A silver surface is when highly polished, seems like it doesn’t have its own color. It appears usually colorless. It shows its unique identity by reflecting and distorting the lights coming from surrounding objects. But unlike silver, Golden or Brass metal objects reflect its own yellow tints keeping all the other qualities of silver. Same in case of Copper color, which reflects the coral tint instead of yellow.
In case of a high shine metal object, it is quite easier to capture the luster, because it reflects and distorts the lights and shapes of the surrounding objects by the contours of the metal object itself.
But in case of a less shiny metal object, like the one in this example, the highlights and shadows have more uniform blending throughout the surface. It has the darkest dark shadows and lightest light highlights to white. Moreover, the metal pot in this example has multiple denting and scratch mark on it. Which makes it more interesting and challenging to paint.
For this Brass pot painting demo, I have used two dominant colors, Cadmium Yellow Medium and Cadmium Lemon. Other colors to achieve the shadows are Burnt Umber and Ultramarine Blue. I have used Zinc White for highlights and Scarlet Lake for a slight orangy tint of the pot.
In this first coat of paint, I have applied almost all colors from my palette. For the form shadow area, I have lightly applied Burnt Umber with a little bit of Ultramarine Blue. for the highlighted area, I have applied Cadmium Lemon with a pinch of Cadmium Yellow and White. Cast shadow area is mostly painted with Burnt Umber and Ultramarine Blue, but I will adjust the tonal value later on.
While noticing closely, you will found that the areas between the shadows and highlighted areas of the pot are not clearly yellow. Rather it has a greenish yellow tint. For this blending between highlights and shading, I have used a little bit of Ultramarine Blue with Cadmium Yellow and Cadmium Lemon.
I always prefer to use both sides of the same brush for blending between shades. I have used one side for highlighted color and another one for the shadows. It gives me immediate control when blending than using two separate brushes. I am using a Number 6 hog hair filbert brush for this, which is thick and short and perfect for this trick.
In this stage, a Size “0” nylon brush is used to create some of the minute details of the pot. The cracks in the neck, denting and scratch marks of the base are all achieved with this brush. Moreover, from close observation, it is clear that the lower part of the pot has its unique dark color. Which is almost blended with the shadow and creates an antique finish of the pot. For this color, I have glazed a little White with Ultramarine Blue over the dark areas.
After finishing all the necessary blendings, I have used a flat “6” number nylon brush for glazing. A thin coat of orange is applied surrounding the highlighted areas and bottom left side of the pot. Moreover, the cast shadow area is now lightened using glazing with White and Ultramarine Blue to show the reflected light over it from the window.
The right side of the pot is more yellowish because it has reflected the light of the pale yellow wall. This Brass Pot has another unique color in it, which is called patina. A natural patina on the metal frill above the neck and some areas on the base of the pot is achieved by using Ultramarine Blue and White. The thin separation lines on the base of the pot are drawn with a small brush with White, Cadmium Yellow Medium and Cadmium Lemon.
Though I am using a simple 125 gsm paper with White Acrylic paint priming before proceeding, the use of Canvas will make it more convenient to paint.