The arrangement below demonstrates once more the problem of many different objects spread over a large surface. On toned paper, use a brown for the outline that is not too different from the colour of the paper, so that it doesn't become dominant. Block in the top shelf after the dark green background, leaving an indication of the row of wine glasses. Smudge all this a little with your finger tip. Now, block in the light grey of the earthenware bottle, the yellow-green of the apples, the white of the china bowl and the brown of the wooden bowl. Lastly, block in the colours of the front and top of the sideboard.
Now put in dark blues and purple in the background around the glasses, and use blue and brown for the shadows around the bottle and the bowls. Next, paint in all the bright red apples and then with olive green, purple and brown, make shadows and outlines to define the fruit. Use brown to indicate the edges of all the wood. Finally, put in the very brightest and whitest touches, like the light blue highlights on the glasses; also the highlights on the bottle, bowls and apples and the front edge of the sideboard and edges of the handles. Remember not to overdo the detail here - that soft-edged look to the pastel drawing helps to give it conviction.
An even more abstract still life can be achieved by using pastel, as demonstrated in my next example. Based on a painting by William Brooker, who worked to simplify and emphasize the essential qualities of still-life arrangements, the effort to capture the effects of space and substance was undertaken quickly; rather like the Zen masters who contemplated for several months and would then produce their pictures in a matter of minutes.
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