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Digital Subscriptions > The Artist > May-17 > Pattern in still life

Pattern in still life

Penny German explains how to use pattern in your still-life paintings, what to consider and how to put it all together for dramatic effect
Aubergines on Tiles, oil on canvas, 113⁄4×113⁄4in (30×30cm).

I wanted to convey a sense of place, namely the Levant, where I had previously lived. I chose aubergines because they are a staple of middle-eastern diet and, to complete the mood, I painted them on Iznik tiles. The chips in the old tiles echo the scars on the aubergines – I often think the scars are their most beautiful feature

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About The Artist

Follow cover artist Henrietta Graham's example and set yourself a challenging project to create a series of paintings on a particular subject matter, or why not try something different from your usual practice to keep your creativity flowing? Our professional artist/tutors offer plenty of ideas this month, from how to paint loose watercolour landscapes by Lea Nixon, unusual compositions from a high viewpoint by Jo Quigley, and how to use pattern to dramatic effect in your still lifes by Penny German. Hazel Soan demonstrates how to paint a lively self-portrait in watercolour, Glyn Macey shows what you can discover by studying Rauschenberg's work and techniques plus we include articles on understanding the structure of the head and how to measure and see more objectively to help improve your figure work. Oil painters will love Martin Kinnear's new series on oil techniques, starting with the importance of value and chiaroscuro, while Charles Williams takes a thought-provoking look at the age-old issue of 'when is a painting finished?' With more besides, you won't be short of inspiration and helpful advice in this month's issue!
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