Beginner Acrylic Painting - Still Life | Linda Celestian | Skillshare

Beginner Acrylic Painting - Still Life

Linda Celestian, Learning to paint is fun

Beginner Acrylic Painting - Still Life

Linda Celestian, Learning to paint is fun

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7 Lessons (33m)
    • 1. Painting Still Life Intro

      0:36
    • 2. Painting Still Life Set up and Layout

      4:30
    • 3. Painting the Box

      5:28
    • 4. Painting the Seashell

      9:08
    • 5. Painting the Mug

      9:06
    • 6. Painting the Background

      3:49
    • 7. Painting Still Life Wrap Up

      0:35
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About This Class

Acrylic painting class - how to paint still life. Everything you need to know to create beautiful still life paintings. From set up and layout on the canvas, color mixing, general blocking in to adding details.

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Meet Your Teacher

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Linda Celestian

Learning to paint is fun

Teacher

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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Transcripts

1. Painting Still Life Intro: by my name is Linda Celestine. Welcome to my class on how to paint Still in this class. I'll go over how to set up a still like how to lay out your composition on your canvas color mixing and working from general blocked in colors, adding details. Thanks for joining my class. Let's get started. 2. Painting Still Life Set up and Layout: Okay, so I'm ready to set up my still life. I have a card table here pushed up against a wall. If you don't have a role, uses backdrop, we just have a busy background. Sometimes I make these boards. These are wrapped with its actually interfacing white interfacing. And then I put an easel back on them. I think that's in my drawing class that I explain how I make these, and then I would set up my still life in front of that. I don't need this since I have the white wool. So let's start pulling some objects and I'm gonna play a little bit with fabric my green apple about seashell lynch mug. So I'm gonna look through here to see what the composition is, so I can paint something that's really cropped, something like that, or I can show more of the background. So I think the drapery it's making it very busy. So I decided to get rid of the fabric to simplify it. And I moved shell facing the other way here. I'm showing you how you could use your cell phone as a viewfinder to establish the composition that you want. Comparative measuring is a tool used to accurately draw the composition on my campus. So here, on holding up my pencil and using the tip of my pencil to measure the distance between the top of the box to the top of the mug, and then I'm comparing that measurement to muck. So here, looking at my sketch, I take that measurement again and see if I'm accurate in how I've drawn the mug in comparison to the size of the box. Here, I'll use the same technique and measure the size of the apple and compare that to the box where the shell comes in on the box. It's important to keep your arms straight when you're doing this, because the that creates a variable and then you see you take the measurement of the apple and move it down that same distance on the box. And that's where the shell was coming in that shell up a little bit. You can use pencil or paint toe layout your canvas. I started with pencil, but I decided to switch to paint so it would show up better on camera so you can work on this as long as you want I'm using some white paint here to move some things around on. I'm checking my measurements and then we'll be ready to paint. 3. Painting the Box: I'm going to start with the blue box and first thing I do is mix three values of blue. I go over this in my beginner painting class called Understanding Value. So the first thing you mix is theatrical color of the box, which is called the huge. Here. I'm using ultra marine blue with a little bit of crimson red mixed in and a little bit of boy. After I have this color mixed, the other colors will be taking from this color, so I make three piles of the blue one that will stay the same. The next one will be mixed with weight to get the highlighted version of the color, and the last one will be mixed with the complementary color, which in this case is burnt sienna. Mix the tone, which will be used for the shadow side of the box. You use the complementary color, the complementary color of blue. It's orange, so I'm using. This burnt sienna is orange and I actually add a little bit of the crimson red in just to keep it to the purple side and not to brown. I'm going to mix a little bit of Matt Medium and retard er into the paint. Matt medium helps the pain be more fluid for smooth application, and the re tartar will help it from drying out too quickly. Acrylic paint dries out. Really? Okay. Now look at your still life set up and decide which playing of the cube is the lightest, which is the medium and which is the darkest. Sometimes I use my phone. I take a picture of the still life and change it to a black and white photo. This way I can see where the lights and darks are in the set up. This can be confusing sometimes, especially if you have multiple light sources. I'm starting with the hue and putting it on the far side of the box. It looks like this is coming out very transparent, so I will probably have to give a second coat on this with acrylic. The paint dries fairly quickly so you could go back and give it a second coat. The next value I'm using is the tint, and I'm using it on the top of the box because my light is coming from above when you switch colors from the 10th to the tone you want to make sure you wipe off your brush because you don't want white in your shadow. Okay, so here I'm using the tone to paint the shadow from the mug. Here we could see that that whole area was not as dark was the shadow from the mug. So I went back to the tent andan. I mixed a lighter tint for the top of the box. I let that dry, and then I gave it a second coat and added some details, like the shadow under the apple. 4. Painting the Seashell: now I'm gonna mix the colors to paint the seashell. I'm starting with a dark gray, amusing, altering blue and burnt sienna. When I'm mixing a gray I often and a little bit of white to check the 10. This looks like it might be a little bluer that I'm looking for a little bit warmer grace on any more burnt sienna. So I check it again by adding some white, and this now is a much warmer gray. So I'm going to go with that. So now I'm going to take some of it and mix white in to it, creating out 10 and I save some of that. It makes more white into it so that I'll get the entire value scale from dark to light. If you do this mixing ahead of time, you're gonna save yourself from having to mix with your brush to get all these different variations in value. So then I mixed a gray that was a little bit warmer that I saw in the Schellas. Well, and I'm gonna mix variations of that. So when you start out, you just want to be paying attention to the lights and darks in a general sense. I'll put down a layer here, this sort of loose and blocking, and then I'll go back in after it drives and add details. - So I let the seashell dry, and I'm going back in with some softer, smaller brushes for details. I've had to mix the colors again because I let it dry because I was working on the mug over here. But you get used to mixing these colors pretty quickly, just takes practice. 5. Painting the Mug: to mix the colors for the orange mug. I used Indo orange red in cadmium, yellow, lemon. Once you have a huge by the into three portions, the 1st 1 will get mixed with white to create the tents. The 2nd 1 will get mixed with complementary color, which in this case is ultra marine blue. - Now we're ready to paint the orange mug and I start by just painting it in a very general way, noticing all the lights and darks just like the other objects. I'm gonna go back in on a second layer to get more details here. I mixed some purple E grays for the inside of the mug, and I just used the orange ultramarine blue and the littering Crenson and then created some tents with white. I used a piece of tracing paper to correct the drawing of love, just folded it in half, and then I could see where I needed to make corrections. Now I'm working on the second layer on first layer dry. I actually had to remix the colors, but this state you can look for reflections on ceramic mug reflective surfaces are a little bit of a challenge. I think I could have worked a little longer on this plug. It wasn't completely happy with it. 6. Painting the Background: the last step in finishing up. The painting is dealing with the table and the wall colors and on the and there's some shadows under the objects on the white table. So it's a lot of different greys. I had a lot of footage of me mixing these colors, and I couldn't get it matched up with painting, so I'm just gonna talk you through it. The first grey I mixed is a dark grey for the shadows under the objects, specifically the shadow under the lug. Here I used ultra marine blue mixed with burnt sienna that will give you should give you a neutral gray. If you mix more burnt sienna in than ultra, Marie will get a warmer gray. If you mix more ultra Marine than burnt Sienna, you get cooler gray, so it kind of played with that. Also, I mixed some values that were a little bit orangey because of the mud. Casting an orange cast of color onto the white table for the wall color, I mixed a neutral gray with burnt sienna and ultra marine blue with a little bit of yellow extent, cadmium, yellow 7. Painting Still Life Wrap Up: Thank you for taking my class. I hope you enjoyed it. Just remember, for this class I set up a very simple, still life. But still, life doesn't have to be boring if you're looking for inspiration. And take a look at some famous artists work such as Andrew Wyeth or Giorgio Key. I've admired their work for a long time. And when I painted still life, I chose objects that were appealing to me and floated them on imaginary backgrounds. You don't necessarily have to have table top set ups all the time. I hope you enjoyed the class. Please upload your work and happy painting.