One Approach for Painting a Silver Teapot

"What is the best way to accurately paint the beauty of silver objects and their reflections?"  

Well, we can try painting silver "generically" with a variety of grayish hues and then depict the "shine" with assorted bits of white.  We could even blur where two values meet in an effort to create a "wavy reflection" - but the result will fall short of our goal - - rich color reflected in realistic silver.  

It may be more effective to actually forget the object is silver and simply paint the edges, values, colors and temperatures we see before us. If we can  focus on painting what we see, we will find the silver will appear all on its own!

The one additional insight that may help is realizing how important it is to accurately draw the object, including its silhouette, especially if it needs to be symmetrical. 



We can begin by carefully drawing the basic framework or outline of the object on the canvas a bit smaller than the actual object itself, which will leave room to slowly expand the dimensions until the object is accurate. (If we instead choose to draw the object full size right from the start, then it's difficult to reduce any incorrect dimensions without leaving behind evidence of the error.) 

In this painting, the background was filled in with assorted shades of green and allowed to dry.  Keeping track of the colors used to create the background came in handy when minor adjustments were later needed near the perimeter of the teapot. 

The greens used in the background were also used to create the green cloth on which the teapot rests.





Next, after the interior of the lid was nearly complete, the dominant colors in the body of the teapot and spout were laid in "following the contour of the form."  As we adjust the interior colors, staying within the confines of the object's silhouette will be very important.

Where the reflection of the table top and the cloth meet is depicted with a jagged "line."
Additional color is placed to depict the interior of the teapot and at the base of the neck.

Great care is being taken to remain symmetrical and to keep the values and colors correct.

It actually saves time when we look carefully first, analyzing the colors and values of the teapot.  Then we can move forward slowly and deliberately.  

After squinting down to see a more simplified version of the teapot, more colors are filled in and adjusted as needed. 

Symmetry is preserved and staying within the silhouette/border is crucial.

The top half of the teapot is the focus, the green cloth reflected in the lower half of the belly will be added next.

The neck, spout, and belly of the teapot, are nearly complete with patches of color.  The green cloth is being added to the reflection.  (Overall symmetry will eventually need a bit of adjustment.)

Bright highlights are added with sizes and shapes exactly as seen on the actual teapot, although the actual number used is reduced.

Next, determining the precise center of the teapot is important, as the first stroke of the base is placed beneath the belly of the teapot.

 

The top portion of the base is delineated and kept in the center of the teapot.  Reflections of the green cloth are melded with those already in the base. There is not a sharp break or line of demarcation between the belly and the base.

Notice on all sides of the teapot, there isn't a true outline, rather, the outline is suggested by assorted shapes of color that when combined form the teapot's silhouette

The pale lines used to define the top of the base are no longer visible.  The ring where the base and the foot of the base meet is defined. The foot itself is partially hidden by the green cloth.

Minor adjustments have been made to be sure the teapot remains symmetrical and level.

Next, the handle must be added to the teapot.









Here is the area where the handle will be added.

Care must be taken to begin the handle in the right place and end it in the correct spot.  It must appear sturdy and solid, yet elegant in its design.














 



To begin, a pastel pencil is used to create the basic arc of the handle.  Pastel is easy to erase if the first pass is incorrect.

While drawing the arc, constant back and forth comparison to the actual handle is very helpful in obtaining accuracy. 

If the handle is too large or too small, it will look odd and draw the viewer's attention.  If the handle is the right size, design and shape, it will become part of the teapot and not be seen as a separate element. 













Once the pastel arc seems correct, the arc is then suggested a bit more boldly with paint. 

We begin with a very thin "skeleton" handle and then flesh it out until it is the correct width.

Values have been kept accurate and great care was taken to stay within the confines of the width of the handle.  (Fortunately, therefore, the green background did not need to be matched and repainted!)

Here is the final version of the handle - with highlights on the detailed metal work on the outer rim, as well as the flourishes where the handle curls to meet the side of the teapot.










Here is the completed teapot. 
(The image is a bit hazy on the left due to the window light reflecting of the wet paint.)

 

Here is the teapot in context, with the crystal vase of roses and the green cloth.  Other elements will be added as the painting is completed.

 

Hope this blog entry was useful in helping to see one approach to painting a silver object.

 

Here is one other teapot you may want to see since it has a very different exterior (ribbed) and it was being hit with full sunlight when it was painted.