Sunflower on Chair. by Kingslan & Gibilisco Studio. Kingslan & Gibilisco Publications 2012 Sunflower & Chair Still Life 1

Transcription

1 Sunflower on Chair Sunflower & Chair Still Life 1 by Kingslan & Gibilisco Studio

2 Preparation Surface 12 x 16 Masonite - Available from Kingslan & Gibilisco at Sunflower & Glass Still Life With a fine pored roller brush, prepare the surface with 2 coats of DecoArt Williamsburg Blue. Trace Trace the design in pencil. The jar 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 Transfer the design. Use a Kingslan & Gibilisco Ellipse Template to transfer all elliptical openings. 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. Supplies may be ordered at: Kingslan & Gibilisco 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. Sunflower & Chair Still Life 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 Blk: Mars or Carbon Black PB: Pthalo Blue 01 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: BT Blue Tint: WW Warm White: UB + TW 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 1 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 Sunflower & Chair Still Life 3

4 Painting Overview This painting is a below eye level still life with an upper right hand light source. The light is coming from slightly in front. Due to the eye level, the elliptical opening on the vase are apparent. Check each ellipse with the Kingslan & Gibilisco template as an ellipse is difficult to draw correctly and accurately. Each object will have the light in the upper one-fourth due to the upper right light source. All dark sections will be left of center. There are three stages of development. The painting must be dry after each stage is completed. The first stage is the creation of form. Each object is created disregarding other influences such as details, texture, cast shadows or final shines. The second stage is the addition of the details. In the final stage, all additional layers are transparent. Added in the final stage is reflected colour, shines, reflected light and cast shadows. Chair Mixes: Low RS + BU + R Medium + Y + TW Medium + R + BU Dark + BU. Tape off the outside edges of the chair. Place values according to placement guide. The grain will be added when dry. Sunflower & Chair Still Life 4

5 Book Cover Mixes: BU + R Medium + R + Y Medium + BU Quilt: TW + Blk + RS Medium + TW + a small amount of RS Medium + Blk Pages: Use value scale from chair. Tape off the outside edges of the book. Place values according to placement guide. The gold trim will be added when dry. The colored squares will be added when dry. Sunflower & Chair Still Life 5

6 Sunflowers Base coat each petal in medium value. Then add light values and dark values to separate petals and highlight edges. Highlight: Low TW + Y Medium + TW Light + TW Medium + RS Dark + BU + R Leaves and Stems Create each leaf by adding a crescent of dark near the stem of the leaf. Base the remainder of the leaf with Medium. Add highlight in center of leaf. Add stems inside of glass. TW + Blk + Y Medium + TW + U Medium + Black Low Dark + Black Note: Add Y to any mix that appears too gray For variety, also create a cool scale by adding UB to each of the mixes above. Centers Base with BU Add highlight in upper right with WW. Shade left side with Blk. from Orange scale. Add pollen dots with WW. Blossoms Base coat each petal in medium value. Then add light values and dark values to separate petals and highlight edges. Low TW + RS + QC Medium + TW + Y Medium + RS + QC Dark + Blk Sunflower & Chair Still Life 6

7 Background Carefully paint around the elements in the design. Blend where the values meet. Add the look of wallpaper when dry using either a stamp, stencil or freehand. Paint a stamp with QC and Green and stamp onto the background. TW + UB + BU Medium + TW + UB Medium + Blk Stage Two Quilt Glazing Add quilt squares with thinned down RS, UB and QC. Thin with Mona Lisa or thinning medium. Glass Step One: Base glass with a thinned down Phthalo Green 01. Add light values on the right side of the container and bottom and back ellipse with WW. Add pass through light with BT. Add reflections of the leaves and yellow petals with the medium value from the respective scale. Step Two: Add words and oval with WW. Shade to the left of each section with Blk Book Trim (see cover photo) Add book trim so the values coordinate with the underlying value. In other words, place the Light value trim over the light section of the book, Medium value over the medium and so on. Mix scale below or use Sunflower scale. Step One Step Two Low. Y + RS Y Medum + RS + BU Dark + Blk Filler Flowers With Sunflower medium mix, using a small mop, add filler flowers. Highlight in upper right of flower with WW. Shade with dark Sunflower mix. Sunflower & Chair Still Life 7

8 Detail on Chair Add the bird s eye maple treatment on the legs. Use BU + RS thinned with Mona Lisa. Add in as a random zig-zag pattern without avoiding edges. Add the vertical grain to the balance of the chair using the same mix. Detail on Blossoms Add QC to the edges of the blossoms pulling down toward center of flower. Add variety with R and QC + Blk. Glaze center with Y. Add center with the Leaf scale. Quilt Decoration Add decoration on quilt. For sunflowers, use Medium from Sunflower and Leaf scale.use thinned QC for the plaid section. Use R and medium Leaf scale for the berry section. Stage Three (painting must be dry) 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 flowers will be a softer while the shine on the hard shiny table will be sharp. Reinforce the lights on the objects with TW + Y. Inside of this light place WW if a light look is desired. Caution: This new light must be contained within the original light that was developed in stage one. If it goes onto the medium value, it could appear milky or chalky. Strengthen dark values where needed. Caution: This new dark must be contained within the original dark that was developed in stage one. If it goes onto the medium value, it could appear dirty. Add a turning color of R or RS where the medium and dark merge. This will create a look of warmth and vitality in the objects.this should appear transparent as the goal is to change the warmth/temperature of the flower not the value. Reflected Light Reflected light or bounce back light is light that is reflecting or bouncing off another object onto the dark side of another object. This light is a cooler light than the light used for shines. The light that creates shines is from the warm light source. Light cools as it travels through the composition. The reflected light becomes irregular as it bounces around. Reflected Light Procedure Load an old brush with Blue Tint. 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. Shadows Shadows occur only if these three things are present: light, an interruption of the light and a receiver of the shadow. If one of these elements is missing, a shadow cannot occur. Shadows have the following characteristics: The are transparent. They fall opposite of the light source. The shadow is the shape of the object causing the shadow. They follow the form of the object receiving the shadow Shadows are cooler than the receiver. Some shadows can cast colour (as in translucent glass or liquid). Use the above guidelines for the shadows on the chair that occur from the cloth, book onto the cloth and petals onto leaves. First place UB + BU (this makes a transparent black) where indicated in the diagram as first shadow application. Then come in with opaque black (the black straight out of the jar) and strengthen where inicated on the second application of the shadow. 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. Sunflower & Chair Still Life 8

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