Still life painting has only a brief history, going back only into the sixteenth century. Before this, groups of objects were painted only as a setting for the main composition. It was not until the demise of religious painting when still-life became a subject within its own right. Even for the pet portrait artist, it is though an excellent way to practice your painting technique, as it offers a great many different types of subject and difficulty.

Choosing where to start

To begin with, find a place to arrange your still life where it will be safe from future disturbance. You can choose to surround your group with drapes or just plain walls, it will also be easier to light the scene within these restricted confines. If you wish to use natural light then bear in mind that you will be restricted to a limited period of the day, otherwise the changing tonal values will cause great problems.

Considering subject matter

When thinking about what to paint you can select either man-made or natural items or indeed, a mixture of both. If you go for man-made objects choose items that evoke a certain atmosphere which can be emphasised by the way you paint the composition. You can also consider objects that have a autobiographical theme, picking items that have a particular reference to you.

Whatever the items you choose, attention has to be paid to the composition of the piece. Be aware of the interplay of light over the surfaces, the colour contrasts and the textures, take full advantage of the characteristics of each item. Concentrate on opposites, avoid positioning similar textures and surfaces together, as it will make it difficult to define the individual objects. A tip worth using to help achieve that pleasing composition, is to avoid using too many items.

Depending on what medium you’re using, it’s a good idea to indicate the tones early on, as this helps to establish the solid forms. Look carefully at the spaces between the objects, known as negative areas, they are an important aspect of the composition within the picture. It helps at this stage to think about the abstract qualities of the picture. Once the main colour areas have been indicated, stop work and look at the picture from a distance, also try turning it upside down to see if you have achieved a well balanced composition. This is the point at which you can easily change elements that are not quite right. For instance, if any of the negative areas seem too pinched or ill-considered, now is the time to adjust them accordingly. From this point on, work up the physicality of the objects, finishing with the details.