Paint Along With Nancy Kominsky; 115; Wine and fruit
Today we're going to paint wine and fruit. Every beginning painter wants to paint a wine bottle. Today you get your wish. So we better get started. Now let's put the wine bottle right here and put a square about here like this. Don't go down too far, just about here. We have quite a lot in this painting. Perhaps it's a little ambitious, but after all we can't be painting flowers all the time. We have to be a little ambitious and courageous. Now we're going to put the cork on. Let's start this way and go down this way. I could have had a kianzi bottle, but the straw is a bit much.
We have so many more important things to do, so I thought I would settle for this. We'll do that another time. There again. Don't forget the bottom of your bottle. Round it off. Now this has a lip like this and a cork. Well I guess lots of them don't have corks. They have little plastic tops, so pity isn't it? Unless it's very, very expensive wine, but this isn't. If you're an artist like I, you won't drink expensive wine. There you are. There's the wine bottle. Keep it simple. No labels please. We don't want to know the brand of the wine. Fine. Now we're going to paint the plate next. And it goes in front like this. Don't get it too low. We've done it to these, so it shouldn't be such a surprise. This is where grapes are going and the apple and the orange.
It has a small lip like that. Keep it simple. Please don't have fancy plates or fancy objects. We're interested in the fruit actually. Now in painting the grapes, or actually enjoying the grapes I should say, let's draw them as a mess like this. They will spill out over the plate like that and over like that. Do not delineate the grapes unless you put the general form first. So you know exactly where they're going, then you put your little circles like this. Now we have an orange. It's a very expensive fruit bowl I think. And a lovely apple like that. Get them down into the plate that way.
Fine. Now we also have up here, and this is a bit of a composition thing actually. The reason I added it, we had an empty space here. And so I've added a small vase like this. With some butter cups, which I happen to pick in the field, when I was thinking about doing this, there we are. It's a very simple little glass. It's also glass, but it's clear glass, as opposed to the bottle which is green. We're not going to do the flowers. I'll do them for you for just a second like this to tell you or to show you, because we're going to paint them out as we usually do. So don't worry about that. Let's leave that for the moment. You have the wine bottle. Now, with the wine bottle, we do have a small glass. Although I've never seen anyone drink a wine such a small glass, but he's just tasting. Besides, all we're going to do is paint a small one.
We'll do a goblet another time. Again, it's something very special and it's quite involved, so we'll just worry about a few things at a time. There we are. Fine. Now, I think that's all for the moment. There's the drawing, and now we're going to shade it. As usual, I say as usual because it seems it. That's the reason, that's the way I always do it. The light is coming from the left. Pick up your brush. Be sure that you take all the drippings off like that, and shade the right side of your drawing like this. Now, the glass, we have to backtrack for just a moment. Let's put the wine in. That's important. I should have done that. Let's do that right now. It has exactly the same top as the lip of the glass, because we're looking down into it.
We're seeing the wine, we're seeing on top of the wine, so we're seeing part of the top of it. Just like we are the top of the glass, looking down into it, like that. I did forget that. Okay. Fine. Now, let's go back to our shading. Now, we're going to shade the fruit. And this. Now, I do want to draw the grapes. Now, remember that when you're looking at these grapes, you're not seeing each one, how? You're seeing some grapes tucked under the others. So, in some cases, you're only seeing part of a grape. If not, they look like they're all lined up, you know, like those soldiers or marbles or what have you, and not at all natural. These are little divils, these grapes, I'll tell you. And they've done in many a famous painter, but not us.
That's because you didn't use an easy Kaminsky method, and that's why poor Rembrandt, he never knew about the easy Kaminsky method. There, pile them up and unevenly please, unevenly, because it would be. Now, I'm doing this so that you'll get the idea of what's happening. There. Actually, I don't even think I'm going to shade too many of them. Just one occasionally that's tucked underneath is not getting the light. That way, I feel like leaving them with this color. There. Just leave them for the moment. There it is. Fine, our drawing is finished. Now, we're going to do the painting. We start with the background as usual. You see, we do the same thing over and over again,
so there's no reason for you to forget. This is a lovely color painting in that we have lovely blues and reds and orange. It's a very satisfying painting. I think the most beautiful color combination here is the blue and the green together. It's very unusual and very lovely. Now, when you come to the wine glass, we go through it. Now, be careful. Save your drawing if you can, if not, and you get into trouble. Scratch it out. Remember, this is clear glass and we're seeing the background through it. Now, keep going like this. Try what that wine bottle keeps getting thinner and thinner. Go around very carefully.
But if you don't worry about, if you do a donk at all, you can just say, goodness knows, we can bring it back. We end up with another glass, it doesn't matter. All right, down. Remember, when we use our blues, always add a little orange to it. And when I make my blue mixtures, I always make a mixture of aqua, which is veridian or thalo green and white. I think one of the few painters uses that on the palette, but it's a very effective and a very useful thing to mix aqua. Bring some of the dark tone around the bottle on the other side also. Now, I would suggest that we go right through this little vase over here
and then scratch it out again, okay? Because it cuts up the paint too much, have all these areas chopped up. It still can be as confusing as losing it. So get rid of it for the moment. You remember it. It's amazing how observing you will be, and how trained you will be. Do you remember all the things that you put on your canvas, whether you think so or not? If there's a little different shape than the last time, again, don't worry about it. It's going to argue with a goodness. Five, right tail. Now, let's go to the middle town. I did it again, oh well. Like that.
I think I really lost my head on this painting. I got carried away. I found all this stuff in the kitchen, and I kept piling it on, piling it on, piling it on and thinking, oh, I think this would look lovely. My first thing you know, I had such an involved painting. Let that be a lesson to you. Try not to paint too many objects in your painting when you're learning, because you do get a little discouraged if you have too much to do. Mostly because we're impatient when we're learning. I mean, this is a school of immediate painting, but that's ridiculous. We don't do it in five minutes. There we are. Let's go down with the light tone. Remember, dark, medium, and light. Looks like a theme's up there. And incidentally, we're going to paint this plate the same. So let's do that along with the background. And remember that we always mix our colors one and the other
just a wee bit. Like that. I'm going to put scratch out your fruit in such a way that, so you know where you're going, doing that with the warts on your apple there. Our little vase here. Let's get that in right now. Like that. Now let's get the plate in. Let's start with a dark tone like this. Right through there. And put a little medium or light tone in front like this. You see? We're going to put purple and stuff in there to create the shadows from the fruit. Right there.
Let's put some highlight on that right now. Like this. And then we're going to outline that in purple. I'll remember, keep the shape of your plate on losing mine. There. Leave that for just a moment. We can go back to it. When I tell you to leave it, it doesn't mean we're quite finished with it always. It means that at the moment we don't need to do anything to it. And we should leave it then go back to it when we, for example, when we put other highlights in, we will put those highlights on the edge of the plate. That's the last thing we do. The highlights are always last. Pretty near always last in your painting. Sometimes I go ahead with them because I have a different problem here. Bringing it to you.
Purple shadows. Like this. Bring some up in the background. Especially on the right side. Like that. Now let's score to get the appearance or the feeling of reflections. Fine. Now let's go to our bottle. Let's start with the dark tone first, like this. There again, this is a lovely old bottle, says I happily. You notice I go down and over, down and over.
Your strokes are very important in palette knife painting. This is something you must always remember. We don't have square strokes for the round apple, hm? Or you can do it, but it wouldn't be right. Unless you're setting a new trend, then I'll forgive you. Alright, let's get down in the middle tone, like this. Always advancing the shape of your object. We're going to outline that so it doesn't look so awful. It's a very big top up there. Let's straighten that out. Just a moment. Down. Now let's take the light tone, like this. Like that.
This is a little tricky. But it's a very satisfying thing to paint a lovely green glass. We're going to outline it a little bit in purple, because I'm losing it just a wee bit. Let's go the other way, like that. We're going to put a little purple here. That's all just an Italian model. Darker behind the grapes, like this, and over. Bye.
Leave that for the moment. Let's do the cork. The cork is yellow ochre. Like that. Naples yellow top. This is done right from the palette, and you do not mix this. I will try to give you as many colors as possible to paint from the palette without mixing. There you are. Now we'll go to the orange there again. We're going to mix it from the palette. That's the light tone. Use a little purple with your orange on a dark tone, like this. And lovely light tone on the left side. Stipple it a little bit, because it does have a rough skin. Now you know it's an apple because it's colored orange, right? Okay, let's go to the apple.
There again, we use the colors right from the palette. We use rose matter for the back of the apple or the shade part of the apple. Let's make a nice sexy apple there. Wow, there that's nice. There. Now we put for million or a light red in the middle, like this. We do the same tones for tomatoes. The only difference is, of course, the top is a little different. As I said, most forms are actually pretty much the same. It's just a little idiosyncrasies of each object that distinguishes it from each other. There's our apple. That orange looks a little weak just a second. Let me put a little yellow on that to give that a little highlight. There we are. Now that looks a little better. Fine.
Now we'll leave that for the moment. Now I think what I'm going to do is put the highlight on the plate so that I don't forget it. And it's terribly important where it doesn't look like a plate. Now I'm going to put the wine in the glass. There again, I'm going to use the rose matter with a little purple on the sides like that. And dark red in the top. And then I'll put some lovely remillion right in the middle, which tells us that we can see the light through the wine glass, like that. See? Once you're told how, you can see the logic of everything. Fine. There we are. You may have to sharpen this up a little because I'm also losing it,
but don't worry about it. We'll get it back. Outline the wine. We're going to put a little highlight in that also. Fine. There we are. Now let's go to the grapes. If you're going to get uptight about these grapes, I suggest you take a little sip of the wine. Now we're looking at the grapes in the grapes in front of the plate or light, because the light is getting them. But let's start with the back. And we're going to put a few dark tones like this. Now this color, as you can see, is a different green than the bottle. Obviously, there aren't grapes that color. There might be. I've never seen them. Now put a few dark ones in between. And do the medium and the dark ones first like that. And put a few dark ones here and there like this to tell us that they're behind the others.
You see? They're not getting the light. That's the only way. If not, you're going to have grapes that look like little marbles all lined up. And it just isn't so. I can remember I had a student who absolutely had a horrible time doing these grapes. And she struggled and she struggled finally. I went over to her and she had not painted the grapes. And on the plate, on her plate, she just had a stem. With all the little stems and they were in her grapes. And I said, what happened to your grapes? She says, I ate them. And so you see, that's no excuse. You paint them. There we are. Where's when they're in class to get away with anything. I don't see you painting, so you can do what you like, but there. That's how the few dark. Now we'll put a few more medium tone. A few in here. You see, it's working in towns which tell us that some are behind others.
Some are not so far up. Some are catching the light completely because they're really sticking up. And so on. Now we keep the light ones actually for the front with a few in back. Now let's put the very light ones right here like this. Over some of the others because they are sticking up like that. Like this. Let's have one down here like that. Now I'm going to take a little purple and go between like this. Now just leave those for just a moment. I keep saying that and then I go back to it, but then I see something else.
And I think, oh, dear, no, I must fix that. After I'm telling you not to go back, I keep going back. Outline the grapes. It's dark between there. And then we're going to put a little lovely highlight on them like that. And this is a good way to round off your square grapes, by the way. I'd like to put one light one here like that. Now let's put our little highlight on them. They do have a bit of a gloss. Now generally that's the way they should look. I'll put one here having empty space. Fine.
There we are. Now let's go to our little vase over here, which we outlined in purple. First. I forgot to put my little thing there. This is the way we do the little butter cups. We start with a dark tone like this. And we use the other tone in front, pretty much the way we've done others. Remember the back petals first, in different tones, and then the front petals. Let's put some greenery.
And stems in our vase. And does have little leaves like that. And we're going to put our highlight on that. Everything, all the glass, the reason it looks like glass is we must have highlights. And over here just a wee bit. We have one on the wine bottle like this. And very, just bloop it on.
Don't play with it. Once you play with it, you're lost. It mixes with the other paint. And don't forget our wine glass, like this. Well, that's our painting for today, and now for our signature. Goodbye for now. This program was made possible by a grant from Commercial Union Assurance Companies.
Thank you very much. Thank you.
- Episode Number
- Wine and fruit
- Producing Organization
- Connecticut Public Television
- Contributing Organization
- Library of Congress (Washington, District of Columbia)
- AAPB ID
Host: Kominsky, Nancy
Producing Organization: Connecticut Public Television
- AAPB Contributor Holdings
Library of Congress
Identifier: cpb-aacip-216ce08b9ce (Filename)
Format: 2 inch videotape
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
- Chicago: “Paint Along With Nancy Kominsky; 115; Wine and fruit,” 1976, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed March 2, 2024, http://americanarchive.org/catalog/cpb-aacip-eed3991f175.
- MLA: “Paint Along With Nancy Kominsky; 115; Wine and fruit.” 1976. Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. March 2, 2024. <http://americanarchive.org/catalog/cpb-aacip-eed3991f175>.
- APA: Paint Along With Nancy Kominsky; 115; Wine and fruit. Boston, MA: Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-eed3991f175