Video Lesson Supplemental Lesson: White Rose & Vase

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1 Video Lesson Supplemental Lesson: White Rose & Vase by Kingslan & Gibilisco Studio

2 Preparation Surface: 16 x 20 Oval Masonite - Available from Kingslan & Gibilisco at With a fine pored roller brush, prepare the board with 2-3 coats of DecoArt Dove Gray. Sand the paint between coats 2 and 3. Do not sand the final coat of paint so as to retain the eggshell type finish. Trace Trace the design in pencil. The vase must be checked for symmetry. With pencil sides out, fold the containers in half to assure that both sides match. Erase the side that appears less correct and use the opposite side to retrace. The organic objects are asymmetrical therefore it is not necessary to prove these objects for symmetry. Transfer Trace around the outside of the oval onto a large piece of tracing paper. Fold this in half matching the sides of the oval. Match the edges of the tracing to the outside of the oval. Transfer on a straight line onto the surface using the straight edge created by the fold line. Use this line to line up the objects onto the oval. The fold line of the vase and glass container must be perpendicular to this line. Transfer vase and table only. Paint background and table. Dry. Then tear or cut a small hole in the tracing paper. Place a piece of tape over this hole, sticky side down. Slip graphite behind the tracing paper. Transfer the design. Use a Kingslan & Gibilisco Ellipse Template to transfer all elliptical openings. White Rose & Vase Still Life A Few Gentle Reminders: Review DVD: Tips & Techniques of a Master 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.

3 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 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 Dark (HD) and/or going down to Dark (D) xxxxxxx= Low Dark (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. Mixes: Violet: Warm White: UB + QC TW + a small amount of Y 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

4 Table Cloth Section Tape off table cloth using Magic tape or painter s tape. Add the values as diagrammed below painting around the vase but not the glass vase. After top of table cloth is complete, remove tape then tape sides of the cloth. Add values. Blend top of the table cloth into sides of the table cloth. Add folds to the cloth but keep subtle. Remove tape. Dry if desired. Table Cloth Mixes Medium: Light: Dark: Low Dark: TW + RS Medium + TW Medium + Black Dark + Black

5 Background Section Add the values as diagrammed below using a large brush and loose brush work. Mop with a large mop if necessary. Blend the back and sides of the cloth into the wet background. Dry then transfer the balance of the design. Background Mixes Medium: Light: Dark: Low Dark: TW + RS Medium + TW Medium + Black Dark + Black

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