning and an end so bring it full circle and complete it. You will learn so much by doing that and observing what you will and won't do again. Also, remember that there is always the other side of your paper that can be painted on. Some of my best paintings are on the back of a 'not so good' painting. Look at all the old masters that reused their canvases.

FREE SITES

There are a lot of free sites out there to tell you all the info you need to know the basics. Here is a couple that I would highly recommend:

www.watercolorpainting.com -

www.wetcanvas.com

There is lots of free and good advise on these sites. Take some time and browse through them and become familiar with them. You are free to ask me questions too. And remember, no question is a silly question. You should hear the ones I still ask!

CONTACT INFO

Valri Ary

www.valriary.com

valriary@yahoo.com