Inspired by the sweetness of plums
This painting tutorial begins on a beautiful summer afternoon when we picked these plums at our friend’s little farm. Returning home, at first sight, the plums on the kitchen counter look like the simple purple fruit we all know. But when they were placed in full sun, they glowed with warm colors, and shadow were drenched in rich, deep bluish purple. As a result, that beauty begged to be painted.
(acrylic double primed)
Paints (M Graham)
In the order arranged on my palette
Cadmium Yellow Deep
Transparent Red Iron Oxide
Varnish (for restoring color brilliance)
Blair Retouch Varnish
M Graham Walnut Alkyd Medium
Gamlin Aylkyd Gel Medium
Rosemary and Co. Brushes
Hogs hair bristle
4B Graphite Pencil
Metal ruler straight edge
Palette Knife (only for mixing)
Master’s Brush Cleaner
STEP 1: The setup
Painting a still life of fruit or veggies often takes me several days to finish. I ‘m not interested in painting spoiled fruit. Also, the natural light I use is naturally shifty – it just doesn’t stay still, and it gets dark at night (go figure). Therefore, I often take photographs for reference. Of course, I do keep some real fruit on hand for true color reference.
Goal: Celebration of color
In this painting my goal is to amplify the plum colors and texture. I place a small, rugged vase with the plums to contrast with their smooth skins. The vase’s green tones helps punch up the impact of the plum’s purples and warm colors. The composition is a classic pyramid arrangement, strengthened by the shape of the cast shadow on the right.
STEP 2: Drawing on canvas
Time to explore
With a 4B graphite pencil, I draw the scene. I scrub the under-painting on with a bristle brush, therefore the drawing needs to stay in place and not smudge. So the drawing in held in place by spraying it with workable fixative.
Freehand only – no tracing
Although I often use photographs for reference, I always draw my subject freehand and never trace. I find the results of tracing to be lifeless and it doesn’t challenge me enough to understand my subject. In contrast, freehand drawing encourages me to explore, alter the composition, and get much better understanding of all its elements and their relationship to each other. I get a feel of the rhythm of both the placement of elements and their orientation – the directions they lean and how that rhythm creates interesting movement.
STEP 3: Blocking in
Focus on the large dark shapes
Burnt umber, cooled with a touch of viridian, is scrubbed on to the canvas with hog hair bristle brushes, continuing the “drawing” stage by adding form and shadow. I also indicate the darkest dark areas. However, until the final stages of a painting, I avoid painting the extreme dark and light values.
STEP 4: Block-in
Transparent colors for depth
Dark areas – background and shadows – have been defined. The plum shapes are left white. The painting’s focus is the spectacular colors of the plums. I paint the fruit primarily with mixtures or transparent paints – anthraquinone red, alizarin crimson, ultramarine blue. The transparent nature of these colors is critical for those colors to retain the depth and saturation I desire in the shadows and darker skin of the plums. Therefore, I don’t want the underpainting’s burnt umber to effect it. The blocking in continues…
STEP 5: Block-in complete
Block-in finished, now what?
All elements are now in place. The darkest spaces are established, the lightest areas of the vase and table are indicated, and there is a hint of where highlights will be painted later.
Plums start to take shape
I begin working on the waxy areas of the skin with mixtures of anthraquinone red and ultramarine blue with white creating soft pinks, lavenders, and blues. In addition to lightening the color, adding white colors reduces the vibrancy and cools the color. The result of the mix is perfect for the effect of diffused reflected light and again, help intensify the brilliance of the stronger warm red and oranges and the richness of the cool highly saturated blues and purples.
The light emitted from a translucent material, like the plum’s skin, is far more vibrant than reflected light. Think stained glass windows. To create that effect, I use hot, cadmium red on the plums where the light is traveling through the plum’s skins. Ultimately these colors the edges of these colors will be lightly blended.
STEP 6: Close to the Finish
Plums get their color
Because this painting is about the amazing colors of the plums (purple, red, orange), I want to enhance them by adding a contrasting color (green to yellow-green). These colors are at opposites sides on the color wheel. As a result, the combination creates a nice bit of interest and balance.
The Green Vase
The vase’s base green color is a mixture of ivory black and Indian yellow, making a lovely olive green. Lightness and darkness of the green is modulate the with white. To preserve the rugged feeling of the vase and to complement the highly saturated plum colors the greens are muted with transparent red iron oxide.
STEP 7: Finish – my favorite part
Refining edges and shadows; adding subtle reflected light; and adding highlights, is always my favorite stage.
Edges and shadows
Hard edges separate shapes while soft edges connect them. To anchor the plums to the table and unite them with each other I soften the edges concentrating on the central group – opening of the vase and cast shadows on the tabletop.
Mixtures of ultramarine blue and alizarin crimson gives a cool, rich, and deep transparent background. The shadow cast onto the table, burnt umber added to the background color, falls subtly over the front edge of the table.
I love reflected light. You can see it most clearly in the reflection from the table in center plum and the plum to the right of it. Reflected light helps give the illusion of roundness to the plums.
I use Spectral (hard) and diffused (soft) highlights in Plums. .
Spectral highlights have hard, sharp edges making a surface appear hard, and reflective. I used spectral highlights exclusively in edges of the vase, contrasting the rough surface of the vase with the smooth skins of the plums.
Diffused highlights have soft edges. Depending on how hard or soft the edge is determine how hard, smooth or textured the surface will appear. Although plums are smooth-skinned fruit, their skins reflect a soft-edged light in the same way a balloon might.
At some point, I have to say it is done. I am never sure when that time has come. Most likely, I will return to Plums a week or so and see if it wants a little more work.
Samples and more
My approach to painting Plums is similar to the way I have painted many of my fruit still life painting. You can see the result in my Fruit Collection here.
If you find this tutorial helpful or interesting, please reply to by leaving a comment, below. I would also love to get suggestions for future tutorials. Thank you!
Plums is available for purchase