Kingslan & Gibilisco Studio Presents: Urn & Fruit Harvest

Transcription

1 Kingslan & Gibilisco Studio Presents: Urn & Fruit Harvest

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4 PREPARATION: Prepare masonite inserts with DecoArt Raw Sienna using a fine pored roller brush. Apply 2-3 coats. Do not sand the final coat. Urn and Harvest Still Life Transfer Information First Transfer: Trace the entire design in PENCIL only. Be sure that the horizontal lines are parallel to the bottom of the surface. The container must be proven for symmetry. Fold the object in half, matching the sides of the objects, with the pencil side out. If the container is not symmetrical, decide which side looks more correct. Erase the incorrect side and retrace using the remaining side. The fold line must be parallel to the side of the board or perpendicular to the bottom of the board. Frame Base the frame with DecoArt Slate Gray. Thin the flesh tones with Mona Lisa Paint Thinner. Slip slap the values over the acrylic base. Pounce with a large mop to soften the paint. Heat set and repeat until the desired effect is achieved. Varnishing Varnish the frame and the dried painting with FInal Coat Varnish. Wipe on with an applicator pad - be aware that the first coats may separate. Keep wiping and the separation will cease. Add 4-6 coats of varnish. A Few Gentle Reminders: Review Blending Notebook lesson or Video Review Proving a design prior to transferring Apply thin coats of paint two applications rather than one thick coat. Don t rush. Build the foundation of the painting well and the final development will be easier and more effective. A color is neither right nor wrong in itself. It is how it is used that determines if it is correct. Always test your value within the context of your painting. Palette right does not mean picture perfect. Only judge in relationship to the painting. Color is a partnership with its surroundings. Develop objects in the following order: Form is the first consideration based on right hand light source. Decorations, characteristics, markings Harmony adjustments - glazes, accents, tints Dimensional adjustments - Values, hues, and intensities Texture. Shines and Shadows are last. Allow the painting to cure in the mind and eye for a few weeks before applying the final varnish. Until the fat varnish is applied, adjustments may be made. Urn & Harvest Still Life - Page 4

5 Palette Set up and mixing The original piece was painted with Genesis Heat Set Oils. There is a conversion chart included if you care to use traditional oils. TW: Titanium White Y: Genesis Yellow R: Genesis Red O: Orange (or mix R + Y) QC: Quinacridone Crimson UB: Ultramarine Blue RS: Raw Sienna BU: Burnt Umber Blk: Mars or Carbon Black PB: Pthalo Blue 05 Set of Grays: Values of Gray Set of Flesh tone: Values of Flesh Mixes: Blue Tint: Warm White: Violet Tint: Orange Tint: Red Tint: PB05 + TW TW + a small amount of Y TW + QC + UB O + TW R + TW How to use the codes on the value placement guides Each object is placed using 1, 2 or 3 steps. The first step is the form, the second and third are embellishments. The codes for the values are:... = Light (L) and/or building up to Highlight (HL) /////// = High (HD) and/or going down to (D) xxxxxxx= Low (LD) blank = Medium (M) Value Placement Guide These guides are illustrated throughout this lessons and will show how to create the form of each object. The light source is from the upper right, slightly in front. The light areas will be on the right and above the center line. The dark areas will be on the left and become gradually darker as the object recedes from the light. Mixing Formulas Formulae for mixing is given throughout this lesson. You will find that the mixes for the hue are given first. This is followed by a colour that will raise or lower the value. Once the value and colour are mixed, the next addition usually is meant to either brighten or dull the colour. Finally, a colour may need to be mixed into the pile that will adjust the temperature. Abbreviation Archival Winsor & Newton Genesis W Soft Titanium White Titanium White White Y Cadmium Yellow Mid Cadmium Yellow Pale Genesis Yellow R Cadmium Scarlet Bright Red Genesis Red QC or RV Permanent Alizarine Alizarin Crimson Quinacridone Crimson UB Ultramarine Blue Ultramarine Blue Ultramarine Blue BU Burnt Umber + R Burnt Umber Burnt Umber RS Raw Sienna Raw Sienna Raw Sienna Blk Mars Black Ivory Black Carbon Black PB Cerulean Blue Cerulean Blue Pthalo Blue 5 NY Naples Yellow Naples Yellow RS + TW + Y OG Olive Green Olive Green RS + UB + BU BC or PM Purple Madder Alizarin Purple Madder RV or QC + Blk PG Pthalo Yellow Green Cadmium Green Pale UB + Y + W Urn & Harvest Still Life - Page 5

6 Container Medium: Flesh Value 4 Light: Flesh Value 5 High Light Flesh Value 6 : Flesh Value 3 Low : Flesh Value 2 Paint the container disregarding the horizontal and vertical ridges. Use #8 Filbert brush to apply the values. Place one value, then blend into the next value as it is placed. Begin with the medium value and work to the lightest value. Apply the dark values using the same method listed above. While the underpainting is still wet, place the original tracing onto the design. Without graphite, use a stylus to etch the lines back into the wet paint. Starting witht the vertical ridges, place one value darker than the value that you are on into the wet paint - see diagram. There will be a wider dark value on the left side of each ridge than on the right due to the light source. In the upper right of each section, place a lighter value. Do not allow the light and dark to touch - there must be a buffer of medium value. Next place the horizontal ridges. Place one value darker at the top of the ridge and the bottom of the rigde. Blend. Add a lighter value through the center of the ridge. Again, do not allow the light and dark values to touch. Medium Low HL Lt Medium Low Medium Lt Urn & Harvest Still Life - Page 6

7 Background Use the values below to create the illusion that the light is traveling in a straight path and hitting behind the urn. Medium: Flesh Value 06 Light: Flesh Value 07 : Flesh Value 04 Grapes and Plum Mix the following value scale: Medium: Flesh 06 + QC + UB Light: Flesh 07 + QC + UB : Flesh 04 + QC + UB Pass thru light: Orange Tint, Violet Tint, Blue Tint Lt Medium Each grape is a sphere. The light value is in the upper one-fourth of each grape. There is a crescent of dark on the left side. If the grape were a clock, the crescent would be from 11:00 to 4:00 with the widest section of the dark crescent opposite of the light value. Create each grape individually disregarding cast shadows. Grapes are unique because they are translucent as grapes contain a high percentage of water. Light can pass through the grape. This is why there is a glow of pass through light exactly opposite of the lightest grape value. Add this pass through light on top of the dark value section first with medium value then with light in the center of the medium value. Notice this light is on the outside edge. Do not leave a ring of dark outlining this section. Lt Medium Medium Lt Urn & Harvest Still Life - Page 7

8 Pear & Yellow Apple Mix the following value scale: Medium: RS + Y Light: Medium + Y + TW : Medium + RS + BU + QC Low : + BU Add the Pear using a #8 Filbert. Following the diagram below. Add the stems by basing it in with the Low Value. Add a highlight through the center with the light value. Red Apple Mix the following value scale: Medium: GR Light: O : QC Behind the stem: Light Yellow from Pear Scale Using the scale above and a #6 filbert, create the apple. Create the stem using the same guidelines and value scales as the pear. Urn & Harvest Still Life - Page 8

9 Leaves Mix the following value scale: Medium: Gray 06 + Y Light: Gray 07 + Y : Gray 05 + Y Low : Gray 04 + Y Creating a leaf is deviates from the usual procedure. First place in the low dark value in the triangular shape at the back of the stem. Then with the low dark, lay in a swallow shape. Fill the balance of the leaf with the medium value. Heavily load a #4 filbert or flat. On top of the medium value, chisel in the light value. This value must be following the growth direction of the the leaf. This value should be at approximatley a 33 angle to the center vein area. Add the stem with the low dark value with a highlight of medium through the center. Urn & Harvest Still Life - Page 9

10 FINAL STAGES Shines and Shadows Glazing steps for Primary Shines 1. Dry the painting thoroughly. 2. Begin the shining process by applying the last value used. In most instances, this value is the high light tone from each object s value scale. 3. The shines should be transparent at the edges and gradually build to opaque and heavy (impasto) in the middle. Therefore, begin the application with a dirty brush only, then In order to disperse the paint, pull at the edges of the application with a mop brush. Use a rotary motion for more even distribution. Each dispersal should be shorter in area in order that the previous application glows at the edges. Additionally, the value of the shine should gradually lighten. TW + Y) is generally the highest value. However, Cool white (TW + a small amount of UB) may be also be used. 4. If the shine appears to be a straight line, the gradation has been forced too quickly. To be most effective, the shine should have a dull glow behind the impasto. Glazing shadows and to reinforce darks 1. Begin application where the value needs adjustment. 2. Gradually blend the dark paint toward the edges of the value. If the value needs to be increased further, repeat this step. It may be necessary to add opaque paint if the first application is not strong enough to adjust the tone(s). Scumbling Shines & Colours 1. Scumbling does not usually require an extender. A brush that is only dirty with paint is pulled with only a skimming motion over the area. This technique may be used to repeat colour as well as secondary shines. 2. Since scumbling and colour repetition is most frequently applied over a dark area, the value of the colour should be darker than that which is used in light areas. Should the colour appear chalky or milky when applied, the value is may be too light. 3. Gradually build the scumbles from transparent at the edges of the application to a more opaque look in the middle of the scumble. 4. A fabric brush should be used to disperse the scumble after application with a blending brush. This will avoid burning the bristles of the blender. Reinforce the original light sections on each object. Glaze the area with a small amount of your glazing choice. Inside the original light section, place the last value used and diffuse. This should not leave the original light section as chalkiness may occur. Urn & Harvest Still Life - Page 10 Strengthen highlights with WW (or Y on yellow objects) as many times as necessary to achieve desired effect. Each application of paint should stay contained within the previous application of paint. The shines/highlights proceed from transparent to opaque while becoming progressively smaller and brighter. Note: The dark areas may also be strengthened. If the highlights do not appear strong enough, attempt to lower the dark areas. This will make the lights appear lighter due to simultaneous contrast. Shadows Add the shadows using Glaze + Black when all objects are dry. Shadows cast a small amount of the complement of the area upon which they fall. If effective, add a small amount of the complement into the Black. Reference the overall photos and diagram for placement. Remember that shadows have the following characteristics Shadows: are created only when there is light and the light is interrupted are created only when there is a receiver for the shadow such as the table are transparent cast color when object is colored glass follow the contour of the receiver are in the shape of the object that creates the shadow have at least three optical value changes are darker closer to the object that creates the shadow are relatively horizontal in nature so as to correspond with the shape of the table but curve when following the contour of grapes, folded petals, etc..

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