Making Bread Still Life by Kingslan & Gibilisco Studio Kingslan & Gibilisco 4670 Hickory Street Omaha NE 68106 402.397.0298 painting@kingslan.com www.kingslan.com
Preparation Bread Box or 12x16 Masonite or Canvas Surface Making Bread Still Life If using masonite, with a fine pored roller brush, prepare the board with 3 coats of DecoArt Raw Sienna. 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 Paint background and 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 using a ruler. All horizontal lines are parallel to the surface edge. A Few Gentle Reminders: Review DVD: Tips & Techniques of a Master 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 2013 Painting a Day Challenge IX - Page 2
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 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: L = Light (L) and/or building up to Highlight (HL) D = High Dark (HD) and/or going down to Dark (D) LD = Low Dark (LD) M = 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: Warm White: 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 Kingslan & Gibilisco Publications 2013 Painting a Day Challenge IX - Page 3
Painting Overview This painting is an 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 of Each Object Mix the following: Granite Pitcher Medium: Black + UB + a small amount of TW Light: Medium + TW Dark: Medium + Blk Low Dark: Dark + Blk Granite Markings: TW + RS Lt Med Dark Low Dark Bowl Medium: Light: Dark: Low Dark: RS + Y + WW Medium + WW Medium + BU + R Dark + BU + Blk Stripe: Add BU to each of above mixes for stripe - add when bowl is dry or place wetinto-wet. Cloth, Dough and Eggs Base with WW and shade with the dough values. Copper Pot and Handle Medium: R + Y + BU Light: Medium + R + Y (or Orange) Dark: Medium + BU + UB Low Dark: Dark + UB + Blk Shelf Base with RS and shade outside edges with BU High Lt Lt Med Dark Low Dark High Lt Lt Med Dark Low Dark Kingslan & Gibilisco Publications 2013 Painting a Day Challenge IX - Page 4
Stage Two (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. 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. Reinforce the lights on the objects with TW + Y except the Copper. Inside of this light, place WW if a light look is desired. On the Copper Pot, build highlight with Y. 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. 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 or Light Gray. 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 Kingslan & Gibilisco Publications 2013 Painting a Day Challenge IX - Page 5
Stage One Kingslan & Gibilisco Publications 2013 Painting a Day Challenge IX - Page 6
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Kingslan & Gibilisco Publications 2013 Large Version
Kingslan & Gibilisco Publications 2013