Tuscany Trompe L oeil V: The Romantic View

Transcription

1 Tuscany Trompe L oeil V: The Romantic View

2 Preparation With a fine pored roller brush, prepare the board with 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. Each symmetrical (same on both sides) object must be checked for symmetry. With pencil sides out, fold the wine bottle and wine bucket to assure that both sides match. Erase the side that appears less correct and use the opposite side to retrace. The mandolin and rose are asymmetrical therefore it is not necessary to prove these objects for symmetry. Transfer #1 Tear or cut a small hole in the tracing paper. Place a piece of tape over this hole, sticky side down. Align the fold lines from the previous step so that it is perpendicular (forms a T ) with the bottom of the board. Slip graphite behind the tracing paper. Transfer everything except the detail on the wine bucket, mandolin and sheet music. Place tape below shelf line. Tuscany Trompe L oeil V: The Romantic View 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. Tuscany Trompe L oeil V: The Romantic View Page 2

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 BS Burnt Sienna Blk: Mars or Carbon Black PB: Pthalo Blue 05 Vir Bl: Viridian Blue PG: Pthalo Green 01 Set of Grays: Values of Gray (or mix TW + Black) Set of Flesh tone: Values of Flesh (or mix BU + RS + TW) Mixes: Violet: Warm White: UB + QC TW + a small amount of Y 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. 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. 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 Tuscany Trompe L oeil V: The Romantic View Page 3

4 Wine Bucket Blue Section Apply the values as diagrammed on placement guide. Medium: UB + TW + BU Light: Medium + TW Dark: Medium + Blk Low Dark: Dark + Blk Wine Bottle Base bottle with VirBl, top to bottom edge to edge painting over labels. Add WW highlight and BT pass through light (TW + UB) where indicated on placement guide. Brown Section Medium: Light: Dark: Low Dark: BU + TW + RS Medium + TW + RS Medium + BU Dark + BU + Blk Tuscany Trompe L oeil V: The Romantic View Page 4

5 Mandolin (reference photo for all sections except light brown section - digrammed at right) Lighter Brown Section Medium: O + RS + BU Light: Medium + TW + RS Dark: Medium + BU Darker Brown Section (pickguard and bridge) Medium: BU + QC Light: Medium + TW + RS Dark: Medium + BU Fretboard Base with BS or BU + R Headstock Base with BS or BU + R. Shade the outside edges with Blk. Sound Hole Base wit BU + Blk Tuners and Cork On Tuners, base with Medium Value. Add thickness with Dark Value and Lighten leading edge of each tuner. Medium: TW + RS + a small amount of Blk Light: Medium + TW + RS Dark: Medium + Blk Sheet of Music Base with TW + RS + Blk. Wet-into-wet, add bends in paper with a small amount of Blk. Add light with WW. Add Blk across top of paper to make it recede. Shelf Medium: Light: Dark/Shadow: RS + BU RS Medium + BU Tuscany Trompe L oeil V: The Romantic View Page 5

6 Rose Petals Medium: Light: Dark: Low Dark: R + RS + TW Medium + TW Medium + QC Dark + QC + a small amount of UB Stem, Leaf and Calyx Medium: TW + Blk + Y Light: Medium + TW + a small amount of Y Dark: Medium + Blk Low Dark: Dark + Blk Stage Two Transfer details onto wine bucket, mandolin, wine bottle and sheet music. Wine Bucket Add lemons with Y + RS.Add brown markings with BU. Add leaves with Medium Green from Leaf scale. Add brown markings and stems with BU Add Vino label and Tendril with Medium from Cork Scale. Add writing with Fretboard Value. Add brown markings with BU Tuscany Trompe L oeil V: The Romantic View Page 6

7 Background Landscape Sky Mix the following: Medium: TW + PB + RS Light: Medium + TW Using a large brush lay in the sky getting gradually lighter at the horizon line. Add clouds with WW and Blue Tint Land Mountain: Base in with TW + Blk or Gray 06. Blend the top of the mountian into sky s horizon. Fields Base the cool green fields with the TW + Y + UB Add lighter touches with base mix + TW. Buildings Base with WW or Flesh 06 or BU + RS + TW. Add a the light section a light gray. Tuscany Trompe L oeil V: The Romantic View Page 7

8 Mandolin Add flower decorations with Sheet Music basecoat. Shade with Blk Add leaves with Medium Green from Leaf scale. Add Tendril with Medium from Cork Scale. Add alternating trim with Sheet Music Medium and Fretboard Base color. Use a different brush for each color. Add bridge and frets with RS + Y Add ovals on fretboard with TW + Blk Add strings with Light Gray (Value 07). Shade with Blk on left Wine Bottle Add trim with Sheet Music Medium and Writing with Fretboard Base color. Add Foil label with QC, Shade with Blk. Add Y as the decoration. Add Tendril with Medium from Cork Scale. Add trim with Sheet Music Medium and Fretboard Base color. Add bridge and frets with RS + Y Add ovals on fretboard with TW + Blk Cork Add holes and writing with Fretboard Base color. Sheet Music With a long liner, add music with BU thinned with Mona Lisa Paint Thinner First add outside rectangle, then a line through the center then lines on either side of the center line. Add notes and measure lines. The l ines must be parallel to one side of the paper Tuscany Trompe L oeil V: The Romantic View Page 8

9 Shines Primary Shine Explanation A primary shine is the reflection of the light source. It is where the light is striking the object directly. This shine will be in the center of the previously created light section. Shines begin with a transparent, dull haze behind the final shine. This shows that that light spreads out once it strikes an object. The harder the surface of the object, the less the light will spread. The shine is sharper on harder objects. The shine on the oranges, bread and fig will be either a textural broken shine or dull shine while the shine on the hard shiny objects will be sharp. Primary Shine Procedure Using a #4 filbert lay in film of WW. This film of paint should be transparent and not extend beyond the initially created light section. Switch to a 3/0 spotter loaded with a heavier load of Warm White. Determine where the light would strike the object first (upper and right). Lay the 3/0 brush down first in the area. Coax the paint down the object totally inside of the initial transparent film. Stop prior to the end of the transparent film of paint. With a #0 mop, blend this shine into the film of paint. Reload with Warm White and repeat but this application is contained within the second application of paint. It should be getting more opaque at the point where the light is striking the object directly and then fading to nothing as it moves away from this section. This is called pyramiding a shine. The wide base of the pyramid is the transparent film. The next application moves up the pyramid and is contained within the base. The final or apex shine is at the top of the pyramid. No level of a pyramid can extend beyond the lower section of the pyramid or it would collapse. The same is true for a pyramid shine. Reflected Light Procedure Load an old brush with Blue Tint (TW + UB). Wipe the majority of the paint out of the brush so as to have merely a dirty brush. This reflected light is placed on the dark side of the objects. It must go on the exact outside of the objects as this where the light is striking the object first. Allow the surface texture of the board to extract the paint out of the brush. If the paint appears chalky, it is lacking in pigment so add more blue to the Blue Tint mixture. Varnish Varnish the dried piece with Final Coat brand varnish. This varnish can be applied with either a brush or a stain applicator pad. The first coat may separate or bead up. The subsequent coats of varnish will fill in this separation. Shadows Add cast shadows with black made with UB + BU. Cast a shadow to the lower left from the sheet music onto the shelf, the leaf onto the sheet music, the cork onto the mandolin and the Wine Bucket onto the shelf. Brick Work Instructions Cut a kitchen sponge to a keystone shape. Cut another sponge in a rectangular shape. Thin down DecoArt Natural Stucco (available at with 30% water. Wet the sponge,wring out then dip in the stucco. Wipe the sponge on the side of a tray. Start with the keystone in the middle of the top of the arch. Press the sponge down firmly and lift straight up. Use the keystone all of the way around the arch until you hit the straight away. Leave mortar lines between the bricks.then switch to the rectangular sponge. Finish the border on both sides with this sponge. For the shelf and the frame, use your palette knife like a trowel and place an irregular application of stucco. This goes on the frame as well. Let the stucco dry for 24 hours. Paint mortar lines in with Genesis Gray 05 or equivalent acrylic or traditional oil. Stain with a commercial stain or with Mona Lisa Paint Thinner and an oil color of your choice. Do not varnish stucco. It should be matte. Tuscany Trompe L oeil V: The Romantic View Page 9

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