-Still Life Drawing and Painting Techniques-colored

Still Life Drawing and Painting Techniques

Still Life in Pastels

Still Life is the best subject in art for both learning and teaching the skills of drawing and painting. It teaches you how to look at an object and see it like an artist - with a conscious awareness of its outline, shape, proportions, tone, color, texture and form.

Our step by step still life lesson will teach you the drawing techniques used to create the still life above which was done with chalk pastels on brown sugar paper. You can see an animated version of this lesson in ourStill Life with Pastels Slideshow

• Steps 1 to 4: These steps demonstrate how to establish the lines, shapes and tones of the still life.

• Steps 5 to 9: These steps illustrate how to build up the colors of the still life.

Art Materials for Lesson on Still Life with Pastels

For this still life lesson you will need:

• a box of chalk pastels
• a set of pastel pencils for finer details.
• a couple of sticks of white blackboard chalk.
• a soft rubber (remember that you can erase pastels).
• two A3 sheets of sugar paper or a paper of similar quality around 150+gms. (the second sheet can be used as a palette for testing color mixtures).
• a blending stump (tortillon) or alternatively a tissue for blending colors and tones.
• a can of fixative or hair spray (the cheapest of these are the best for this purpose) to protect your image and prevent it from smudging.

Still Life in Chalk Pastels
Step 1 - A Preliminary Line Drawing

TECHNIQUE: Our still life lesson using chalk pastels begins with a line drawing to establish the basic shapes of the group and some of the reflected details on the objects. Fixative was applied at this stage to prevent the drawing from smudging. (To see the stages that lead up to this point in the drawing please view our lesson on Still Life in Pencil).

NOTE: When you are working with chalk pastels it is not good practice to start your drawing using a black pastel or charcoal pencil as it will contaminate the purity and freshness of any colors applied over it. In this case the initial sketch was done with a violet pastel pencil. After some tests it was found that most of the other colors in the box blended comfortably on top of this color.

Still Life in Chalk Pastels
Step 2 - Establishing the Dark Tones

TECHNIQUE: The next step in creating our still life in pastels was to focus purely on the dark tones, with a view to rendering the form of the objects, before applying color in the later stages of the work. A violet crayon was used to establish the areas of dark tone which were then smudged and blended using both a tortillon and tissues. A similarly colored pastel pencil was used for the finer details. You can see this process more clearly in our Still Life with Pastels Slideshow

NOTE: Be careful not to overwork the dark tones as it is easier to darken pastels than it is to lighten them. Make sure you leave an adequate amount of unshaded paper to accommodate the lighter tones and colors. If you apply the dark tones too heavily at the start of a work you will have difficulty in keeping the lighter colors bright as the darker tones will persist when you blend them together.

Still Life in Chalk Pastels
Step 3 - Intensifying the Dark Tones

TECHNIQUE: A burnt umber (a very dark brown) pastel crayon and pencil were used to intensify the darkest sections of tone. Adding this deeper level of tone will enhance the form of the objects and increase the impact of the still life.

NOTE: Once you establish the general areas of dark tone, it is necessary to look more closely at the objects to find the darkest sections that lie within their areas of shading.

Still Life in Chalk Pastels
Step 4 - Establishing the Light Tones

TECHNIQUE: Next you establish the lightest areas of tone to heighten the three dimensional qualities of the still life. The aim here is to create a balance between the light, dark and medium tones: the light tones rendered by the white chalk, the dark tones created by a blend of violet and burnt umber and the medium tones established by the neutral color of the paper. It is very important that you do not overwork the light and dark tones and leave enough of the paper exposed to accept the layers of colors that are yet to be applied. You can see this process more clearly in our Still Life with Pastels Slideshow

NOTE: A stick of white blackboard chalk was used to render the light tones. Blackboard chalk is harder than pastels and can be sharpened to a fine point to highlight the crisp edges and fine details of the objects.

Still Life in Chalk Pastels
Step 5 - Introducing Color

TECHNIQUE: You now begin to introduce color to the still life in a series of layers, applying the brightest layer first, the next brightest second, and so on towards the darkest. At this stage a layer of yellow was applied to the exposed areas of paper on those objects whose colors ranged between yellow and green.

NOTE: Once you apply an area of color, gently soften its edges to subtly blend it into the light and dark tones.

Still Life in Chalk Pastels
Step 6 - Building up the Color 1

TECHNIQUE: A layer of green was carefully blended into those objects which had a greenish hue. Applying the green on top of the yellow gives the color a luminosity and complexity that you do not get from using a single color. You can see this process more clearly in our Still Life with Pastels Slideshow

NOTE: As you blend the various layers of colors into the light and dark tones of the objects, you will notice that those tones begin to take on the correct light and dark tones for that color. The success of this technique largely depends on those colors that you choose for the dark tones at the start of the still life. Always test your colors before you start the still life to see what range of tones they can produce.

Still Life in Chalk Pastels
Step 7 - Building up the Color 2

TECHNIQUE: Next, a layer of light and mid blue were softly blended into the background and foreground respectively.

NOTE: When the mid blue is blended over the underlying dark tones of the foreground, it does not achieve the same depth of tone as the dark green shadows did on the apples. This is because the blue is more opaque than the green. Such variations have to be adjusted and balanced out once all the colors have been applied.

Still Life in Chalk Pastels
Step 8 - Building up the Color 3

TECHNIQUE: Finally, the bright reflected colors on the silver cup and the neutral grey of the large vase on the right were carefully blended to complete the basic colors of the still life.

NOTE: As the color of the still life has been built up one object at a time you often get an inconsistency in the overall unity of the work. This is generally seen in variations of tonal contrast across the work, usually due to the opacity of different colors or lapses in your concentration and technique. Either way, this problem has to be addressed in the final stage of the work.

Still Life in Chalk Pastels
Step 9 - Balancing the Tones and Colors

TECHNIQUE: To complete the still life we adjusted and balanced the tones and colors throughout the work to achieve an overall unity in the composition. This was done by adding subtle changes to the color of certain objects and cautiously using black to balance the contrast of tones across the work.

NOTE: The color black is used for the first time in this still life. The dangers of overusing black cannot be emphasized strongly enough. It must be used discreetly and with great care as it all too easily overpowers the other colors.

Still Life Drawing and Painting Techniques

Still Life Drawing and Painting Techniques

Still Life in Pencil

Still Life is the best subject in art for learning and teaching the skills of drawing and painting. It teaches you how to look at objects and see them like an artist - with a perceptive awareness of their outline, shape, proportions, tone, color, texture, form and composition.

Our step by step still life lesson will teach you the drawing techniques used to create the still life above which was done with a 2B pencil on cartridge paper

• Steps 1 to 4: These steps demonstrate how to draw the shapes and proportions of the still life objects using line.

• Steps 5 to 8: These steps illustrate how to render the three dimensional form of the still life using tone.

Materials for this Still Life Lesson

For this still life lesson you will need:

• a 2B pencil
• an eraser
• an A3 sheet of stiff cartridge paper, or a paper of similar quality around 180+gms.

Still Life in Pencil

Step 1 - Starting the Drawing

TECHNIQUE: In any still life, you should start to draw the objects as if they are transparent wire frame forms with visible lines of construction. This technique helps you to be fully aware of the shape of each individual form and its position in relation to the other forms. It is important to sketch the objects lightly as this makes it easier to change any mistakes and erase any lines of construction.

Still Life in Pencil

Step 2 - Creating an Interesting Composition

TECHNIQUE: When composing a still life, try to introduce the qualities that make an interesting arrangement. You need to be aware of the abstract structure of your arrangement: its rhythms and contrasts of line, shape, tone, color, pattern, texture and form.

NOTE: A transparent wire frame approach to sketching the still life helps you to organize the composition of the group. It makes it easier to see the shape, position and proportions of each object in relation to its neighbours.

Still Life in Pencil

Step 3 - Cleaning up the Image

TECHNIQUE: Once you are happy with the shape, proportion and composition of the still life, you can erase the lines of transparent construction. This will leave you with an accurate visible outline of each form and the confidence that all the objects are positioned correctly. You are now ready to work on the details of each object.

Still Life in Pencil

Step 4 - Adding the Details in Line

TECHNIQUE: Now lightly sketch in the shapes of any shadows or reflections onto each object.

NOTE: The more care you take over the accuracy of these marks, the easier you will find the next stage of the drawing - the Application of Tone.

Still Life in Pencil

Step 5 - Shading Technique Stage 1

TECHNIQUE: The tone of our still life is built up in four stages: steps 5 - 8. In this step, some basic tones are lightly applied to each object to help build up its three dimensional form. 

Still Life in Pencil

Step 6 - Shading Technique Stage 2

TECHNIQUE: The second stage in building up the tone focuses on the spaces between and around the objects.

NOTE: The drawing of the light and shade between the objects must be treated with as much importance as the drawing of the objects themselves. The shadows cast beneath and around the objects add as much to the definition of their shapes as does the shading on their surfaces. Notice how the counter-change of tones between the objects and the spaces takes over from the use of line to define the forms of the still life.

Still Life in Pencil

Step 7 - Shading Technique Stage 3

TECHNIQUE: In the third stage of building up the tone, you focus back on the objects. This time you deepen their tone, increasing the contrast between the areas of dark and light. This will enhance the form of the objects and increase the impact of the image.

NOTE: The biggest problem at this stage is maintaining a balance of tones across the whole still life so that no object appears too dark or too light. You are searching for a unity of tone and form.

Still Life in Pencil

Step 8 - Shading Technique Stage 4

TECHNIQUE: Finally, you focus again on the spaces between the objects, deepening their tones and increasing their contrast.

NOTE: You need to be careful in balancing the tonal values of the objects and the spaces between them to ensure that you create a unified image.

THE FINISHED STILL LIFE: The completed still life should work on two levels: as a realistic representation of the group of objects and as a dynamic composition of visual elements, harmonizing and contrasting the use of line, shape and tone.

Drawing the Ear

			Drawing the Ear Step 1 - The Initial Line Drawing The ear is a complicated arrangement of ripples and folds of flesh. You need to organise its irregular shape into some basic forms that are easier to outline. You can then use this linear framework to gradually build up its complex form with tone. Step 2 - The Initial Tones Simplify the tonal structure into three areas: 1. Areas that are mostly light - Leave these unshaded. 2. Areas that are mostly dark - Shade these with a mid-tone. 3. Areas that are extremely dark - Shade these with a dark tone. Step 3 - The Final Tones Look deeply into each area of tone and try to pick up on the subtle variations that lie within. You may have to darken some of the light areas and lighten some of the dark areas to achieve a balance of tone. Tonal drawing is simply a balancing act between the elements of light and shade. In fact, all drawing is a constant balance between your observation, your concentration, your judgement and your technique.

Drawing the Mouth

			Drawing the Mouth Step 1 - The Initial Line Drawing The mouth is the second most expressive feature of the face. Great care should be taken in drawing its shape as it is a key element in achieving a likeness. Start by drawing the subtle shape of the line that is formed as the lips meet. This will create a natural expression for the mouth. The top lip has its characteristic bow shape which varies considerably from person to person. The bottom lip is usually larger than the top and more creased with vertical stretch lines. Step 2 - The Initial Tones The upper lip slopes inwards and is normally darker in tone as it is shaded from the light. The lower lip is more fleshy with a stronger muscular structure. It tends to catch the light and is further distinguished by the shadow below its pouting form. Step 3 - The Final Tones In the final stages of drawing the mouth, tone is used to soften the edges and refine the detail. Not only should it highlight the surface texture of the skin, but it should also make you more aware of the muscular structure that lies beneath. There is a subtle softening around the edges of the lips which helps to blend them comfortably into the face. Note how the detail at each corner of the mouth diffuses into a small area of tone.

Drawing the Nose

			Drawing the Nose Step 1 - The Initial Line Drawing The nose is formed by a series of curved planes. This makes it difficult to draw as there are very few lines to help us describe its shape. Start by drawing what you can see, namely the inside and outside edges of the nostrils. Then try to outline the main areas of tone that define the planes of the nose. Draw these lightly as you want them to disappear under your shading at a later stage in the drawing. Step 2 - The Initial Tones Simplify your shading into three basic tonal areas - dark, medium and light (the white of the paper). Block in each plane of the nose with its appropriate tone. This should begin to render its three-dimensional form. Step 3 - The Final Tones Carefully refine the strength and subtlety of the tone, softening the lines that join each plane with graduated areas of shading. You must look more closely at this stage to try to discern the faint variations of shading within each area of tone. It is this close observation that will take your drawing to the next level.

Pencil Shading Exercises

			Pencil Shading Exercises Exercise 1 Graduated Tone Graduated tone can be used to create the illusion of space and form in a drawing. It is a very useful skill to develop. Use a B, 2B, or darker grade of pencil for your shading. Lighter grades (H, 2H etc.) will not give enough depth to your darkest tones. Just start by shading the area you wish to be dark and slowly build up the tone. As you work towards the light, gradually ease the pressure on your pencil until you can no longer the mark it makes. You then patiently repeat this process, building a depth to the shading, adjusting any irregular areas and trying to keep the tonal changes as smooth as possible until you achieve the intensity of tone that you desire. Below are some more exercises of increasing difficulty which will test your shading skills to the limit. Exercise 2 Exercise 3 Exercise 4 Exercise 5 Exercise 6 Exercise 7 Practice the exercises above to help improve your drawing skills. Practice Sheet You can use the A4 line drawing below to test your shading skills.Right click on the drawing to save, copy or print.

Pencil Portrait

Pencil Portrait

Pencil Portrait of a Young Girl
 2B pencil on paper

Our Pencil Portrait lesson explains and illustrates the step by step drawing techniques involved in creating the above portrait of a young girl.

The general proportions of a head that we outlined on previous pages are ideal for drawing realistic heads from your imagination. They are also a good reference if you feel that you are making major errors in your portraits.

However, when you draw a portrait from life, a more accurate approach to drawing is needed. You need to record the subtle variations of the features which make that individual's face unique. Such an approach was used to build our pencil portrait above.

There are three basic stages in the creation of this image:

1.   Using line drawing to organise the position, shape and proportion of the features.

2.   Using softly shaded tone to create the form and texture of each feature.

3.   Using larger areas of tone to unite all the elements of the portrait.

Pencil Portrait Step 1

Establishing the basic features

Most artists make the greatest number of changes at the start of a drawing. Therefore it is important to draw lightly at first, as lightly drawn lines are easier to erase.

You begin a portrait with the eyes as they are the main focal point. Take care where you choose to position them on the page as this will affect the overall balance of the portrait. Mouse over the image above and you will see that right eye is situated on the vertical centre of the page. This is a strong compositional starting point for a three quarter view portrait.

The size and position of the other features are directly related to the scale and placement of the eyes.

If you get the correct relationship between the eyes, nose and mouth, you will end up with a good likeness.

Pencil Portrait Step 2

Building the outline of the portrait

The next step is discover the size of the head by establishing the distances between the eyes and the top of the head and the eyes and the chin. Note that these measurements should be similar.

The main features are then framed by the outline of the face and hair, while the neck and shoulders form an angular support for the head. The hairline on the right side of the face creates a sweeping curve as it meets the neckline of the t-shirt. This movement builds a strong visual link between the head and shoulders.

At this stage, the drawing is no more than a set of carefully measured features that establish the final proportions of the portrait.

Pencil Portrait Step 3

Building detail in line

The final stage of the line drawing in this portrait is to sketch some of the detail in the hair and the folds on the t-shirt.

The lines of detail in the hair should follow the direction and shape of the locks as they split into different strands. They should be drawn quickly and forcefully to give a natural rhythm and vitality to the shape of the hair.

The folds in the t-shirt help to emphasise the form and angle of the shoulders. They should be gentle and uncomplicated curves that do not distract your attention from the rest of the portrait.

Pencil Portrait

Pencil Portrait Step 4

Building the tone of the eyes

Return to the eyes to begin the tonal development of the portrait. The tones used around the eyes should:
1. Help the eyes sit solidly in their sockets by creating a shadow beneath each eyelid where it rests on the eyeball.
2. Give the eyes a sparkling look by placing the brightest highlight against the dark pupil.
3. Create the translucent effect of the iris by capturing its changing tone.
4. Create the curved planes of the eyelids and sockets with softly graduated tones.

Pencil Portrait Step 5

Discovering the tone of the nose

The difficulty with drawing a nose from the front is that there are so few outlines to help you define its shape. You have to rely on tone to mould its three dimensional form.

Begin by drawing any outlines you can see, namely the edges of the nostrils, the philtrum (the triangular dimple below your nose) and the creases that slope away from the sides of the nose.

Next, slowly shade in the main areas of tone as cast by the light.

Finally, with careful observation, you can fine-tune the intensity of dark and light tone to create a more realistic looking nose.

Pencil Portrait Step 6

The tone of the mouth

There is a symmetrical arrangement of muscles in the lips and around the mouthwhich move to form different expressions.

By using tone to highlight these muscles, you can add greater realism to the shape of the lips and convey a specific expression in the portrait. The distinctive cracks on the surface of the lips will help to suggest their texture.

As a general rule, the upper lip is smaller and darker in tone as it is shaded from the light. The lower lip tends to be fuller and brighter in tone as it catches the light.

Pencil Portrait Step 7

The tone of the neck

The darker tone of the neck forms a strong contrast with the light edge of the chin and jaw. This has the visual effect of lifting and focusing attention on the head.
The thin line of reflected light on the left side of the neck highlights a tendon which both physically and visually strengthens the balance of the head.
The horizontal bands of tone which create the soft ripples of flesh on the neck help to emphasise its roundness and solidity.

Pencil Portrait Step 8

Building up tone in the hair

The tone of the hair is created by hatched lines as opposed to the soft graduated tone of the face. These lines should be drawn fast and forcefully and must follow the natural flow of the hair.
Build up the tone of the hair in sections according to its natural layers. Use a heavier concentration of lines to shade the darker edges, especially where layers overlap.
Ease off gradually to capture the lighter areas, leaving the pure white of the paper to highlight the natural sheen of the hair.

Pencil Portrait Step 9

The tone and texture of the t-shirt

The tone of the t-shirt should add to the solidity of the figure and form a substantial base for the head.

Softly graduated shading is used to convey the volume of the figure, while the more detailed folds act as contours to define its surface.

The graduated shading technique naturally lends itself to reproducing the soft texture of the t-shirt's fabric.

Pencil Portrait Step 10

Using tone to unify the image

As this drawing was built up by concentrating on each feature individually, some broad areas of tone are now added to unify all the separate elements.

At this stage, some of the detail has to be sacrificed in favour of the overall unity of the drawing.

Finally, a dark background has been introduced to create a dramatic counterchange in the tonal composition of the portrait: the right side of the image now appears light against a dark background in contrast with the left which is dark against light.