Still-lifes have been used for centuries by artists and still are being re-contextualized today. This art form presents a grouping of objects, and depending on those objects, that relationship can emit a wide range of psychological and formal ideas. We will have a multiple themed still lifes set up in class for 4 class periods. Goal: You will choose one still-life and using a viewfinder, commit to an interesting composition with only 3 full/partial objects, and create a realistic rendering of it. The objects will have a multitude of colors and surfaces. For the next four days, you will develop this painting in layers and it will be your first true indirect painting. Keep in mind that this is not a photo of the still life but a painting of it. While it will be necessary to see the colors and values effectively to capture the illusion of your objects and space, it is paint that will make it engaging and bring it to life as a piece of art.
-Started on Feb. 27
-Composition contains a bottle of green dyed water, a plate with an apple and a lime, and grapes on an olive colored cloth
Over worked and over blended. What does this mean in painting? How important is the brushstroke in painting? Alla Prima painting is a technique that is used to create a painting in one sitting, a direct painting. Furthermore, once the thick paint is brushed on to the support, it is not moved around or blended. Only by loading up your brush with various colors using different brushstrokes will your object be created on your support. Today’s object? A banana. How many brushstrokes does it take to paint a banana? Goal: You will paint a banana using the alla prima technique. Four main colors will be mixed on your palette to represent: direct light, shadow core, reflected light, and one other. Consider the importance and power of each brushstroke in the development of your piece. Each brushstroke and the color and brush size used will be recorded.
-Alla prima means "all at one"
-Load brush, paint stroke, record the direction and color
-10 strokes total
Glazes are transparent layers of paint created by delicate qualities of paint mixed into a glazing medium. Glazes can add color to your painting without covering it with opaque layers, and can also unify different parts of your painting while adding luminosity. Many Renaissance artists used glazes in the skin and clothing of their subjects, with sheer layers of color adding to the illusion of depth. You will paint a lemon using black and white acrylic paint, then add the colors you see using glazes. You will finish the lemon by scumbling on its highlight. Scumbling is a technique of dry brushing on an opaque, usually lighter color. Goal: To learn the technique of glazing and experience how both glazing and scumbling can be used to develop a painted object.
-Painted lemon in a greyscale, over contrasting the values 2-20
-Glazed on transparent layers 2-25
-Acrylics: Use a transparent gloss medium
-Oils: 70% Walnut Seed Alkyd, 30% OSM Spirits
-Scumbled on highlights
Otherwise known as cooking with color, part II. Garlic is rarely served by itself. Even roasted garlic is drenched in olive oil and salt and pepper. What happens to garlic in tomatoes or in cream? Color is in fact, almost never completely isolated and its appearance is always affected by the color next to it. We will look at a variation of painters and how they use color in their work. Joseph Albers was a very well known artist and teacher of notable artists during the modernist era whose approach to color was intuitive. Goal: You will follow two of his teachings and discover either the subtle or extreme differences one color can seem when surrounded by different hues.
-Take two compliments, and have one a light hue and one a dark hue and paint two large rectangles.
-Place a circle of a midhue tone in the middle of each rectandle.
-See how the midtone color is affected by its surrounding color.
You will apply your learned sensibilities of color to the painted object. Every object has a color, what is known as a local color. This is the color of the object without its variation in light and shadows. Once lit, the temperature of the light will affect the temperature and colors of the direct light shapes and shadow core of the object. You will paint objects in three complimentary color relationships: blue and orange, red and green, and yellow and purple. Goal: to capture how a lit object’s local color can vary in its color temperature between direct light shapes, shadow core, and reflected color. To achieve your mixed colors, consider which e of your primary paints would best serve as a base for your desired color, and which other tube paints can be mixed in to achieve the desired chroma and value of that color. To realistically paint this object is first to see it and all the variations of hue, value and chroma within and reflecting on the object.
-Seeing cool and warm temperatures as well as the color of the reflected light on the object.
-Blue Jar on an orange cloth 2-6
-Red pin on a green cloth 2-11
-Yellow bucket on a purple cloth 2-13
Chiaroscuro is the concept that an object is revealed to us by light, which illuminates it, and at the same time is hidden to us by shadows. This concept was used most dramatically by the 17th century Italian painter Caravaggio. His tenebrism (from the Italian word tenebroso ("murky", also called dramatic illumination) is a style of painting using violent contrasts of light and dark. A heightened form of chiaroscuro, it creates the look of figures emerging from the dark. Its use prevailed in Italy and Spain during and after his era. You will tint a support in dark burnt umber paint, then render a lit object by focusing on the effect of chiaroscuro and capturing the direct light, reflected light, highlight and shadow core of the object. Goal: The human eye can see over a million colors and within that, a multitude of values. It is how we see form in our world. When painting or drawing from life, artists must reduce the amount of colors they see, while still capturing the relationship of the colors. The effect of chiaroscuro could almost be reduced to direct light and shadow core, with certain edges of the object disappearing. As you realize the components of the lit object, try to maintain the effect of chiaroscuro, and the overall effect of light falling on the object.
-Paint the direct lights first, followed by the shadow core, and the finally the in betweens.
-Let some of the edges blend into the background.
In this sense, color mixing is paralleled to cooking via the acts of proportion of various ingredients, mixing and judging. I will give a color lecture breaking down the qualities of color and give you the main ingredients to create a color wheel, breaking down the primary, secondary, and tertiary colors. Goal: By creating a color wheel and complimentary color scale using your tube paints, you will begin to acquaint yourself with these colors, their hue, value, and chroma, and how they react when mixed together. It is up to you to find the right amount of each ingredient (tube paint) to create your desired recipe (mixed paint color). This is accomplished through the act of adding, mixing and judging.
-Primaries, Secondaries, Tertiaries
-Mixing complimentry colors will yield muddy browns and
- It will also dull the color when adding a bit of the compliment
-Lemon Yellow and Violet
-Cadmium Red and Green (Lemon Yellow/Pthalo Green mix)
-Orange and Cerulean Blue
You will be given two formulas for mixing blacks. Using titanium white, create an even greyscale for each. Each scale should consist of nine, 1’x1’ squares, gradating from white to black. Goal: the ability to create and see the difference between blacks draws on sensitivity to color and subtlety. The evenness between the squares and overall scale reveals effectiveness in seeing value.
Two formulas for black:
-Burnt Umber and Ultramarine Blue
-Pthalo Green and Alizarin Crimson