Still Life, 1982, Mark Tansey
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Art 123--Introduction to Painting
Theory
and practice of painting; material and technical procedures.
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Still
Life, 1982, Mark Tansey
Still Life
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| *Burnt Sienna Painting Surface/support: 16" x 20" canvas board Paints: burnt sienna ultramarine blue naples yellow titanium white Painting medium--to be mixed with tube paint 1 part Damar Varnish 1 part stand oil 5 parts Eco-House Traditional Oil Painting Process Dark > Light Transparent > Opaque (Background > Foreground) |
| warm | cool | ||
| dark | burnt sienna | ultramarine blue | transparent |
| light | naples yellow | titanium white | opaque |
| Color/Paint Properties: Hue -- color name Value -- light-dark--dark better layereds Intensity -- saturation/chroma (how much hue in the mixture)--color mixing=loss of intensity Underpainting: burnt sienna (wipe off light value areas) Layer order: burnt sienna ultramarine blue naples yelow and white (these 4 colors have equal tinting strength) Color Perception Chiaroscuro--light to dark value notation--the illusion of volume  Light logic 1 highlight--the lightest, brightest spot on the object 2 lowlight/midtone--maximum color intensity--this is the local value that an object would have under ambient/indirect light 3 reflected light--the light that hits other things and bounces back on the object 4 core shadow--the shadow on on and created by the object itself 5 cast shadow--the shadow that cuts out the shining light source--its always the darkest part Light temperature light source warm in studio = naples yellow--should add to white core shadow should be cooler than midtone therefore add ultramarine blue not black temperature in midtones and reflected light are derived from adjacent surfaces Critique: What is oil painting? layers textures light logic optical mix review of process easier to paint over underpainting if some time as lapsed and it has dried Art historical references: Earliest: b/w first painted under and then color added on with glazing Burnt Sienna Painting #1 follows this historically lack of brush strokes some optical mixing--see burnt sienna through ultramarine blue Compositional scale and proportions: these vary according to painting, and within the painting Contrast of value: mix pigments according to local value Contrast of edges: drawings have crisp edges paintings have diffused edges |
| *Thalo Blue Painting Surface/support: 16" x 20" (or larger) canvas board additional colors: thalo blue cadmium red medium cadmium yellow light Underpainting: thalo blue Wipe back light values and reds and oranges Make sure you clean your brushes; have clean medium or your colors will not be as intense Color Theory -- see link yyy--color wheel and pigment colors Complementry Colors: opposite on the color wheel secondaries are the mixture of 2 primaries http://realcolorwheel.com/tubecolors.htm Critique: hue matching intensity matching note especially the hue and intensity of the wall color note especially the hue and intensity of the cloth color Dry Brushing: scrubbed on over main color for reflected light shadows--color choice depends on the light source Perception: sharp focus but not in overall painting sharp painting allows viewer to select |
| *Alizarin Crimson
Painting Commonality of Still Life different reference points need not paint entire canvas in alizarin crilmson for red painting (best black alizarin crimson and thalo green in value and tinting strength) Shadows are the complement of light yellow-white light source=blue/greeen/purple shadows on red=orange on green=bluish light green-blue-greenish light blue=orangish Art historical examples: Early: limited palette smooth painting showing reflected light and shadows Later: greater palettes texturing of paint Vermeer-- painted objects in broken patches of color this is closer to our perceptual reality v. paintings have a greater intensity of color i.e. v. cowl -- 1 small white patch--rest is color =3-d i.e. walls--graduated color--grays etc ambient light and color i.e. color creates subliminal emotion effect i.e. shadows are complementary 19c. more immediate 19c. paint manufacturers created greater range and vibrance in paint tubes square brushes first used Manet--paint placed directly on the canvas Critique: Part of painting is to suggest what is there Work toward balance of whole individual objects need to be worked through with corresponding resolution but individual objects must be a part of the whole more complex subject matter more selected close up composition or cropped view, creating independent design elements red--work back for lights eyes want to see green patches of colors can suggest highlight white with color and value--white needs push back to tie painting together Cezanne--nightlight? left canvas white--used patches of color paint texture--colors can be broken--optically mixed Temperature: warm colors come forward cooler colors recede Art historical examples: Impressionists-- similar thickness and size of textured strokes light conveys emotion--subliminal strangeness i.e. light green on flesh (not in normal earth envoronment) Abstract formal modernist only colors and shapes and textures, but has to be based on some sort of human experience Van Gogh early painting muddy brown/gray later pure intensity (not painting intuitively) still life=neutral objects mannequin not neutral--has human characteristics |
| *Thalo Green Painting Critique: objects and their reflections filiment light and colored light second light above and close banker's lamp transparent and reflected contrast of lamp bulb with socket center of interest/focus might shift during the painting process emphasis on confidence and careful overall balance contrasts of chalk board small liberty with neutrals i.e. toaster technique and approach should be directed by subject matter (in-class: directed by instructor) |
| *Food Painting Wet on wet approaches--Alla Prima buttery textures pasteries preferred texture as thick as frosting freshness and directness of painting bottom to top dark to light 1 day painting not just appearance--rather nuances only palinting remains of sensory source photo to help see subject matter |
| http://www.artstor.org/artstor/ViewImages?q=gjFCfTsl&userId=gDhNdzAh&igName=3jdFM243IjMpMSkzN2V9WXwpGD4ucl4%3D |
 Gas,
Edward Hopper, 1940
Landscape
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| *Outside-Inside
Landscape
Surface/support Comparison:
canvas board -- pressure and touch--push back--different rhythm pre-stretched canvas on stretcher bars--bounce back Landscape unlimited depth (still life has 3-4' depth) atmospheric perception-intensity diminished with distance include interior--provides value specificity (window frame) Work from back to front simplify back i.e. canopy of tree dark--then light cast shadow dark then holes of light burnt sienna ground could be alizarin crimson under brown How to stretch a canvas: how_to_stretch_a_canvas.jpg stretch_canvas_p2.jpg |
| Monet example *Krauss Hall Pondscape |
| *Final Painting |
| Laura Ruby lruby@hawaii.edu 956-5250 (message only) In progress: January 2010 |
