{"id":65,"date":"2021-03-10T09:39:26","date_gmt":"2021-03-10T02:39:26","guid":{"rendered":"https:\/\/www.ep.spk.ac.th\/art\/?p=65"},"modified":"2021-03-10T09:39:26","modified_gmt":"2021-03-10T02:39:26","slug":"elements-of-a-still-life-painting","status":"publish","type":"post","link":"https:\/\/www.ep.spk.ac.th\/art\/2021\/03\/10\/elements-of-a-still-life-painting\/","title":{"rendered":"Elements of a Still Life Painting"},"content":{"rendered":"\n

A Step-by-Step from Sheldon Tapley<\/h1>\n\n\n\n

Reposted from https:\/\/www.artistsnetwork.com\/art-mediums\/oil-painting\/elements-of-a-still-life-painting-a-step-by-step-from-sheldon-tapley\/<\/a><\/em><\/h6>\n\n\n\n

With theatrical splendor, Sheldon Tapley celebrates excess, reinventing the still life tradition by incorporating the figure and complicating the design. Here, he gives instruction on the elements of a still life painting.<\/p>\n\n\n\n

From Simplicity to Complication: Elements of a Still Life Painting<\/strong>
By Sheldon Tapley<\/em><\/p>\n\n\n\n

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1. Transferring the Drawing:<\/strong> I usually begin with a drawing (not shown here), which I transfer, using Saral transfer paper, to the primed aluminum laminate panel. I brush transparent red oxide thinly over the transferred lines and let them dry.<\/p>\n\n\n\n

.<\/p>\n\n\n\n

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  1. Blocking In:<\/strong> I use a hog bristle bright brush to scrub in a thin, flat layer of color. If the paint doesn\u2019t flow easily, I add a drop of mineral spirits.<\/li><\/ol>\n\n\n\n

    .<\/p>\n\n\n\n

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    1. Choosing One Area:<\/strong> I choose one area, usually a key object in the composition and, using bristle brushes, add detail to it. This is just a first pass, so I avoid getting too detailed. For this piece, I made some of the edges on the table with a ruler; other edges, like those on the gourd, I kept soft. If the paint doesn\u2019t flow easily enough, I add a drop of M. Graham walnut alkyd medium. At this point, I wouldn\u2019t use mineral spirits in the paint because mineral spirits can dissolve the binder.<\/li><\/ol>\n\n\n\n

      .<\/p>\n\n\n\n

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      4. Developing One Area:<\/strong> I worked up the gourd in greater detail; I added its shadow and developed the background around it. I wanted to see the character of the gourd clearly before I progressed to other areas.<\/p>\n\n\n\n

      .<\/p>\n\n\n\n

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      1. Establishing the Quality of Light:<\/strong> Still undecided about how to handle the light coming in from the window, I wondered whether I should include the shadow cast on the wall by the window wall. Eventually, I did, but here I was thinking that the table and objects should be suffused with light. I applied the green paint of the background wall generously; then blended it to a flat surface using large, soft, badger brushes. I allowed the light to flood across the edge of the pitcher to avoid building up thick paint at the boundary of the object.<\/li><\/ol>\n\n\n\n

        .<\/p>\n\n\n\n

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        1. Developing Another Object:<\/strong> The flat, blocked-in pitcher became a three-dimensional object and acquired a shadow to attach it to the table plane.<\/li><\/ol>\n\n\n\n

          .<\/p>\n\n\n\n

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          1. Within the Reflection:<\/strong> I worked up the table and the pitcher in greater detail. The reflection of Danville\u2019s Main Street in the pitcher was so clear that it was like watching a little movie. I began to wonder if I was crazy to try to paint the scene! What you see here, the scene in the reflection, is the result of many tries.<\/li><\/ol>\n\n\n\n

            .<\/p>\n\n\n\n

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            1. Making It Complex:<\/strong> I decided that the composition would benefit from including the shadow on the right part of the back wall. I described, too, the wall surface in greater detail. My initial plan, to make a simple design emphasizing two forms on the table, gave way to my persistent need for complication: I added a piece of rope.<\/li><\/ol>\n\n\n\n

              .<\/p>\n\n\n\n

              \"\"<\/a><\/figure><\/div>\n\n\n\n
              1. Adding Elements:<\/strong> A rope needs scissors! Not everything in a still life has to fit together thematically, but this juxtaposition is one I often enjoy painting. Also, I love the form of these scissors. The plastic handles have a dynamic, subtle design, as if the designer had been looking at Brancusi or Noguchi. I drew the scissors with blue-gray paint thinned with M. Graham walnut alkyd medium because I was impatient to finish and I wanted these last stages to dry quickly.<\/li><\/ol>\n\n\n\n

                .<\/p>\n\n\n\n

                \"\"<\/a><\/figure><\/div>\n\n\n\n
                1. Making Modifications:<\/strong> I was dissatisfied with the right edge of the pitcher, where the dust on it caught very strong light. I\u2019d reworked this difficult passage so much that there was a distracting ridge built up along the contour of the pitcher, so I sanded the area gently with 600-grit sandpaper, as a prelude to reworking it with smoother paint. The scissors were nearly done; the cast shadows of the gourd and scissors would become more intensely warm.<\/li><\/ol>\n\n\n\n
                  \"\u201cDust\u201d<\/a>
                  \u201cDust\u201d (oil on aluminum laminate panel, 16\u00d720) by Sheldon Tapley<\/figcaption><\/figure><\/div>\n\n\n\n

                  11. Seeking Transparency:<\/strong> Some of the last layers were glazes, in which I used more medium to allow transparency in colors like the blues and purples of the pitcher in Dust<\/em> (oil on aluminum laminate panel, 16\u00d720).<\/p>\n","protected":false},"excerpt":{"rendered":"

                  A Step-by-Step from Sheldon Tapley Reposted from https:\/\/www.artistsnetwork.com\/art-mediums\/oil-painting\/elements-of-a-still-life-painting-a-step-by-step-from-sheldon-tapley\/ With theatrical splendor, Sheldon Tapley celebrates excess, reinventing the still life tradition by incorporating the figure and complicating the design. Here, he gives instruction on the elements of a still life painting. From Simplicity to Complication: Elements of a Still Life PaintingBy Sheldon Tapley 1. Transferring the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-65","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.ep.spk.ac.th\/art\/wp-json\/wp\/v2\/posts\/65","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ep.spk.ac.th\/art\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ep.spk.ac.th\/art\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ep.spk.ac.th\/art\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ep.spk.ac.th\/art\/wp-json\/wp\/v2\/comments?post=65"}],"version-history":[{"count":1,"href":"https:\/\/www.ep.spk.ac.th\/art\/wp-json\/wp\/v2\/posts\/65\/revisions"}],"predecessor-version":[{"id":66,"href":"https:\/\/www.ep.spk.ac.th\/art\/wp-json\/wp\/v2\/posts\/65\/revisions\/66"}],"wp:attachment":[{"href":"https:\/\/www.ep.spk.ac.th\/art\/wp-json\/wp\/v2\/media?parent=65"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ep.spk.ac.th\/art\/wp-json\/wp\/v2\/categories?post=65"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ep.spk.ac.th\/art\/wp-json\/wp\/v2\/tags?post=65"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}