Painting Two/ ART 3261_assignments
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Assignment #1 _ reductive painting_portrait w/ study
Our first painting is somewhat of an exercise in underpainting. You are to work from a black and white photograph of an interesting portrait. This photograph should possess a broad range of grey values, dark to light. Decide on an interesting composition by cropping the photo if needed.
Prepare your panels accordingly.
Next, make a dark glaze by mixing two transparent pigments together (don’t use white), in combination with a larger amount of an oil medium or glazing medium. You should create a dominant color. Example: to make a blue-violet, mix ultramarine blue with a very small amount of alizarin crimson. The ultramarine blue is your dominant color in this mixture.
Once a good amount of glaze is mixed then uniformly cover the canvas completely. Study the composition of the reference photograph, then proceed to remove the glaze with a combination of brushes, rags, credit cards, etc. if you remove too much of the glaze simply apply more to darken that area, and continue the process.
This reductive technique is traditionally used in underpainting.
READ
Chapter One in The Painter’s Handbook’
MATERIALS
2 18×24 surfaces to complete studies
1 18×24 surface for final painting
gesso
all required oil paints and mediums
OMS (odorless mineral spirits)
brushes
A variety of b/w portrait photographs
Rags, q-tips, id cards, any tool or object to remove pigment from the surface
STUDY
You are required to complete two studies before the final painting. These can be completed on pre-primed canvas panels if preferred. Use separate photos for reference. On one of the panels apply an additional texture with either heavy applications of gesso, or a textured medium prior to the application of the glazes. Experiment with how textures applied under to the glaze can heighten the outcome.
Be aware of the time it takes to apply the glaze, and the time it takes the glaze to set up.
FINISHED PORTRAIT
Select a third black and white photograph for your final piece. This painting should be completed on a more professional surface than the canvas panel studies. Using your studies for reference prepare the surface accordingly, and apply the glaze in the manner described above. Proceed to remove and add glaze as needed to complete the composition.
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Assignment #2 _ the still life: alla prima w/three studies
This assignment is designed to broaden your awareness of the various techniques and materials in oil painting. You will paint three small 11X17 studies of a still life. Each study should be of a different composition of the still life. Of the three studies, the most successful composition will then be translated into a final painting of a larger scale 22X30.
We will assemble an interesting still life, and proceed to assemble at least ten quick sketches. Seek to achieve a sense of harmony and balance with the shapes you observe. Use correct scale and proportions, as well as negative space. Of the sketched studies choose three to apply to your painted studies. Transfer the sketches lightly to your panels, and proceed to paint in the compositions using local color. Label the back of each panel according to the following processes.
STUDY I – monochromatic warm underpainting W/ OMS
Using what you learned in assignment #1, paint a very thin underpainting employing additive and reductive techniques. When the underpainting is complete, mix a palette, by this I mean to pre-mix colors on your palette according to the actual colors found in objects of the still life.
Now apply the overpainting. The paint should be applied in an alla prima, or direct painting method. You will experience the wet into wet technique. Experiment with areas of varying thickness, ranging from thin to heavy (impasto). Experiment with your brushstrokes, from light wispy to heavy mark making, scumbled to structural.
STUDY II – monochromatic cool undrpainting W/ Linseed or Painting Medium
Monochromatic cool underpainting, with overpainting same as above.
STUDY III – neutral color W/ liquin or galkyd
Neutral underpainting, with overpainting same as above.
FINAL PAINTING –
Your choice of medium or solvent, and undepainting.
The finished composition should posess a good sense of composition. Exhibit a range of brushwork to achieve a personal style and aesthetic.
MATERIALS
sketchbook
3 11×17 surfaces to complete studies (canvas panels)
1 22×30 surface for final painting (stretched canvas / or prepared wood panel)
gesso
all required oil paints and mediums
OMS (odorless mineral spirits)
Brushes
READ:
Mediums, solvents, underpainting, impasto, drybrush and alla prima.
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Assignment #3 _ Glazing w/ revisited studies
Finished Painting
Select subject matter to paint. This could be a photograph, a still life, or a section of an existing painting that utilized glazing in its technique. All the while keep in mind the finished outcome will be quite glossy, so choose subject matter that will translate appropriately (skin, glass, water, etc.) There are plenty of painters utilizing glaze techniques, a few examples Whistler, Bonnard and Paschke to name a few.
Whatever you choose to paint, the outcome should display several examples of one transparent color layered over a different color.
Process
Underpainting (acrylic optional): Paint an opaque underpainting onto your substrate using local color / full palette. Add more white in your paints to create tints. Keep your colors light. Select colors for the underpainting such as sienna, blue, gray or even a salmon to enhance the subsequent glazes. Areas that will remain white or contain highlights in the finished composition should be left as white when underpainting.
Overpainting in Oil: When the underpainting is dry, begin adding layers of your glaze. The glaze is achieved by mixing transparent pigments with a medium (liquin/galkyd/stand oil, etc.) Be sure to use transparent paints during the glazing, opaque colors can be utilized for finalized details and highlights. When mixing your glaze, the consistency you want is that of a cream soup, not too runny but very fluid. Apply the glaze to the dry painting with a wide, soft brush (a flat is suggested). Darker colors are usually glazed over lighter colors.
Experiment with contrasting the underpainting with the glaze, some suggestions:
-warm overpainting over a cool underpainting
-cool overpainting over a warm underpainting
-pale overpainting over intense colors
-complimentary colors over each other
-contrasts of thick and thin surfaces
-keep dark colors thin and transparent so not to overwhelm
-use opaque and thicker paint applications for lighter colors
NOTE: each layer of glaze must be allowed to dry before additional layers of glaze can be applied.
Studies:
Observe the weak areas of your studies from the previous assignments. Experiment with applying glazes of varying mixtures. Study the compositions and apply glazes where areas need to be darkened, warmed or cooled, sharpened or possible highlighted. Take notes on the level of success of each of these attempts.
Document, with photographs, the various stages the painting goes through. This assignment will require a process-folio.
MATERIALS
sketchbook
studies from previous assignments (at least 3)
1 22×30 surface for final painting (stretched canvas / or prepared wood panel)
gesso
all required oil paints and mediums
acrylic paints optional
OMS (odorless mineral spirits)
Glazing medium
Brushes
READ:
Reference text: glazing, undepainting
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Assignment #4 _ Art History Emulation
For this project you will begin with research. We spoke in class of how the impressionist movement marked the shift toward modernity in painting. The impressioninsts broke academic tradition and created a division in art history. You are to select one historical painter working prior to this shift in the canon (pre-1870 roughly), and another modern or contemporary painter. You will research each painters ‘style’, and create a hybrid painting emulating both selected artists. Keep in mind you are not performing a copy of these artists’ work, but merely embracing their techniques to create your own painting.
Finished Painting
The finished painting must be no smaller than 12sq. ft. (example 36”X48”).
The painting must be on a substantial substrate such as stretched canvas or wood panel.
The painting must employ the use of oil paints primarily.
A process-folio of this painting is required upon completion.
Artist Presentation
Since this painting will employ the techniques of previous painters, research is necessary.
Start by scouring texts, the web, magazines, etc. to acquire two artists. Continue your research by familiarizing yourself with their biography. Continue on, studying their technique and praxis. How do they achieve a certain aesthetic? What is their mode of working in the studio? What kind of things do they paint? You will need to answer these questions and more; not only to achieve accuracy in your own painting, but to present this information to the class.
The critique will double as an academic presentation. You will provide background on the selected artists, explain their technique and its relevancy, and field questions about your selected artists and your own work. This critique will differ from previous in that you will have the undivided attention of the entire class with no other visual distractions.
One artist/presentation at a time.
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Assignment #5 _ Narrative Painting
Around the globe and throughout history, we can identify countless examples of paintings that illustrate, express and allude to a narrative. Precedence is plentiful with paintings touching on religion, mythology, the historical as well as experimentation and abstract narratives.
Start by acquiring a story. This could be appropriated or self constructed. Look to past histories and cultures, personal memories and historical events. Continue on by researching narrative formats (i.e. single scene, sequential, multi-episodic). Determine what format is appropriate to your selected narrative.
Prepare by completing necessary sketches and studies. Explore the components necessary to successfully convey your narrative.
The finished painting(s) have no size requirements. You are free to explore scale, quantity, and substrate. Embrace whatever means to heighten the conveyance of your narrative. Take into consideration such elements as color, brushwork and technique. How does color affect mood, and brushstrokes convey movement or stillness? How does the placement of characters, or the use of repetition assist in the telling of the story?
Be prepared to explain, or at least assist, your audience in their interpretations of the finished painting(s).
