0:00 Benefits of doing a still life
0:32 Negative views of still life
1:10 Still life set ups are not difficult
1:30 Dutch Vanitas still life paintings
1:42 Pick objects you want to draw
2:10 Grocery shopping: find objects
2:34 Search for objects outdoors
2:41 Plan ahead with your objects
3:20 Common mistakes in still lifes
0:00 Benefits of doing a still life
4:15 Objects: shape, color, size, etc.
8:46 Color saturation
10:15 Complementary color pairs
11:39 Warm & cool colors
12:40 Light & dark contrast
14:10 Background cloths
15:18 Height of objects in still life
15:36 Layering backdrops
16:19 Arranging: overlap, diagonals
18:52 Lighting a still life
21:23 Positioning your easel
22:50 Viewfinders: composition
23:25 Thumbnail sketches
29:50 Line sketch in yellow ochre
33:31 First layer of color: blocking in
37:03 Layering colors
40:47 Finishing: details & contrast
Set up a still life and create a crayon drawing by observing the set up from life.
Composition, color, layering, diagonals, contrast, saturation.
The supplies listed below cost less, and can be used instead of the supplies above.
Hairspray is NOT archival!
“I never realized just how much work goes into setting up a still life! I spent about the same amount of time drawing as I did setting it up, and maybe that is because I was picky but I really wanted it to look well composed. The tip about adding something beneath the drapery to hoist something upward was genius!
I really enjoyed this and personally I’m never comfortable using color, so this was a challenge. It felt good allowing myself to let go with just layering it on there.”
“This tutorial was a really great learning experience for me, because during it, I realized that I have never really considered color in my still life set ups before. Professor Lieu’s advice in color contrast and intensity really helped me make a piece that was far more engaging than if I hadn’t had the advice and just made it on my own.
Armed with a medium I had very little experience in, I felt much more confident and prepared after watching this tutorial.”
“This tutorial was the perfect combination of structure and freedom for me. I had the ability to control the set up and the pace that I worked at, but I also felt encouraged me to experiment with a new medium and try out some riskier compositions. I have always found working with color to be challenging and a bit overwhelming, but actively thinking about color and color theory from the initial set up to the final execution allowed me to confidently tackle this challenge that was outside of my comfort zone.
Overall, making deliberate decisions throughout the entire process was extremely valuable for me. I had so much fun with this tutorial and will definitely be carrying these newly acquired skills with me into the school year!”
Visual artist Tony Janello is obsessed with the human face, its endless variations and its extraordinary capacity for expression. He began his artistic practice painting portraits and eventually began creating three-dimensional sculptures and digital photographs depicting faces that appear structurally unsound as if in the early stages of implosion. Janello has taught courses at the college level in portraiture, drawing, and color since the early 1980’s.
J.W. W. Turner, Edgar Degas, Théodore Géricault’s Raft of the Medusa, Pieter Claesz, Willem Claesz. Heda, Jan Davidsz. de Heem, Pieter Steenwijck, Evert Collier, Aelbert Jansz van der Schoor, Giorgio Morandi, Janet Fish, Antonio López García, Wayne Thiebaud, Raphaelle Peale, Floris van Dyck, Adriaen Coorte, Georg Flegel, Tate Museum’s Still Life Section, Georges Braque, Fernand Léger
Partial Video Transcript
“A still life is such a great subject for learning how to draw from life. One of the great things about it is that it’s super convenient; you can set up a still life where you live in a place where nobody’s going to touch it, you can work on it over a period of several days so you don’t have to feel rushed and finish it all in one go. The other thing about a still life that’s terrific is that you know your objects aren’t going anywhere.
Artists have explored still life for centuries. Painters like Chardin, Caravaggio, Cezanne, and Redon each had their own unique style and take on the subject.
I think sometimes, still life gets kind of a bad rap. I hear a lot of the time, students will say things like “ugh, we’re doing a still life drawing in my class, so boring – I don’t like painting peaches and pears.” Well, my answer to that is that a still life is only boring if you let it be boring.
If you really take the time to find objects that really interest you, that you’re excited to draw, if you take the time to pick the backdrop color, if you take the time to light it so you get beautiful shadows that flow across a composition, you can end up with an image that can be super dynamic and really really fun to draw.”