Acrylic Painting - Painting White Objects | Linda Celestian | Skillshare

Acrylic Painting - Painting White Objects

Linda Celestian, Learning to paint is fun

Acrylic Painting - Painting White Objects

Linda Celestian, Learning to paint is fun

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5 Lessons (46m)
    • 1. Painting White Objects Introduction

    • 2. Painting White Objects

    • 3. Painting White Objects Wrap Up

    • 4. Painting Colored Background 1

    • 5. Painting Colored Background 2

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About This Class

Paint a simple still life painting with the knowledge of how to paint whites with color! In this class for Intermediate painters you will learn how to paint white objects with warm and cool grays mixed with complimentary colors. You don't need black to paint white objects.


Meet Your Teacher

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Linda Celestian

Learning to paint is fun


I'm a fine artist and a teacher. I've been painting for 30 years and teaching for 15 years. Life is short but you can keep it fun by trying new things.

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1. Painting White Objects Introduction: Hi, I'm Linda selection, and this is a class on painting white objects. When you paint white objects, you could paint them just using black and white. I feel that that makes them really flat. And it looks like a black and white photograph when we actually see in color. So I'm going to teach you how to paint white objects using complimentary colors to mix grays. In this way, you can create grace that are either warm or cool and make for a more interesting paintings. In this example, I used cool grays and warm grids in the same object. In this painting. I did a very similar thing, but I also used to color background to highlight this weird object. If there is some color in our still-life, that color is going to reflect color onto our weight objects. So I'm going to teach you how to paint white objects using complimentary colors to make warm grays and cool grades. Well, I hope you'll join me in learning how to mix grays to paint white objects. 2. Painting White Objects : I'm going to show you how to mix different grays using three primary colors. I'm going to start with ultramarine, blue, and orange. I'm going to mix the orange with cadmium yellow medium and cadmium red medium. You can make grey with any two complimentary colors. I'm trying to use equal amounts of the red and the yellow. I'm starting with the blue and adding a lot of the orange to achieve a warm gray. I ended up adding even more of the cadmium red medium to deepen it. So I added more blue and red. So at this stage, I'm going to leave some, take some and mix it with white. Then I'll do that again to get another tint. Another option when working with ultimately as to use burnt sienna as the complimentary color. I tend to use a lot of ultra Marine and a little bit of burnt sienna, which creates a nice cool gray. So you can see where I painted it on the white paper. You see a warm gray and a cool grade. Now I'm going to mix the two together to get a neutral gray. Now I'm going to mix green and red together. So I start by making a green with the ultramarine blue and a yellow cadmium yellow medium. We're going to try this with two different reds. Cadmium red medium as to the orange side, and Alizarin crimson is to the blue side. Now I'm gonna take the same green and mix it with the Alizarin crimson. There's one more set of complimentary colors that you can use to make grace. And that's purple and yellow. I'm gonna start by mixing a purple with Alizarin crimson and ultramarine blue. So I'm gonna take that purple and add cadmium yellow medium. So I start with just a little bit and keep adding more until it reaches a gray. I decided to leave this pretty purple. If I kept adding more yellow, it would become more neutral. But sometimes it's nice to have some color in your grays when you're painting white objects. So I have a lot of different cool grays here that I can get started with. What I realize I'm missing, and I end up mixing and then adjusting is some warm lights that I think is really important. But like just to take your grays and move them all the way to weight might not completely depict the light on a, on a white object. So I end up mixing and this muddy color, which I'm not crazy about. So later on I adjusted it to be much warmer. So here you can see the color inside the mug is a big greenish. And I didn't feel that that was what I wanted it to look like. So I adjusted that color to be a warmer color. It's almost like a peachy color. I used a little bit of the cadmium red medium and cadmium yellow medium mixed with white. So what I want to point out, when you're painting white objects, the white object is going to reflect any color that you put next to it. So as soon as I add this green apple, you're going to see some of that reflected in the mug. I'm also pointing out that each color casts a different shadow color on white. So that's why you would have many options for mixing your grace so that you could tenth them to be the color of the shadow that you're actually seeing and make your painting very interesting with different grays. So if you look closely here, you'll see a little bit of the color of the object reflecting around it on the white paper reflecting into the ceramic mug. And that each shadow is slightly different color depending on the color of the object. So even just looking at the two shadows of the red object and the green apple, the red object is casting a very purple shadow. And the green apple is casting a very blue shadow. And you can see some yellow and warmth in the shadow of the lemon. I'll include a photo of this still-life setup and others in the resource section that you can use to paint from. 3. Painting White Objects Wrap Up: I always like to introduce this sort of as a separate class when I'm teaching in person how to paint my objects, I think it makes people nervous, it makes them scared. And they usually think of just get some black and white in that song in a Paint object. So I wanted to show you how this one looks. Kind of flat and blog posts like a black and white photograph and these color in them. Well, I hope you enjoyed this class about painting white objects using color. And if you're interested, there's a bonus reel where I talk you all the way through this painting here with the purple background. If you have any questions, leave them in the common section and please upload your work. I would love to see your work. I like to have a dialogue with my students. Thank you so much for watching happy painting. 4. Painting Colored Background 1: But I wanna do is mix a color for the background so I can fix my ellipse and fixed my handle and stuff and see how that looks. So to do that, I'm going to take this see if I can get a lavender or a light red violet. When you're doing this like ME creating I've colored background. It never has to match your exact setup. It just tends to be the correct value so that the cup can sit in front of it and not fight or get lost, you know, lose your edge. That's right now that's a little. Break it down a little. I used a little bit of the yellow to dull it down and then I mixed in some white. So I'm trying to find the right value. I think I went a little too light, so hopefully get there. One, it's still a bit darker. Yes, I'm looking at the value of this against their paint a little bit on a strip of paper. Put it right next to there. Now I created a little bit duller and duller than I wish. Cuz this might be an opportunity to bring some interests into the painting by using color. Let's try this. 5. Painting Colored Background 2: I'm using five colors here, ultramarine blue, Alizarin, crimson, cadmium red medium, cadmium yellow, medium, and White. I like to start by laying my colors out along the top of my palette paper. I put a little bit of mint medium on my palette and summary tartar retard or is used to slow down and drying of acrylic paint. The white paint I'm using is actually golden acrylics line. Open. It's called open. They stay workable longer and you'll see that later when I'm working that I'm able to work wet into wet. That's up to you if you want to use that line of acrylic paints, they are a little bit more expensive. I'm using a little bit of white mixed with Matt medium to do the layout of the mug on the canvas. I'm working on paper actually that's been chest sewed and I'm working on what's called a tone to ground. That means I've created a neutral gray I use just so mixed with black acrylic paint. And I tried to get a grade that was like right in the middle of the greyscale. I think working on a gray toned background is a nice way to work with white objects. This is a middle gray. It wouldn't have to be gray. It actually could be any color like a burnt sienna or burnt umber mixed to me a middle value. This gives you the option to start painting with light values or dark values, also helps you make decisions about where values are, colors or values are on the grayscale because you're looking at the middle of the grayscale. This is often used with charcoal paper. You can get a great charcoal paper. And I also actually demonstrated it in my ink illustration class here on skill share, that shows drawing with white, pink, and black ink on a great toned paper. Now I'm going to start by mixing a dark grey using purple and yellow. So I'm using the ultramarine blue, Alizarin, crimson, and cadmium yellow medium. The colorized settle on, actually has a lot of blue in it because that's kinda what I'm seeing on the mug. So once I'm happy with the dark gray, then I'm going to leave some of it and move it and add white. And then I repeat that process to get several variations of it going from dark to light. Now I want to make something for the warm areas of the mug or the light areas of the mug. And I see it is like this warm peach color. It's probably from some of that lie lock being reflected into the morgue or onto the mug from the background color. I use the cadmium red medium in the cadmium yellow medium. And with a little bit of that gray mixed in just to tone it down a little bit. So I'm starting with my darks because I know I have the full range mix there and I couldn't move the next lighter to the next slider. And there will be smooth transitions. When working wet into wet like it's easy to correct when you get to dark by just blending on the page with your lighter value, but it's harder to go the other way. So if I painted something to light, I might have to let it dry to get it back to dark. Okay, so right now I want to ask myself why I'm using this pinky, peachy color here and I'm not using it here, so I think it could use a little bit there. I might need to let some things dry. Let's just see if I try to add this color a little bit. What it does. It's really just mixing in. Because I have wet paint. The reason my paint is not drying quickly is because I'm using the titanium white hat is called open and it's slow drying acrylic. That has advantages and disadvantages. So the disadvantage is when you want to try to fix something and it's still wet, it's going to just mixin like that. Home. Don't really like that. So I'm going to use this brush, the bigger brush just to blend everything. So this is a wet brush. You could use a dry brush. I'm still getting some weirdness here.