Streaked Apples on Tissue Box Still Life Kingslan & Gibilisco Publications 2012 Painting Challenge V Page 8
Preparation Streaked Apples With a fine pored roller brush, prepare the surface with 3 coats of DecoArt American Black Green. 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. Transfer 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. A Few Gentle Reminders: 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. Kingslan & Gibilisco Publications 2012 Painting Challenge V Page 9
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: 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 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 Kingslan & Gibilisco Publications 2012 Painting Challenge V Page 10
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 onefourth 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. Apple Underpainting and Leaves: Use the following mixex to create underpainting of apples. Reference placement guide. High Light Medium: TW + Blk + Y Light: High Light: Medium + TW + Y Light + TW + Y Light Dark: Medium + Blk Low Dark: Dark + Blk (add Y if too gray) Medium Second Stage When the apple is dry, add shines (see diagram for placement). Add primary shines with WW. Add reflected light with Blue Tint (UB + TW). Add shadows using Black + QC. Keep the shadows transparent. Dark Low Dark Stems Add stems by basing the stems with BU. High light with any light value on the palette. Shade left side with Blk. After the apple is painted and dry, glaze the apple with GY and work the streaks into this wet glaze. Reference the streaking diagram. Use the following values: Medium: Dark: Low Dark: R QC QC + UB Kingslan & Gibilisco Publications 2012 Painting Challenge V Page 11
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