PA I N T I N G P R O G R A M

Still Life Phase I:

2 Objects–Burnt Umber Pick-out

OVERVIEW
In this lesson, you will be moving away from metal and on to glass. We have a bottle of brandy and a
sifter glass next to it. With glass, which we will further explore in color in Phase II, you will notice there
are a lot of shapes that need designing. Try to keep in mind it’s not important that you copy every single
nuance. Work on selective editing as you move through the exercises. In my opinion, virtuoso shape
design is right up there as one of the most challenging things to learn. Do your best, cross-reference
mine, and give it your best effort. If you have to spend some extra time on your drawing, good! The more
preparation up front, the better.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 1
 PA I N T I N G P R O G R A M
Still Life Phase I:
2 Objects–Burnt Umber Pick-out

PAPER TOWELS

BURNT UMBER

GAMSOL
WORKABLE FIXATIVE

SOLVENT CONTAINER

ERASER

KNEADED
ERASER

CANVAS PANEL
HB PENCIL
BRUSH ASSORTMENT (SYNTHETIC or REAL)

M ATERIALS
continued...
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Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 2
1
 PA I N T I N G P R O G R A M
Still Life Phase I:
2 Objects–Burnt Umber Pick-out

ASSIGNMENT 2: 2 OBJECTS–BURNT UMBER PICK-OUT

In this exercise, you will be attempting to paint two glass objects interacting with each other. Pay
attention to the shape design, value control, and ellipses. There is no easy way to do ellipses. The
key is to do lots of them in both drawing and painting.

Part 1: Watch the provided videos.

Part 2: Look over the handouts. I have made them short and sweet as I know you would rather be
drawing and painting.

Part 3: Secure the drawing, and spray it with fixative. Then, lay in the value 5 stain, and wait about
5 to 10 minutes.

Part 4: Now, begin lifting out your lights. Wait a bit, then you can start adding back in some of your
darks.

Note: This technique is always a bit of a waiting game. You have to let the turpentine set up before
getting in there. You’ll notice it becomes easier as you work further into your layers.

Part 5: The finish. Try to get it as nice as possible, which really goes without saying. Doesn’t it feel
good to start getting these monochromes out of your system?

- TIP -
Take note of the values on the
large brandy bottle as it passes
behind the small glass. The values
will have a tendency to be a bit
lighter as you are seeing it through
a veil of glass. Just something to
observe.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 3
 PA I N T I N G P R O G R A M
Still Life Phase I:
2 Objects–Burnt Umber Pick-out

Start with your drawing well constructed

and fixed. Proceed to stain the canvas
with a Burnt Umber wash, value 5.

START

In this stage, start adding tone and pulling

out your lighter areas using the variety of
tools you have available.

MID-TONES

As you near the finishing phases, stay

focused on your shape design, edge, and
value control. Try not to be too literal
with the photo reference. Watch my lead
for ideas on idealization.

FINISH

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 4
 PA I N T I N G P R O G R A M
Still Life Phase I:
2 Objects–Burnt Umber Pick-out

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 5
 PA I N T I N G P R O G R A M
Still Life Phase I:
2 Objects–Burnt Umber Pick-out

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 6
 PA I N T I N G P R O G R A M
Still Life Phase I:
2 Objects–Burnt Umber Pick-out

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 7