A Still Life painting procedure by Scott Breton

Here is a series of images taken over the course of a Still Life Painting in September 2010

The picture was painted sight-size, which means that the image painted was precisely the same size as the subject appeared from a designated viewing point.

As shown in this photograph, where I have sketched in the saddle in burnt umber and blocked in the bluer back ground with a mix of burnt umber cooled with ivory black:


As I go, I soften shadow areas with a three inch, soft gesso brush.

As paint dries, the picture is adjusted with transparent darks to make the darker areas darker, broken passages of opaque paint, and "scumbles" of light opaque colours.  

I am happy that there is still an overall warm glow to the picture that harmonises it.

From this context, the passages of lighter areas are worked over more locally, with paint becoming thicker and chunkier as it gets lighter. I am still trying to keep the transparency, and allow areas of the transparent underpainting to show through even in the lighter, more opaque areas.

The final painting:

Nick Leavey