A list of acrylic painting supplies is here.
White still life objects: bed sheets, bottles, cups, bowls, folded or crinkled paper, candles, rocks, soap, clothing, rice, eggs, etc.
Collect white objects for your still life.Watch the video below starting at 02:10 min. for tips on finding objects.
Arrange the objects on a table against a wall. Hang a cloth up on the wall behind the table for a backdrop.
Be inventive with your still life! Stack, overlap, and place the objects in a dynamic way.
Watch this video below for tips on arranging your still life.
Mix your colors. With each cup of white, mix only a tiny pebble’s worth of color. Below are some suggested mixtures, but you can experiment with your own.
Cup #1: titanium white + cadmium yellow
Cup #2: titanium white + phthalo blue
Cup #3: titanium white + alizarin crimson
Cup #4: titanium white + hansa yellow + black
Cup #5: titanium white + yellow ochre
Cup #6: titanium white + cadmium red + ultramarine blue + raw umber
Cup #7: titanium white + ultramarine blue
Cup #8: raw sienna
Cup #9: ultramarine blue
Cup #10: slow dry medium
Make several thumbnail sketches of your still life to work out your final composition.
Fro canvas stretching tips, watch the video below.
On a large piece of Bristol board, using a pencil, loosely sketch the composition of your photo.
Block in all the walls, floor, ceiling, and large objects, and don’t worry about details.
Block in the biggest shapes of your composition with a 1” flat brush and your white mixtures.
For tips on acrylic painting techniques, watch the video below.
Observe the light on each object, and how the highlights bend toward a particular color. This will help guide you towards which of your white mixtures to use.
On your freezer paper, mix shadow tones. For each blocked shape on your canvas, take a small amount of one of your white mixtures and mix it with a bit of raw sienna and ultramarine blue.
Add just a small amount at a time. It’s easier to add more color, than to backtrack to the original color.
If your paint dries faster than you want it to and mixing colors becomes difficult, dip your brush into the slow dry medium and add it to your colors.
Paint the shadows using a ½” brush. Use a ¼” – ½” brush dipped in the slow dry medium to blend your shadows.
Using a ¼” – ½” brush, add smaller highlights with your mixed whites. Blend these areas as well.
“This painting was difficult for me because I tend to avoid acrylic paint, so I came into this project rather inexperienced. However, even though it was frustrating, it was very fun to incorporate a narrative into my still life.
When I was organizing the objects to use, I came up with the idea to make a coltish scene that includes the body of a girl and the bones of the beast that killed her. For me, including a narrative or some kind of twist makes the process of painting a still life a lot more interesting.
This painting in was especially interesting because I had to figure out a balance between the lightness of the objects in the still life and the dark theme I wanted to convey.
Overall, I learned a lot through this project–especially to keep in mind canvas size and color theory–and I am definitely planning on experimenting more with acrylic paint as a medium.”
“I was pleasantly surprised with the challenge that this project gave me; although I am not a huge fan of painting still-lifes because I tend to find them a bit boring, this white-on-white painting project prompted me to constantly see the white objects as more than just one color, leaving my mind engaged and not bored for even a second.
I had to think about the reflected light on the white objects and see past the surface level tone. I often over-exaggerated the tints of the shadows and highlights by making them much more saturated with either a cool tint or warm tint or somewhere in between, which helped to make the piece more dynamic.
Though all the objects were technically white, I think this still-life was much more interesting to paint than a standard still-life with assorted colored objects. It encouraged me to really look closely and observe how the subjects interacted with the light along with its surroundings, something I am less likely to invest time in with a standard still life.”
“This project was the first painting that I’ve done in a long time. And as challenging as it was, this painting was also really fun and exciting. I haven’t painted a still life in a long time because they’re generally not too interesting to me, but the fact that it was a “white on white” painting made it more challenging and more exciting.
Layering a white pot with a white cup on top of a white background forced me to look harder at what I was seeing and question it. It made me see color in the different objects and their relationships to the others in ways I didn’t really pay attention to before. I struggled a bit with finding the contrast and the different tones of white.
Certain objects were warmer or cooler than others and at first that was difficult for me to see. I think my final painting is a little too contrasted and exaggerated. I started painting with darker more exaggerated colors because it made it easier for me to bring out certain objects. But I think something I could’ve altered was the amount of exaggeration just because I think it changed the way the still life actually looks.
Overall, I really enjoyed this project as a whole. It was relaxing and easy to set up, and it was a really enjoyable way to go back to painting again.”