Peeled Orange Still Life

Transcription

1 Kingslan & Gibilisco Publications Presents: Peeled Orange Still Life

2 Preparation With a fine pored roller brush (Padco or Royal brand) prepare the board with 2 coats of DecoArt Raw Sienna. Sand the paint between coats 1 and 2. Do not sand the final coat of paint so as to retain the eggshell type finish. Trace Trace the design in pencil. The plate is symmetrical (same on both sides) and must be checked for symmetry. With pencil sides out, fold the plate in half to assure that both sides match. Erase the side that appears less correct and use the opposite side to retrace. The orange is asymmetrical therefore it is not necessary to prove it for symmetry. Transfer 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 design. A Few Gentle Reminders: Peeled Orange Still Life 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. Any supplies that you need can be found at under Shop/SDP Online Class Peeled Orange Still Life - Page 2

3 Genesis General Information Genesis Heat Set Oils is an entirely new product, composed of chemistry not previously used in artist s paints. It works so much like traditional oils, and lacking a better description it is characterized as oil paint. The main advantage of Genesis is that it does not dry until you use a heating process to set the oils. This means that the paint, mixes and their application to the painting are fluid until you decide to dry them. It is not the same chemistry as oils; therefore certain adjustments must be made in its usage. Genesis cannot be mixed with any other medium. This means that it is not intermixable with traditional oils, acrylics, gouache, watercolor, etc. Do not seal the wood since the heat setting process could cause blistering of any sealer that contains shellac or alcohol. Chemical incompatibilities have also been reported when other types of sealers have been used. However, two coats of acrylic (not latex) paint will sufficiently seal raw wood. After a slight sanding, additional coats are applied to further smooth the surface. Wipe any sanding dust with a moist cloth. A tack cloth could leave an oil or varnish residue, which repels the Genesis. Use only high quality wood or Masonite. Inferior wood contains sap or pitch that rises to the surface when the Genesis is heat-set. If in doubt, test by subjecting the wood to the heat-setting process before painting. Should any sap or resin appear, this indicates that the object is not a good candidate for Genesis. Greater adhesion can be obtained on porcelain by applying B&B Etching cream prior to decorating. Trupan or MDF wood is also suitable for Genesis. There are three methods for heat-setting the paint: Use a home oven. Preheat the oven to 300 degrees. Turn off the oven. (This prevents accidents should you need to leave or should you forget there is a painting in the oven). Place the painting on a cookie sheet or pizza stone and set the timer for 15 minutes. Tie something on the oven handle to remind you that there is a painting inside. To place the painting directly on the oven rack could create hot spots resulting in blisters. The cookie sheet or stone allows easy removal. When removing the painting, use a hot pad for safety. Use a Genesis Oven following instructions supplied with the oven or use the Genesis Heat Gun or a similar gun used for stamping. A hair dryer does not generate enough heat to set the paint. The Genesis Gun is used differently than a hair dryer. It is much hotter and must be used with all safety Peeled Orange Still Life - Page 3 precautions. The nozzle should be held about four inches above the surface and is held in one position do not rotate. If the gun is held too close to the surface there is a risk of blistering the paint. Heat-set in areas of four to six inches at a time. Hold the gun in one spot until the surface feels uncomfortably warm then move to the next section. You will find that the painting does not change in value or sheen as it is heated. This makes it difficult to determine when it has dried. Wad a chemicalfree facial tissue and softly wipe the tissue across the painted area. Any color showing on the tissue indicates that the paint needs further heating. The entire design may be transferred at once since it is not affected by the heating process. If erasing is necessary, use an art gum eraser to remove unwanted transfer lines. A glass palette or a Wingate palette should be used for this product. Wax or parchment palettes tend to leech out the binder in the paint, thus negating the chemical factor that allows the paint to remain fluid. Paper palettes may be used temporarily, but the paint must be transferred to a Wingate or glass palette. Only ¼ glass should be used for safety reasons. These can be custom cut to fit palettes by any glass company in your area. Plexiglas is not an option. Large amounts of mixes of paint may be stored in glass jars or Genesis jars. As the paint is removed from the jar it is in a solid state. Mixing with a palette knife renders it more fluid. However, too much mixing causes it to become somewhat transparent. This is an advantage if you wish to use the paint as a glaze but is not productive if you wish it to remain opaque. Allow the paint to set and it will congeal. This characteristic permits the artist to totally control the paint s consistency. It is necessary to use more paint than you might be accustomed to using in our blending techniques. If you have worked in Alkyds you will find the amount of paint to be applied to the surface to be about the same. Should you find the paint becoming too transparent on the surface the cause may be overmixing or over working the product. Allow the paint to rest a bit. The cause also could be that not enough paint has been applied to the surface. Genesis Gel is used for glazing or antiquing. Mixing Glazing Gel with any Genesis colour will create a transparent colour similar to Permasols. Our method is to load the brush very sparingly with the color or mixture to be used as a glaze. Then stretch the paint on a separate part of the palette until

4 it is transparent. This allows the luxury of using any color as a glazing color. Solid paint may be added where additional opacity is needed. Unlike traditional oils, low tack painter s tape may be applied over the Genesis once it has been totally heat-set. Any product containing oils or any other chemical must be avoided to minimize chemical reactions. Edges may be cleaned with a clean brush moistened with Genesis thinner or clean turp. Wipe off any excess thinner from the surface. Fingerprints and paint smudges can be removed in the same way or you may choose to erase them with a product called PlastiTak. Its primary use is to adhere posters to walls, etc and may be found in the school supply or office department of most stores. Brushes do not need to be cleaned between painting sessions. When you feel it necessary to clean brushes there are several products that are efficient. We recommend Dawn Dishwashing Soap. While mineral spirits or turpentine will work, we avoid them because of their toxic nature. Since the Genesis paint is totally non-toxic, the use of toxic substances seems contradictory. Spray products should not be used over the heat-set oils. We have used JWEtc. Varnish and Final Coat with success. The first application may seem to separate but this can be remedied by continuing to brush the varnish on and it will adhere. Any spaces left will fill with subsequent coats of varnish. Peeled Orange 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. Genesis Traditional Oils TW: Titanium White Titanium White Y: Genesis Yellow Cadmium Yellow Mid or Pale R: Genesis Red Cadmium Red or Bright Red O: Orange (or mix R + Y) Cadmium Orange (or mix R + Y) QC: Quinacridone Crimson Alizarin Crimson UB: Ultramarine Blue Ultramarine Blue RS: Raw Sienna Raw Sienna BU: Burnt Umber Burnt Umber Blk: Mars or Carbon Black Ivory Black (or mix UB + BU) PB: Phthalo Blue 05 Cerulean Blue 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. Set of Grays: Mixes: Warm White: Blue Tint: Values of Gray (or mix Black + TW) TW + a small amount of Y Pthalo Blue + TW or Gray 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 or Mars 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 Peeled Orange Still Life - Page 5

6 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. 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. Stage One Orange Peel Section Medium: Y + R + RS + TW Light: Medium + TW + Y High Light: Light + TW + Y High Dark: Medium + QC Dark: High Dark + QC + BU White Pith Section Medium: TW + RS Light: Medium + TW + a small amount of Y High Light: Light + TW + a small amount of Y High Dark: Medium + BU Dark: High Dark + BU + Blk With a #8 filbert, place the values as indicated on the diagram. Blend the values until there are no lines of demarcation between the values. Peeled Orange Still Life - Page 6

7 Plate To make an object appear metallic, the light and dark value must be as opposite as possible. In this case the dark will be the value of black while the light will be the value of white, the dark section will be cooler in temperature while the light will be warm. Knife Place the handle and blade in with the plate value scale. Add a decoration using the High Dark and Dark from the Orange Scale. Medium: TW + Blk + RS (or Genesis Gray Value 05 + RS) Light: Medium + TW + RS (or Genesis Gray Value 06 + RS) Highlight: Light + Y ((or Genesis Gray Value 07 + RS)) High Dark: Medium + BU + Blk (or Genesis Gray Value 04 + BU) Dark: High Dark + Blk Peeled Orange Still Life - Page 7

8 Background Dry the painting then add the dimensional background. Using #2 and #4 filberts, first paint around the objects. Switch to a #14 flat or larger to add the balance of the background. Follow the placement guide. Medium: BU + RS Light: RS Highlight: Light + TW + Y Dark: Medium + BU Low Dark: BU + Blk Stage Two Reflected Color, Shines and Reflected Light Shines Due to the light source, all of these shines will stay on the right side of center! Orange With the last value used and a 3/0 detail brush, (light or highlight) add a stippled on highlight to the original light areas on the orange. Add a stronger highlight through this highlight with warm white. Add a smaller, stronger shine in the center of this shine. Add Warm White Shines on the pith section also using the same theory and method. Plate With a #6 filbert, add Medium Value Orange as a reflection of the orange into the plate. This will make the plate appear shiny and help the orange color move through out the small composition. With a 3/0 detail or a 5/0 liner, add a the shines on the plate. Start with the last value used either the light or highlight. Add final bright shines with Warm White. Handle and Blade Add Medium Value Orange as a reflection of the orange into the handle and blade. Place Warm White on the blade to give it a shiny appearance. Place the Warm White shine in the center of the handle. Do not let the light value touch the outside edges. Strengthen the highlight where the light strikes the handle first. Peeled Orange Still Life - Page 8 Reflected Light Reflected light is placed in original dark areas. It is light that is reflected from another object such as the table, the background or another object in the composition. Use reflected light to separate objects from the background or to add interest to an otherwise dull area. Use a cool color from within the composition or Blue Tint. Reflected light is erratic so it is scumbled onto the object. Scumble is another term for a dirty brush. Set the brush down first where the most light is apparent. Work the reflected light away from the lightest area. Shadows Place the shadows according to the placement guide. Use Black + BU. If the paint is too dense, add Glazing Gel as shadows are transparent. Make the shadow darker next to the object and fade into the transparent layer of paint. Varnish Varnish with JW Right Step or Final Coat following manufacturer s instruction. First application of shadows - transparent. Second application of shadows - opaque.

9 Value Scales Orange Plate Pith Background Highlight Light Medium High Dark Dark Peeled Orange Still Life - Page 9

10 Line drawing - use this one to transfer to your surface. Peeled Orange Still Life - Page 10

11 Peeled Orange Still Life - Page 11