Learn How to Draw-Drawing Lessons

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Drawing lessons - illustrated lesson notes for teachers and students

ILLUS TRATED LES S ON NOTES FOR TEACHERS I N TROD UCTI ON p re a m b le fo r a ll le s s o n s 1 ) c it y s c a p e 2 ) c it y s c a p e u p 3 ) c it y s c a p e d o w n 4 ) ro o m in t e rio r t w o p o in t 5 ) ra ilw a y 6 ) ro o m in t e rio r CVP 6 b ) ro o m in t e rio r c o n t .

7 ) le t t e rs 8 ) s h a d o w s b a s ic 9 ) s hado w s 2 1 0 ) a rc h w a y 1 0 b ) c o m p le t e d a rc h 1 1 ) ro a d 1 1 b ) ro a d c o n t in u d e d 1 2 ) bo o k 1 2 b ) b o o k c o n t in u e d

P ART TW O I N TROD UCTI ON 1 ) 'q u ic k s k e t c h p a g e ' 2 ) m e t h o d s o f s h a d in g 3 ) t e n n is a n d s h a d o w s 4 ) re fe re n c e s h e e t 5 ) in t h re e d im e n s io n s 6 ) a 'fo rk ' in t h e ro a d 7 ) p o rt ra it u re 8 ) p o rt ra it u re c o n t . 9 ) d ra w in g ro s e s

S e n d m e a s h o rt m e s s a g e wit h t h e p h ra s e "p le a s e e - m a il" if yo u 'd like t o re a d n e ws o f n e w fre e d ra win g le s s o n s a s t h e y o ccu r a n d a s t h e p a g e s a re u p d a t e d ( n o m o re o ft e n t h a n we e kly!) NEW Jo h n Ha g a n CD n o w a va ila b le ! COW D I S LEY HOME S I TE P e e k in t o a c o rn e r o f t h e Jo h n Ha g a n s t u d io . . . !

http://www.geocities.com/~jlhagan/K9-14/introduction.htm [08.12.2002 12:36:41]

Learning to draw - lesson notes for teachers

LES S ON NOTES FOR TEACHERS LEARN HOW TO D RAW Es s e n t ia l a n d e le m e n t a ry le s s o n s o n le a rn in g h o w t o d ra w fo r 9 - 1 4 ye a r o ld s wh o h a ve in t e re s t s in b e co m in g ; Art is t s , Arch it e ct s , Vid e o g a m e d e s ig n e rs , Ca rt o o n a rt is t s , S p e cia l e ffe ct s a rt is t s , In t e rio r De s ig n e rs , Dra u g h t s m e n , Fa s h io n De s ig n e rs , S u rve yo rs , En g in e e rs , Bu ild e rs , Illu s t ra t o rs , Gra p h ic d e s ig n e rs , Co m p u t e r d e s ig n e rs , S e t d e s ig n e rs fo r film , o p e ra , b a lle t , s t a g e e t c.

Tim e - Le s s o n s a re s e p a ra t e d in t o a p p ro x. 4 0 m in s e g m e n t s . Ho m e s t u d y - 1 0 t o 2 0 m in u t e s p e r le s s o n - s e t wo rk p ro p o s a ls s u g g e s t e d a t e n d o f e a ch le s s o n . Ma t e ria ls : 3 0 x4 5 cm s o r 1 2 "x1 8 " s t a n d a rd ca rt rid g e p a p e r ( t h ick, wh it e , p la in ) s ke t ch p a d . 2 H, HB a n d 4 B p e n cils Ru le r a n d e ra s e r

Ge n e ra l le s s o n s t ru c t u re : 5 - 1 0 m in . re vis io n a n d h o m e wo rk a s s e s s m e n t . 5 m in . n e w p a g e , d ra w m a rg in a n d a d d t it le ( b o t t o m rh co rn e r) . 2 0 m in . d e m o a n d ch ild p ra ct ica l d ra win g . 5 m in . s u m m a ry a n d s u g g e s t e d h o m e wo rk. N OTES * Th e s e le s s o n s a re d e s ig n e d u s in g b a s ic s kills a lre a d y le a rn e d b y s t u d e n t s ; t o m e a s u re a n d t o d ra w s t ra ig h t lin e s u s in g a ru le r. Ele m e n t s o f s e lf- e xp re s s io n a re b a s e d o n fa m ilia rit y a n d h a b it a n d will co m e g ra d u a lly - p a rt icu la rly wh e n t h e s t u d e n t g ro ws co m fo rt a b le wit h t h e le s s o n s t ru ct u re . S u ch s e lf- e xp re s s io n is firs t e m p h a s is e d in t h e h o m e s t u d y a re a . * Th e s e co n d p a rt o f t h e le s s o n s will d e a l wit h t h e fre e h a n d e le m e n t s o f d ra win g b u t it h a s b e e n m y e xp e rie n ce t h a t t h e s e fre e h a n d le s s o n s co m e e a s ie r wit h co n fid e n ce , e n t h u s ia s m , d is cip lin e a n d a g e n e ra l u n d e rs t a n d in g o f t h e p rin cip le s o f p e rs p e ct ive a n d t h e d ra win g o f re g u la r s o lid s . Fo r t h o s e wh o t h in k g o o d d ra win g h a s n o t h in g t o d o wit h t h e u n d e rs t a n d in g o f b a s ic s t ru ct u re n e e d n o t re a d m u ch fu rt h e r. Be wa rn e d t h a t it is m y wa y t o t e a ch t h a t b a s ic s t ru ct u re firs t . * If t h e le s s o n s a re co n d u ct e d a s I h a ve d e s ig n e d t h e m t h e t e a ch e r will fin d m o s t ch ild re n will t e n d t o n e g le ct m o re fo rm a l h o m e wo rk a n d co n ce n t ra t e o n e xp re s s in g t h e m s e lve s b y co m p le t in g t h e ir d ra win g s in t h e ir o wn t im e . I h a ve t a u g h t t h e s e le s s o n s t o a ll a g e s in clu d in g d is t u rb e d ch ild re n , in t e llig e n t yo u n g a d u lt s , t h re e d iffe re n t cu lt u re s , a n d t o in d ivid u a ls co m p le t e ly d is in t e re s t e d in e d u ca t io n g e n e ra lly. Th e e n d re s u lt s we re u n ive rs a l, t h e s t u d e n t s b e ca m e m o re p e rce p t ive a n d d e s ire d a ca re e r ch a n g e . Be p re p a re d t o b e b e s ie g e d b y p a re n t s a t p a re n t t e a ch e r n ig h t s .

Th e Cla s s ro o m t e a c h e r n e e d s a g o o d cle a n ch a lkb o a rd , wh it e ch a lk a n d a lo n g s t ra ig h t e d g e ( a b o a rd t e e s q u a re fo r t h e le s s a d e p t ) . Th e h o m e e d u ca t o r n e e d s t h e s a m e e q u ip m e n t a s t h e stude nt.

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Learning to draw - lesson notes for teachers

GO TO . . . PREAMBLE LES S ON

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preamble

ALL LES S ONS - THE PREAMBLE Le s s o n p re a m b le - Pe n cil co n t ro l fo r t h e s t a rt o f a ll le s s o n s Aim : To t e a ch t h e im p o rt a n ce o f e ye t o h a n d co o rd in a t io n , p e n cil co n t ro l. Ma t e ria ls : t h e s ke t ch p a d , t h e HB p e n cil, ru le r.

P EN CI L CON TROL A) Th e p u p il will b e a s ke d t o ru le a lig h t h o rizo n t a l lin e 1 cm o r 1 / 2 in ch fro m t h e t o p o f t h e p a g e . Th e wo rd lig h t ly m u s t b e s t re s s e d a n d t h e s t u d e n t 's t a s k will b e t o d ra w t h e lin e s o it is vis ib le a t h a lf a m e t e r b u t in v is ib le a t a m e t e r. B) Ha ve t h e s t u d e n t h o ld t h e s e u p a n d t h e t e a ch e r will d is co ve r t h a t o n ly o n e o r t wo s t u d e n t s will b e a b le t o a ch ie ve t h is re s u lt . Pra is e t h o s e t wo a n d d e m o n s t ra t e t o t h e wh o le cla s s t h e co rre ct m e t h o d o f h o ld in g a p e n cil fo r a lo n g lig h t lin e is t o d ra g t h e p e n cil a cro s s t h e p a g e lig h t ly h o ld in g it b e t we e n t h u m b a n d in d e x fin g e r. Th e t rick is t o m o ve yo u r ARM a n d s h o u ld e r a n d n o t yo u r fin g e rs !

C) Ha ve t h e cla s s d ra w a lig h t lin e a cro s s t h e b o t t o m o f t h e p a g e u s in g t h is t e ch n iq u e a n d g e t t h e ir n e xt - d o o r n e ig h b o u r t o ch e ck it fo r vis ib ilit y a t a ya rd . D) If t h is p ro ve s s a t is fa ct o ry h a ve t h e s t u d e n t co m p le t e t h e ve rt ica ls t wo ve rt icle s in t h e s a m e m a n n e r. E) Ho ld t h e s e u p fo r in s p e ct io n a n d t h e n a s k t h e s t u d e n t s t o firm in t h e m a rg in wit h t h e ir p e n cil le a vin g t h e co rn e rs s o t h e y ca n d is ce rn t h e d iffe re n ce b e t we e n t h e ir lig h t a n d h e a vy lin e s . F) Lig h t ly co n s t ru ct a lit t le b o x 2 cm x6 cm ( 1 " x2 ") in t h e b o t t o m rig h t h a n d co rn e r fo r a t it le , t h e n firm it in a s s h o wn b e lo w.

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preamble

Th is e x e rc is e is t o b e d o n e a t t h e b e g in n in g o f e v e ry d ra w in g c la s s fo r e v e ry p a g e a s it s lo t s t h e s t u d e n t s m in d in t o lin e c o n t ro l ( a llo w 5 m in . m a x im u m ) .

GO TO . . . LES S ON ONE o r . . . le s s o n m e n u

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Lesson one

LES S ON ON E - ELEMEN TARY P ERS P ECTI VE TI ME: Allo w o n e h o u r fo r t h is in it ia l le s s o n - if co m b in e d wit h p re vio u s le s s o n 8 0 m in . It is s t ro n g ly s u g g e s t e d t h e t e a ch e r p re p a re s b y co m p le t in g t h e le s s o n s o m e t im e b e fo re a t t e m p t in g t o t e a ch . Pa rt icu la r m e a s u re m e n t s ca n t h e n b e g ive n t o t h o s e wh o n e e d t h e m .

Aim : To in t ro d u ce t h e s t u d e n t t o t h e n o t io n o f cre a t in g a t h re e d im e n s io n a l vis t a o n a t wo d im e n s io n a l p la n e . Th is le s s o n is p a rt icu la rly im p o rt a n t a s it s in t e n t is h a ve t h e s t u d e n t cre a t e a p ict u re o f g re a t d e p t h b y m e re ly co p yin g t h e lin e s t h e t e a ch e r m a ke s o n t h e ch a lkb o a rd . Th e a im is t o g e n e ra lly p ro m o t e co n fid e n ce in t h e s t u d e n t . Ma t e ria ls ; Th e s ke t ch p a d , HB p e n cil, ru le r. W e w ill c a rry o n fro m t h e p a g e p re p a re d in t h e p re a m b le le s s o n u s in g t h e ru le r a n d HB p e n c il . . . a ) Qu a rt e r t h e p a g e a s s h o wn wit h lig h t lin e s . Te a ch e r s h o u ld d o t h is o n t h e ch a lkb o a rd , t h e n wa it fo r t h e s t u d e n t s t o ca t ch u p .

b ) Wh e re t h e m id d le lin e t o u ch e s t h e b o rd e r m a rk t wo p o in t s - t h e s e a re ca lle d . . . . RVP a n d LVP ( Rig h t a n d Le ft Va n is h in g Po in t s ) .

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Lesson one

c) Ap p ro xim a t e t h e n e xt fo u r lig h t lin e s a s s h o wn - if t h e s t u d e n t s a re u n s u re t h e n g ive a b s o lu t e m e a s u re m e n t s 5 0 m m ( 2 ") d o wn - 7 5 m m ( 3 ") u p fro m t h e ce n t e r.

d ) Ad d t h e ve rt ica ls a s lig h t co n s t ru ct io n lin e s . No t e t o t h e s t u d e n t s t h a t o n ly t h re e t yp e s o f lin e s t o b e m a d e , ve rt ica l lin e s o r lin e s t o t h e rig h t VP o r le t VP . . . t h e re a re n o n e o t h e r. Ag a in , g ive m e a s u re m e n t s if co n s id e re d n e ce s s a ry. 3 5 m m ( 1 - 1 / 2 ") rig h t 5 0 m m ( 2 ") le ft o f ce n t e r.

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Lesson one

e ) Co n s t ru ct t h e n e xt s e t o f ve rt ica ls t o a p p ro xim a t e ( b e lo w) t h e n jo in t h e t o p s t o RVP a n d LVP.

f) Firm in t h e lin e s s h o wn .

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Lesson one

g ) Do a g a in o n t h e le ft o f t h e ce n t re a s d e m o n s t ra t e d .

h ) Firm in t h e lin e s a s in m y d ra win g .

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Lesson one

i) Ad d a n o t h e r lig h t ly.

j) Firm in . . .

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Lesson one

k) a n d a fift h . . .

l) S h a d e t h e rig h t h a n d s id e o f t h e b u ild in g s a s s h o wn .

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Lesson one

m ) Ad d s o m e lig h t lin e s a s s h o wn t o s u g g e s t ro a d a n d p a ve m e n t - t h e n firm in wh e n s a t is fie d . De m o n s t ra t e h o w t o a d d s o m e s u g g e s t io n s o f win d o ws a n d s ig n s . Ha ve t h e ch ild re n h o ld u p t h e ir p a d s a t t h e co m p le t io n o f a p a rt icu la r t im e . Th o s e wh o h a ve n e ve r d ra wn in t h re e d im e n s io n s will b e e n co u ra g e d a n d q u it e ke e n t o co n t in u e .

Ho m e w o rk ; Co m p le t e t h e d ra win g a d d in g m o re win d o ws , p e d e s t ria n s , ca rs , b a ckg ro u n d o r m o re b u ild in g s . . . e n co u ra g e in n o va t io n .

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Lesson one

Pre s s h e re t o g o t o a m a s t e r p a in t e r's o il p a in t in g u s in g t wo p o in t p e rs p e ct ive a s s h o wn a b o ve . Pre s s b a ck t o re t u rn .

GO TO . . . LES S ON TWO le s s o n m e n u

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perspective two - city street up

LES S ON - P ERS P ECTI VE TW O - CI TY S TREET ( UP ) TI ME: Allo w 4 0 m in - t e a ch e r p re p a rt a t io n : p re p a re s ke t ch b e fo re h a n d wit h m e a s u re m e n t s .

Aim : To in t ro d u ce t h e s t u d e n t t o t h e n o t io n o f cre a t in g a t h re e d im e n s io n a l vis t a o n a t wo d im e n s io n a l p la n e . Th is le s s o n fo llo ws o n a n d d e ve lo p s t h e t h e m e o f t h e p re vio u s le s s o n .

Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r, e ra s e r

P re p a re a n e w p a g e w it h t h e m a rg in a s in t h e p re v io u s le s s o n u s in g t h e ru le r a n d HB p e n c il . . . a ) Qu a rt e r t h e p a g e a s s h o wn wit h lig h t lin e s . Te a ch e r s h o u ld d o t h is o n t h e ch a lkb o a rd t h e n wa it fo r t h e s t u d e n t s t o ca t ch u p .

b ) In t h is le s s o n we a re g o in g t o u s e o n ly o n e va n is h in g p o in t ( CVP) a n d it is in t h e ce rt e r o f t h e p a g e . Pla ce in t h e lin e s a p p ro xim a t e ly a s s h o wn . Pa ra lle l lin e s a re 2 0 m m ( 3 / 4 ") d o wn a n d 3 0 m m ( 1 , 1 / 4 ") u p fro m d e a d ce n t e r.

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perspective two - city street up

c) Firm in t h e lin e s s h o wn .

d ) Ad d t h e n e xt t wo ra d ia t in g lig h t lin e s a s d e m o n s t ra t e d .

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perspective two - city street up

e ) Firm in t h e n e xt s kys cra p e r - n o t e t o t h e s t u d e n t t h a t a ll lin e s in t h is d ra win g a re e it h e r h o rizo n t a l, ve rt ica l o r ra d ia t e o u t fro m t h e ce n t e r. Th e re a re n o o t h e rs !

f) Ad d t h e n e xt b u ild in g a s s h o wn .

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perspective two - city street up

g ) S o m e m o re lig h t co n s t ru ct io n lin e s . . .

h ) . . . a n d firm in t h e lin e s a s s h o wn .

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perspective two - city street up

i) Th e e s s e n t ia l 's t ru ct u re ' is co m p le t e .

j) No w fo r a lit t le s h a d in g .

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perspective two - city street up

Prin t in t h e t it le , a d d s o m e lig h t lin e s a s s h o wn t o s u g g e s t win d o ws , t h e n firm in wh e n s a t is fie d . Fu rt h e r s h a d in g a n d d e t a ils ca n b e co m p le t e d a t h o m e .

Ho m e w o rk ; Co m p le t e t h e d ra win g a d d in g clo u d s , b ird s , m o re win d o ws e t c . . . t o yo u r s a t is fa ct io n .

GO TO . . . LES S ON THREE le s s o n m e n u Fo r t h o s e fo lk wh o h a ve e n q u ire d a CD v e rs io n o f t h e s e 'p a in t in g ' a s we ll a s 'd ra win g le s s o n s ' a n d 'a d va n ce d p a in t in g ' le s s o n s will s o o n , I h o p e , b e a va ila b le t o e ve ryo n e . It will b e a n u p d a t e d , re fo rm a t t e d fo r e a s y p rin t in g ve rs io n s o yo u ca n cre a t e yo u o wn re fe re n ce h a n d b o o k in yo u r o wn t im e , o r ju s t b ro ws e t h e CD. It is a n t icip a t e d t h e CD will b e a va ila b le a t a ro u n d $ 1 5 ( p lu s p o s t in g ) fo r s t u d e n t s a n d $ 1 9 ( p lu s p o s t in g ) fo r o t h e rs . Th e CD's will b e d is t rib u t e d o n a firs t co m e firs t s e rve d b a s is . Is n 't t h a t a lwa ys t h e wa y? To b e a d d e d t o t h e lis t ju s t s e n d m e a s im p le e m a il wit h t h e wo rd s 'p le a s e n o t ify CD' a n d yo u r n a m e a n d s t a t u s ( o n ly if a s t u d e n t o r t e a ch e r) .

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perspective three - city street down

LES S ON - P ERS P ECTI VE THREE - CI TY S TREET ( D OW N ) TI ME: Allo w 4 0 m in - t e a ch e r p re p a ra t io n m in im a l.

Aim : Th is le s s o n fo llo ws o n a n d d e ve lo p s t h e t h e m e o f t h e p re vio u s le s s o n a n d in t e n d s t o in t ro d u ce t h e n o t io n t h a t vie ws m a y d iffe r b u t s t ru ct u ra l e le m e n t s o f p e rs p e ct ive ( a n d d ra win g ) re m a in ve ry s im ila r. Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r. P re p a re a s in t h e p re v io u s le s s o n u s in g t h e ru le r a n d HB p e n c il

a ) Qu a rt e r t h e p a g e a s s h o wn wit h d ia g o n a l lig h t lin e s . Te a ch e r s h o u ld d o t h is o n t h e ch a lkb o a rd , t h e n wa it fo r t h e s t u d e n t s t o ca t ch u p . Ad d t h e e xt ra lig h t lin e s . In t h is le s s o n we a re a g a in g o in g t o u s e o n ly o n e va n is h in g p o in t ( CVP) a n d it is in t h e ce rt e r o f t h e p a g e . Pla ce in t h e lin e s a p p ro xim a t e ly a s s h o wn .

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perspective three - city street down

b ) Ad d t h e t wo e xt ra lig h t lin e s .

c) Firm in t h e lin e s s h o wn .

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perspective three - city street down

d ) Ad d t h e n e xt s e rie s o f h o rizo n t a l lig h t lin e s a n d t h e t wo e xt ra ra d ia t in g lin e s . Give m e a s u re m e n t s o f s t u d e n t s a re u n s u re a b o u t t h e p o s it io n o f t h e h o rizo n t a l lin e s a s s o m e s t u d e n t s b e co m e n e rvo u s a b o u t m is t a ke s - a g a in n o t e t o t h e s t u d e n t t h a t a ll lin e s in t h is d ra win g a re e it h e r h o rizo n t a l, ve rt ica l o r ra d ia t e o u t fro m t h e ce n t e r.

e ) Firm in a s s h o wn .

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perspective three - city street down

f) Ad d t h e e xt ra .

h ) No w t h e ve rt ica l lin e s a n d t h e s t ru ct u re b e g in s t o t a ke s h a p e .

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perspective three - city street down

i) Th e e s s e n t ia l 's t ru ct u re ' is d o n e - n o w t wo h o rizo n t a l lin e s s h o w t h e p a ve m e n t e d g e s .

j) No w fo r a lit t le s h a d in g . Prin t in t h e t it le a d d s o m e lig h t lin e s a s s h o wn t o s u g g e s t win d o ws - t h e n firm in wh e n s a t is fie d . Fu rt h e r s h a d in g a n d d e t a ils ca n b e co m p le t e d a t h o m e . Ho m e w o rk : Co m p le t e t h e d ra win g a d d in g ca rs , p e d e s t ria n s , h e li- p a d s , m o re win d o ws e t c . . .

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perspective three - city street down

GO TO . . . LES S ON FOUR le s s o n m e n u

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perspective two - city street up

LES S ON - P ERS P ECTI VE FOUR - CORN ER OF ROOM TI ME: Allo w 4 0 m in

Aim : To cre a t e a p e rs p e ct ive g rid u s in g a s in g le m e a s u re m e n t a n d t h re e va n is h in g p o in t s . Th is le s s o n is t o in t ro d u ce t h e n o t io n o f p e rs p e ct ive 's ca le '. Th a t is , a s t h in g s o f e q u a l s ize re ce d e t h e y a p p e a r s m a lle r. Pe rs p e ct ive is a m e t h o d o f lo g ica lly d e t e rm in in g ju s t h o w m u ch s m a lle r.

Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r.

Co n s t ru c t m a rg in a n d t it le b o x t h e n :

a ) Qu a rt e r t h e p a g e a s s h o wn wit h lig h t lin e s t h e n a d d t h e t wo a d d it io n a l lin e s a s s h o wn .

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perspective two - city street up

b ) Me a s u re a s e t d is t a n ce u p a s s h o wn 3 0 m m ( 1 , 1 / 4 ") a n d jo in t o RVP a s in d ica t e d .

c) Wh e re t h a t lin e in t e rs e ct s t h e ve rt ica l lin e d o wn fro m CVP co n s t ru ct lig h t lin e fro m LVP a s in t h e d ra win g .

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perspective two - city street up

d ) Jo in t h e t wo lin e s t o t h e CVP a s s h o wn .

e ) Ad d t h e t wo e xt ra lig h t lin e s fro m LVP a n d RVP. We h a ve n o w d ra wn fo u r s q u a re s o n t h e g ro u n d . We ca n n o w a d d m a n y m o re g o in g b a ckwa rd s u s in g t h e s a m e m e t h o d o f co n s t ru ct io n .

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perspective two - city street up

f) We n o w h a ve 3 6 s q u a re s .

g ) S h a d e t h e a lt e rn a t e s q u a re s a s s h o wn . No w we h a ve m a d e a flo o r. At t h is s t a g e t h e s t u d e n t n e e d s t o b e a s ke d : - Are t h e s q u a re s o f 'e q u a l' s ize ? - Wh y a re t h e o n e s a t t h e b a ck s m a lle r t h e n t h e o n e s a t t h e fro n t ? - Wh a t h a p p e n s t o p a ra lle l lin e s wh e n we d ra w t h e m in 'p e rs p e ct ive '? - Is t h is wh a t t h e e ye o r t h e ca m e ra s e e s ?

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perspective two - city street up

Ne xt we s h a ll s u g g e s t s o m e wa lls .

h ) Ad d t h e t wo e xt ra lig h t lin e s 4 0 m m ( 1 , 1 / 2 ") u p fro m d e a d ce n t e r

i) Firm in t h e wa lls .

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perspective two - city street up

j) Us in g o n ly ve rt ica l lin e s a n d lin e s g o in g t o RVP o r LVP lig h t ly co n s t ru ct s o m e win d o ws a n d a d o o r. As k: - h o w co u ld t h e ro o m b e m a d e la rg e r? ( a n s we r - lo we rin g t h e ce ilin g ) .

k) Firm t h e m in a n d a d d a d o o r kn o b a n d a lit t le s h a d in g o n t h e ce ilin g . As k: - Ho w d o we kn o w h o w h ig h t o m a ke t h e d o o r? ( s t re s s t h e im p o rt a n ce o f o b s e rva t io n a n d lo o k a ro u n d t h e cla s s ro o m fo r clu e s ) . Is t h e d o o r h a n d le o n t h e rig h t o r le ft s id e o f t h e d o o r?

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perspective two - city street up

l) I h a ve a d d e d s o m e m o re t ile s ( s e e if t h e s t u d e n t ca n d o t h is b y 'ju d g e m e n t ') - a n e xt ra ro w o n t h e rig h t a n d o n e o n t h e le ft - a n d s h a d e d t h e d o o r. Cle a n u p a n d p rin t in t h e t it le a s s h o wn . Yo u will fin d s o m e s t u d e n t s will g ra s p t h e id e a s a n d co n ce p t s fa s t e r t h a n o t h e rs . In s t e a d o f h a vin g t h e m id le , a n d wa it in g , t h e y ca n b e e n co u ra g e d t o a d d e xt ra d e t a il o f t h e ir o wn ch o o s in g . Th a t is t h e b e a u t y o f t h is t yp e o f le s s o n ; it is o p e n e n d e d . En co u ra g e t h e m o re a d va n ce d s t u d e n t t o a d d t h e m o re co m p lica t e d it e m s .

Ho m e w o rk : Co m p le t e t h e d ra win g a d d in g a p a in t in g o n t h e wa ll, cu rt a in s , lig h t o n t h e ce ilin g , a ch a ir o r t a b le . . . e t c.

GO TO . . . LES S ON FIVE le s s o n

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m enu

perspective five -railway line

LES S ON - P ERS P ECTI VE FI VE - W ES TERN RAI LW AY TI ME: Allo w 4 0 m in

Aim : To cre a t e a p e rs p e ct ive g rid u s in g a s in g le m e a s u re m e n t a n d t h re e va n is h in g p o in t s . Th is le s s o n is t o co n s o lid a t e a n d fu rt h e r t h e n o t io n o f p e rs p e ct ive 's ca le '. Th a t is , a s t h in g s o f e q u a l s ize re ce d e t h e y a p p e a r s m a lle r. Th is t im e we will u s e t h e CVP a n d a fa m ilia r a n d lo g ica l s t ru ct u re , a ra ilwa y lin e .

Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r.

Co n s t ru c t m a rg in a n d t it le b o x t h e n :

a ) Co n s t ru ct t h e s a m e lig h t lin e s a s in s t a g e a , b , c, d , o f t h e p re vio u s le s s o n u n t il we g e t t h e lin e s s h o wn a b o ve .

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perspective five -railway line

b ) Th is t im e we firm in t h e 'd ia g o n a ls ' wh ich b e co m e ra ilwa y lin e 's le e p e rs '. No t ice h e re we u s e a m o re s im p lifie d m e t h o d o f co n s t ru ct io n .

c) Ke e p a d d in g s le e p e rs .

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perspective five -railway line

d ) Aft e r t h e s t u d e n t h a s co m p le t e d t h e d ra win g t o t h e s t a g e a b o ve a s k: Wh a t s h a ll we ca ll t h e lin e t h a t jo in s LVP, RVP a n d CVP? ( a n s we r 'h o rizo n lin e ') . Ho w wid e a re ra ilwa y t ra cks ? ( re m e m b e r t h e o ld m o vie s o f p e o p le t ie d t o ra ilwa y lin e s ? - a n s we r a b o u t 5 fe e t ) . If t h e d is t a n ce b e t we e n t h e s le e p e rs is 5 fe e t wh a t is t h e d is t a n ce b e t we e n t h e s e co n d a d d fo u rt h s le e p e rs ?

e ) Ad d t h e e xt ra lig h t lin e s o n t h e g ro u n d ( t wo h o rizo n t a l a n d t h re e t o t h e CVP) . We a re g o in g t o b u ild a s t a t io n a b o u t 3 0 m m ( 1 , 1 / 4 ") fro m t ra ck 6 0 m m wid e . http://www.geocities.com/~jlhagan/K9-14/draw_five.htm (3 von 5) [08.12.2002 12:38:41]

perspective five -railway line

f) Ad d t h e ve rt ica l lin e s 5 0 m m ( 2 ") h ig h a n d jo in t o CVP

g ) Firm in t h e lin e s a s s h o wn a n d a s k: Ho w h ig h is t h e b u ild in g ? Th e s t u d e n t s h o u ld m e a s u re t h e wid t h o f t h e t ra cks o n t h e lin e d ire ct ly o p p o s it e t h e fro n t e d g e o f t h e s t a t io n a n d a p p ly t h a t 's ca le ' t o t h e b u ild in g 's h e ig h t . Ob je c t s a n e q u a l d is t a n c e a w a y fro m t h e 'o b s e rv e r' a re s u b je c t t o t h e s a m e m e a s u re m e n t s o f 's c a le ' a t t h a t d is t a n c e . In t h is d ra win g t h e s ca le is d is co ve re d b y kn o win g t h e wid t h o f t h e t ra ck a t t h a t

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perspective five -railway line

d is t a n ce .

h ) Ad d t h e t e le g ra p h lin e s a n d p o le s a n d h a ve t h e s t u d e n t d e t e rm in e t h e ir h e ig h t a n d d is t a n ce a p a rt . Cle a n u p a n d p rin t in t h e t it le a s s h o wn . En co u ra g e t h e a d va n ce d s t u d e n t s t o a d d t h re e 1 2 fo o t ca ct i a t va rio u s lo ca t io n s in t h e la n d s ca p e .

Ho m e w o rk : Co m p le t e t h e d ra win g a d d in g a ro o f o n t h e s t a t io n , ca ct u s , h ills , t ra in , a n d b ird s e t c. Pre s s h e re t o s e e a m a s t e r wo rk u s in g t h e CVP ( ce n t ra l va n is h in g p o in t ) p e rs p e ct ive .

GO TO . . . LES S ON S IX le s s o n m e n u

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perspective six

LES S ON - P ERS P ECTI VE S I X- ROOM I N TERI OR ( CVP ) TI ME: Allo w 6 0 - 8 0 m in - t h is is a d o u b le le s s o n

Aim : To cre a t e a p e rs p e ct ive g rid u s in g a s in g le m e a s u re m e n t a n d t h re e va n is h in g p o in t s b u t va n is h in g t o wa rd t h e CVP. We will a ls o in t ro d u ce t h e fre e h a n d m e t h o d o f co n s t ru ct in g cu rve s .

Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r.

Co n s t ru c t m a rg in a n d t it le b o x t h e n :

a ) Me a s u re in t e rva ls o f 2 4 m m ( 1 ") a lo n g t h e b a s e m a rg in a s s h o wn a n d jo in t o RVP.

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perspective six

b ) Wh e re t h e y cro s s t h e ve rt ica l lin e fro m CVP d ra w h o rizo n t a l lin e s a s a b o ve .

c) Ad d lin e s t o CVP fro m m a rke d in t e rva ls

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perspective six

d ) Ext e n d a n d co m p le t e .

e ) S h a d e a lt e rn a t e t ile s .

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perspective six

f) Ad d t wo m o re ro ws t o t h e o u t s id e .

g ) Cle a n u p wit h e ra s e r if n e ce s s a ry. Re vis e a s k: Wh a t d o e s RVP s t a n d fo r? Wh a t is t h e h o rizo n ? Ho w is it we ca n m a ke a d ra win g wit h d e p t h o n a fla t s u rfa ce ?

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perspective six

EXP LAI N : Th e 'fla t ' s u rfa ce is like a win d o w o r a s h e e t o f g la s s . It is ca lle d a 'p ict u re p la n e ' ( PP) . Th e 'o b s e rve r', t h e p e rs o n lo o kin g is s t a n d in g a d is t a n ce b e h in d t h e PP a n d t h e flo o r is a p a rt icu la r d is t a n ce in fro n t o f t h e PP. At t h is p o in t w e n e e d t o in t e rru p t o u r d ra w in g t o le a rn t o d ra w c irc le s . S in c e w e h a v e n o t o o ls t o t ra c e o r g u id e u s w e w ill n e e d t o le a rn t o d ra w t h e s e - fre e h a n d . W e n e e d t o k n o w t h is t o c o m p le t e o u r c u rre n t p ro je c t . S o s t a rt a n e w s h e e t a n d . . .

GO TO . . . LES S ON S IX 'B' le s s o n m e n u Fo r t h o s e fo lk wh o h a ve e n q u ire d a CD v e rs io n o f t h e s e 'p a in t in g ' a s we ll a s 'd ra win g le s s o n s ' a n d 'a d va n ce d p a in t in g ' le s s o n s will s o o n , I h o p e , b e a va ila b le t o e ve ryo n e . It will b e a n u p d a t e d , re fo rm a t t e d fo r e a s y p rin t in g ve rs io n s o yo u ca n cre a t e yo u o wn re fe re n ce h a n d b o o k in yo u r o wn t im e , o r ju s t b ro ws e t h e CD. It is a n t icip a t e d t h e CD will b e a va ila b le a t a ro u n d $ 1 5 ( p lu s p o s t in g ) fo r s t u d e n t s a n d $ 1 9 ( p lu s p o s t in g ) fo r o t h e rs . Th e CD's will b e d is t rib u t e d o n a firs t co m e firs t s e rve d b a s is . Is n 't t h a t a lwa ys t h e wa y? To b e a d d e d t o t h e lis t ju s t s e n d m e a s im p le e m a il wit h t h e wo rd s 'p le a s e n o t ify CD' a n d yo u r n a m e a n d s t a t u s ( o n ly if a s t u d e n t o r t e a ch e r) .

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perspective six

LES S ON - P ERS P ECTI VE S I X- ROOM I N TERI OR ( CVP ) TI ME: Allo w 6 0 - 8 0 m in - t h is is t h e s e co n d p a rt o f t h e d o u b le le s s o n

Aim : To in t ro d u ce t h e fre e h a n d m e t h o d a n d t e ch in q u e fo r t h e co n s t ru ct io n o f cu rve s a n d u s e t h is t o co m p le t e o u r ro o m in t e rio r.

Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r.

Co n s t ru c t m a rg in a n d t it le b o x o n a n e w p a g e t h e n :

a ) Co n s t ru ct a 7 5 m m ( 3 ") s q u a re a s s h o wn

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perspective six

b ) Dra w t h e d ia g o n a l a - b a n d wit h o u t m e a s u re m e n t d ivid e in t o fo u r e q u a l p a rt s .

c) Dra w a 4 5 d e g re e t a n g e n t t h ro u g h t h e 3 / 4 d ivis io n a s s h o wn a n d lig h t ly s ke t ch t h e fre e h a n d cu rve . Th e cu rve a ct u a lly cu t s t h e d ia g o n a l ju s t b e lo w t h e t h re e q u a rt e r m a rk a n d a b o ve t h e t wo t h ird s p o in t . Th e s t u d e n t s s h o u ld b e e n co u ra g e d t o d ra w t h e cu rve s o it 'lo o ks rig h t . '

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perspective six

d ) Wh e n d ra win g t h e cu rve ke e p t h e h a n d o n t h e in s id e o f t h e cu rve . Th is m a y n e ce s s it a t e ke e p in g t h e h a n d s t ill a n d m o vin g t h e p a p e r a s d e m o n s t ra t e d a b o ve .

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perspective six

e ) Co n s t ru ct t h e s q u a re a s s h o wn a n d t u rn t h e p a g e u p s id e d o wn t o s ke t ch t h e o p p o s it e cu rve .

f) Co m p le t e t h e wh o le circle lig h t ly a n d m a ke a d ju s t m e n t s wh e re n e ce s s a ry.

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perspective six

g ) Pra ct ice circle s o f d iffe rin g s ize s , la b e l a n d t u rn b a ck t o in t e rio r o f ro o m . Fo r h o m e wo rk t h e s t u d e n t ca n p ra ct ice t wo o r t h re e m o re . Re t u rn t o p re v io u s p a g e o f ro o m in t e rio r . . .

h ) Us in g t h e m e t h o d re ce n t ly le a rn t co n s t ru ct t h e t h re e a rch e d p o rt a ls a n d firm t h e m in .

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perspective six

i) Dra w a lig h t re ct a n g le a ro u n d t h e p o rt a ls t o m a ke a wa ll a n d firm in . Us in g lig h t lin e s fro m t h e CVP d ra w t h e ce ilin g Re vis e a s k: Wh a t d o e s PP s t a n d fo r? Ho m e s t u d y : Fin d a p ict u re o r p h o t o g ra p h fo rm a m a g a zin e o r e ls e wh e re ( it ca n b e a s e a s ca p e , la n d s ca p e o r wh a t e ve r) wh e re t h e h o rizin ca n p la ce d in it s rig h t p o s it io n o n t h e CVP. Cu t o u t a n d p a s t e o n t h e d ra win g a s s h o wn b e lo w. If t h e s t u d e n t s o d e s ire s t h e y ca n d ra w in a lit t le s ce n e t h e m s le ve s .

I h a ve u s e d p a rt o f a 'm a s t e rp ie ce ' b y a we ll kn o wn , if s lig h t ly e rra t ic a n d u n re lia b le , in d ivid u a l. http://www.geocities.com/~jlhagan/K9-14/draw_sixb.htm (6 von 7) [08.12.2002 12:39:13]

perspective six

Fin a lly t h e s t u d e n t s ca n s h a d e t h e wa lls , a d d a p a in t in g o r t wo , a s id e d o o r, e t c. Th e t e a ch e r will fin d it is u s e fu l t o b a la n ce t h e d icip lin e o f t h e m e t h o d wit h t h e fre e d o m t o wo rk wit h in . Pre s s h e re t o s e e a ro o m in t e rio r u s in g t h e s a m e m e t h o d o f co n s t ru ct io n b y Mich e la n g e lo .

GO TO . . . LES S ON S EVEN le s s o n m e n u

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perspective seven

LES S ON - P ERS P ECTI VE S EVEN - LETTERS TI ME: Allo w 4 0 m in

Aim : To in t ro d u ce t h e fre e h a n d m e t h o d a n d t e ch in q u e fo r t h e co n s t ru ct io n o f cu rve s a n d u s e t h is t o co m p le t e a d ra win g . To in t ro d u ce t h e n o t io n t h a t d ra win g a n d e s t im a t in g p ro p o rt io n re q u ire ju d g e m e n t s t h a t n e e d t o b e re co q n ize d , t ru s t e d a n d d e ve lo p e d . Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r. To Be g in : ( a llo w 1 0 m in ) ( Pre p a ra t io n - d o wn lo a d t h e firs t d ia g ra m b e lo w, p rin t a n d m a ke a co p y fo r a ll s t u d e n t s ) Ha n d t h e m o u t a n d a s k: a ) Wh ich is t h e lo n g e s t e d g e in Fig 1 a n d wh y? ( AD b e ca u s e it is clo s e s t - CA a n d AB re ce d e ) b ) Wh a t a re t h e circu m s t a n ce s t h a t wo u ld m a ke CA= CB? ( if t h e b lo ck wa s ce n t e ra lly p o s it io n e d b e t we e n t h e LVP a n d RVP) c) Wh y is CA b ig g e r t h a n AB in Fig 2 ? d ) Me a s u re a ll lin e s in Fig 2 . Are a n y t wo t h e s o m e s ize ? ( Dis cu s s wh a t we m e a n b y re a l s ize o r a p p a re n t s ize ? ) e ) Fig 3 d o e s n o t lo o k q u it e a s 's q u a re ' a s it s h o u ld , wh y is t h a t ? ( AB a n d CA a re s lig h t ly t o lo n g m a kin g t h e b lo ck a p p e a r s q u a t t e r t h a n t h e o t h e rs )

W e m u s t le a rn t o u s e o u r e y e s a n d ju d g e d is t a n c e s a n d p ro p o rt io n s . W e m u s t k e e p d ra w in g t h e m u n t il t h e y lo o k rig h t . I t is t h e s a m e if d ra w in g a fa c e o r a b o x fo r a w a y s w e m u s t ju d g e o n e t h in g in re la t io n t o a ll t h e o t h e rs in t h e s a m e s p a c e . Th e s im p le s t o b je ct t o p ra ct ice a n d d ra w is t h e cu b e a n d we ca n u s e t h e cu b e t o m a ke m a n y o t h e r s h a p e s . If t h e cu b e is n e a re r t h e RVP AC will a lwa ys b e la rg e r t h a n AB wh ile t h e re ve rs e a p p lie s fo r t h e LVP.

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perspective seven

Co n s t ru c t m a rg in a n d t it le b o x o n a n e w p a g e t h e n :

b ) Dra w a cu b e in t h e a p p ro xim a t e s ize a n d p o s it io n a s s h o wn a b o ve .

c) Ext e n d t h e lin e 'a b ' t o fo u r t im e s it s le n g t h .

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d ) Dra w t h e d ia g o n a l . . . e xt e n d it , a n d fo rm t h e s q u a re .

e ) Co n s t ru ct d ia g o n a l a n d t h e 1 6 lit t le b o xe s a s s h o wn

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perspective seven

f) Ma rk a p p ro xim a t e ly 3 / 4 le n g t h s a lo n g t h e d ia g o n a ls

g ) Lig h t ly d ra w in yo u r circle .

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perspective seven

h ) Firm it in .

i) Give t h e d is c t h ickn e s s a s s h o wn . Th e lin e s t o t h e RVP fo rm 't a n g e n t s ' t o t h e circle . S ke t ch in lig h t ly u n t il it lo o ks rig h t t h e n firm it in . Th e t e a ch e r s h o u ld ch e ck . . .

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perspective seven

j) In t h e in n e r fo u r s q u a re s d ra w a n o t h e r circle .

k) Firm it in a n d co m p le t e a s s h o wn a b o ve .

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perspective seven

Ho m e s t u d y : S h a d e t h e d ra win g a n d a d d a n o t h e r le t t e r. Th e re a re t h o u s a n d s o f va ria t io n s o f t h is d ra win g . Th e s t u d e n t co u ld p e rh a p s t ry a n d d ra w t h e ir o wn in it ia ls in t h e o t h e r d ire ct io n , o r u s in g ju s t t h e CVP o n t h e g ro u n d . Th e m o re co n fid e n t ca n t ry a n d d ra w a la rg e 'S ' fo r in s t a n ce a s h o m e wo rk o r a s p e ca l p ro je ct .

GO TO . . . LES S ON EIGHT le s s o n m e n u

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perspective eight

LES S ON - P ERS P ECTI VE EI GHT - BAS I C S HAD OW S TI ME: Allo w 4 0 m in

Aim : To le a rn h o w t o p lo t s h a d o ws

Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r.

To To b e g in re v is e : W e m u s t le a rn t o u s e o u r e y e s a n d ju d g e d is t a n c e s a n d p ro p o rt io n s a n d k e e p d ra w in g t h e m u n t il t h e y lo o k rig h t . I t is t h e s a m e if w e a re d ra w in g a fa c e o r a b o x , w e m u s t ju d g e o n e t h in g in re la t io n t o a ll t h e o t h e rs in t h e s a m e s p a c e . Co n s t ru c t m a rg in a n d t it le b o x o n a n e w p a g e t h e n :

b ) As in le s s o n s ix co n s t ru ct t h e g rid a s s h o wn b u t s t a rt fro m s lig h t ly a b o ve t h e t it le b o x.

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perspective eight

c) No t e t h e RVP is m o ve d s lig h t ly t o wa rd t h e ce n t e r.

d ) Dra w t h e b o x in lig h t ly t h e n firm it in .

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perspective eight

e ) Dra w t h e lin e a p p ro xim a t e ly a s s h o wn . 'O' s t a n d s fo r t h e lig h t s o u rce a n d 'a ' is t h e s p o t o n t h e g ro u n d d ire ct ly b e n e a t h t h e lig h t . Yo u ca n p la ce t h e p o in t a n ywh e re yo u like b u t I s u g g e s t yo u p la ce it n e a r wh e re I p la ce d m in e if yo u wa n t a s im ila r s h a d o w.

f) Dra w lig h t lin e s fro m 'O' a n d 'a ' s o t h e y cro s s .

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g ) Th a t g ive s u s o u r s h a d o w o u t lin e . S h a d e in a s s h o wn .

h ) Us in g ( 4 x4 ) 1 6 s q u a re s d ra w in t h e p yra m id . Th e 'a p e x' is a p o in t d ire ct ly a b o ve t h e ce n t e r o f t h e b a s e . Firm in t h e p yra m id .

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perspective eight

i) Co n s t ru ct a n d co m p le t e t h e s h a d o w a s s h o wn a n d s h a d e it in . Th e s t u d e n t s h o u ld n o t e t h a t if p o in t 'a ' is b ro u g h t fo rwa rd t h e s h a d o w will p o in t b a ckwa rd .

Ho m e s t u d y : Exp e rim e n t , t ry a d d in g s o m e o t h e r o b je ct s s u ch a s ve rt ica l p o le s a n d d ra w t h e ir s h a d o ws .

GO TO . . . LES S ON NINE le s s o n m e n u

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perspective nine

LES S ON - P ERS P ECTI VE N I N E - S HAD OW S 2 TI ME: Allo w 4 0 m in

Aim : To le a rn h o w t o p lo t s h a d o ws o n d iffe rin g s u rfa ce s . He re we s h a ll p lo t a n d d ra w t h e s h a d o w o f a la d d e r le a n in g a g a in s t a wa ll.

Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r.

To Be g in re v is e : Me t h o d o f in t ro d u cin g lig h t s o u rce a n d e s t im a t in g it s g ro u n d p o s it io n . As k wh ich wa y t h e s h a d o w s h o u ld b e d ire ct e d , fo rwa rd o r b a ck. Co n s t ru c t m a rg in a n d t it le b o x o n a n e w p a g e t h e n :

b ) Co n s t ru ct t h e s im p le co rn e r o f a ro o m u s in g a CVP.

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c) Th is 'o b liq u e ' lin e will re p re s e n t o n e ru n n e r o f t h e la d d e r. Ca ll it 'a b '

d ) 'cd ' is p a ra lle l t o 'a b '. Co n s t ru ct a s s h o wn wit h lin e s t o VP.

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e ) Ad d t h e la d d e r 'ru n g s ' a n d firm t h e m in .

f) Es t a b lis h t h e lig h t s o u rce - d ro p t o flo o r a n d co n s t ru ct s h a d o w lin e s a s d e m o n s t ra t e d a b o ve .

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g ) Th is d ia g ra m s h o ws t h e m e t h o d o f co n s t ru ct in g a s h a d o w ca s t b y o n e o f t h e 'ru n g s . '

h ) S h a d e in t h e s h a d o w 'fre e h a n d ' a s s h o wn .

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perspective nine

i) Co m p le t e t h e s h a d o w a n d a d d o t h e r a p p ro p ia t e d e t a ils

Ho m e s t u d y : Exp e rim e n t , a d d o t h e r o b je ct s . . . a b u cke t o n t h e flo o r a n d it s s h a d o w.

GO TO . . . LES S ON TEN le s s o n m e n u

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perspective ten

LES S ON - P ERS P ECTI VE TEN - ARCHW AY TI ME: Allo w 8 0 m in - b e s t b ro ke n in t o t wo s e s s io n s wit h s e t h o m e wo rk in b e t we e n .

Aim : To d ra w a Ro m a n s t yle t riu m p h a l a rch u t ilis in g a fre e h a n d a p p ro a ch t o d ra win g lin e s . Th is le s s o n s e ve n t u a l s u cce s s will d e p e n d o n t h e s t u d e n t e ve n t u a lly NOT d ra win g a s t ra ig h t lin e . . . a n d t h e re b y m o t b e in g t e rrifie d o f m a kin g a m is t a ke .

Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r.

Co n s t ru c t m a rg in a n d t it le b o x o n a n e w p a g e t h e n :

b ) Co n s t ru ct t h e re ct a n g le a n d p la ce a CVP in t h e a p p ro xim a t e p o s it io n s s h o wn a b o ve .

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c) Lig h t ly d ra w t h e a rch wit h t h e p ro p o rt io n s t o a p p ro xim a t e t h o s e a b o ve .

d ) No t e t h e m e t h o d u s e d t o p o s it io n t h e b a ck ( in s id e cu rve ) o f t h e a rch . Th e in t e rs e ct io n p o in t wit h t h e fo rn t cu rve is crit ica l.

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e ) Ad d t h e 'm in o r' re ct a n g le s a s s h o wn o n t h e fa ce o f t h e a rch .

f) Th e re a re t wo wa lls in d ica t e d a n d lig h t ly s ke t ch e d in a s a b o ve . Yo u will s e e t h e ir co m p le t e fo rm in t h e d ra win g s h o wn n e xt .

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g ) Th e s t u d e n t m u s t n o w d is ca rd t h e ru le r. All t h e firm lin e s m u s t b e d o n e 'fre e h a n d '. An y ru le d lin e s will lo o k in co n s is t e n t a n d o u t o f p la ce . Us e s h o rt firm s t ro ke s ra t h e r t h a n t ryin g t o b e t o o a m b it io u s . Th is a rch is s u p p o s e d t o b e o ld a n d d e ca yin g t h e re fo re irre g u la r lin e s a re wh a t is re q u ire d . No w t h e a rch a n d it s s u rro u n d s s h o u ld b e g in t o t a ke fo rm .

h ) Cle a n it u p a n d a d d s o m e s h a d in g .

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i) Th e lig h t s o u rce is t o b e fro m 't o p rig h t ' s o s h a d e t h e ra is e d fro n t a l a re a s o n t h e a rch a s s h o wn . . . s h a d in g t o t h e rig h t a n d b e lo w.

j) Ad d s o m e 'Ro m a n ' le t t e rs ( t h e d e t a il is wh e re o b s e rva t io n a n d cre a t ivit y in t e ra ct ) a n d s h a d e s o m e a re a s . . .

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N o t e t h e s h a d o w s . At t h is ju n ct u re t h e s h a d o ws a re m e re ly 'p a ra lle l'. S in ce t h e d ra win g is n o t co m p lica t e d re g a rd in g 's h a d o ws ' a n d t h e s u n is ve ry h ig h a n d d is t a n t we ca n a s s u m e a n a lm o s t p a ra lle l s e t o f lig h t 'ra ys '. Ho m e w o rk : Th is p a rt icu la r a rch is a m in o r d e t a il in a p a in t in g b y a we ll kn o wn a rt is t wh o wa s b o rn in Ve n ice o n Oct o b e r 1 8 t h . 1 6 9 7 . It a p p e a rs in a t le a s t t wo o f h is p a in t in g s . Th e s t u d e n t t o g a in e xt ra m a rks fo r n a m in g t h e a rt is t a n d e ve n m o re fo r n a m in g o n e o f t h e p a in t in g s t h a t co n t a in t h e a rch . Ad d it io n a l m a rks co u ld b e a wa rd e d if t h e s t u d e n t we re t o n a m e t h e o rig in o f t h e a rch . CON TI N UED . . . .

GO TO . . . LES S ON TEN ( CONT. ) le s s o n m e n u

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perspective ten cont.

LES S ON - TEN . . . CON TI N UED Aim : To re in fo rce t h e n o t io n o f 'lo g ica l s ize '. Th e s ize o f o b je ct s b e in g d e t e rm in e d b y in t ro d u cin g a fa m ilia r o b je ct a t t h e s a m e 'le ve l' ( a s im ila r d is t a n ce fro m t h e vie we r) . Th e n t o co m p le t e t h e d ra win g s t a rt e d in t h e p re vio u s le s s o n . Th e t e a ch e r s h o u ld p rin t o ff t h e fo llo win g t h re e d ra win g s a n d h a n d t h e m o u t a s re fe re n ce d ra win g s .

a ) He re I h a ve in t ro d u ce d 't h e a d m ira l' a n d p u t h im in t h e a rch . S u d d e n ly t h e a rch h a s a p a rt icu la r a n d d e fin it e s ize . As k t h e s t u d e n t s , wh y is t h a t ? Fro m t h e m o m e n t a b a b y o p e n s it s e ye s it b e g in s ke yin g - in s h a p e s , wit h o n e o f t h e firs t b e in g t h e h u m a n fa ce a n d b o d y. Th e n it le a rn s t o re co g n is e va rio u s o t h e r s h a p e s in o rd e r o f t h e ir im p o rt a n ce . Th e ch ild a ls o le a rn s t o ju d g e h o w fa r o r h o w clo s e is a p a rt icu la r o b je ct . As k t h e cla s s h o w t h is is done ? Yo u co u ld m e n t io n t h a t t h e s e co m m o n p e rce p t io n s a re wh a t b in d p e o p le t o g e t h e r. Th e re a re , o f co u rs e p h ilo s o p h ica l im p lica t io n s h e re co n ce rn ig t h e co m m o n a lit y o f e xp e rie n ce . . . b u t t h a t is wh a t d ra win g is a ll a b o u t ! An ywa y, in t h e o rd e r o f t h in g s h u m a n t h e b o d y is a fa r m o re d o m in a n t fo rm t h a n a n y o ld a rch wa y. Th is b o d y o f o u r 'Ad m ira l Co wd is le y S h o ve l' d e t e rm in e s t h e s ize o f t h e a rch ( h o w h ig h is it h e re ? ) a s we a ll kn o w t h e a ve re a g e h e ig h t o f t h e h u m a n b o d y, b u t , wh a t if we s h rin k t h e p o o r o ld s a ilo r?

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perspective ten cont.

b ) S u d d e n ly t h e a rch h a s g ro wn . Ho w t a ll is it n o w?

c) OK s o n o w I h a ve m u lt ip lie d t h e fig u re s a n d d ra wn t h e m fo rwa rd . If we ro u g h ly d ra w lin e s t h ro u g h t h e Ad m ira l's h e a d a n d fe e t wh e re wo u ld t h e y m e e t ? It t h e p e rs o n vie win g t h is s ce n e s h o rt e r o t t a lle r t h a n t h e 'Ad m ira l'? Le t 's g o b a ck t o o u r u n fin is h e d d ra win g .

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perspective ten cont.

d ) No t e t h e d e t a il lin e s s u g g e s t in g t h e b lo ckwo rk o n t h e a rch ra d ia t e o u t fro m t h e cu rve o f t h e a rc a n d t h e n s q u a re . Th is is a t in y d e t a il b u t o n e b o rn o f a wa re n e s s . As k t h e p u p il a b o u t la yin g b ricks t h a t will fo rm a n a rch , o r t h e co lo r o f t h e ir fro n t g a t e , o r t h e s ize o f a n o rm a l t e a cu p . Te s t t h e ir a wa re n e s s t o co m m o n t h in g s a n d a s k t h e m t o t e s t yo u .

e ) Us in g m e t h o d in p re vio u s co n s t ru ct p e rs p e ct ive 'g rid ' o n t h e g ro u n d . Re m e m b e r t h e firm lin e s a re t o b e d o n e fre e h a n d .

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f) Th e p u p il s h o u ld b e e n co u ra g e d t o d e cid e o n t h e d e s ig n o f t h e fo re co u rt a n d in d ivid u a lis e it a s m u ch a s p o s s ib le . Ad d s o m e t re e s b e h in d t h e wa ll t o s o ft e n t h e s t a rkn e s s .

HOMEW ORK: Co m p le t e t h e d ra win g b y a d d in g a s m a ll fig u re in t h e a rch .

GO TO . . . THE ROAD - ELEVEN le s s o n m e n u

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perspective eleven

LES S ON - P ERS P ECTI VE ELEVEN - ROAD TI ME: Allo w 4 0 m in ( TEN MIN INTRODUCTION)

Aim : To u n d e rs t a n d t h e p rin cip le o f m u lt ip le va n is h in g p o in t s a n d h o w t h e y wo rk in n a t u re .

Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r. I n t h is , t h e firs t p a rt o f t h is le s s o n t h e t e a c h e r w ill n e e d t o d e m o n s t ra t e t h e fo llo w in g o n t h e c h a lk b o a rd o r p a d . . . Alt e rn a t ive ly, if t h e t e a ch e r d e e m s n e ce s s a ry, t h e s e firs t s ix e xp la n a t o ry d ia g ra m s ca n b e p rin t e d a n d h a n d e d o u t . Ho we ve r a q u ick d e m o n s t ra t io n o n a ch a lkb o a rd will g ive e v e ry o n e co n fid e n ce . Th e t e a ch e r co u ld d o t h is wit h ju s t t e n m in u t e s o f p re p a ra t io n . . . OK, I kn o w yo u r t im e is va lu a b le , a n d I m u s t a d m it , I n e ve r p re p a re d a le s s o n in m y life . I ju s t d id it b y s e n s in g t h e n e e d s o f t h e s t u d e n t a n d s e e in g wh e re t h a t m ig h t le a d . . .

. . . in a cla s s ro o m o f t h irt y o d d s t u d e n t s t h a t is ca lle d livin g o n t h e e d g e . Bu t t h e n a g a in I a m e a s ily b o re d ; a n ywa y, re m e m b e r o u r ra ilwa y lin e in a p re vio u s le s s o n ?

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Mo ve t h e va n is h in g p o in t a lo n g t h e h o rizo n lin e t o t h e rig h t a s a b o ve . Ju s t u s e co m m o n ju d g e m e n t t o p la ce t h e s le e p e rs . . . a s yo u m ig h t d o in a n y g ra m m a r cla s s .

Of co u rs e , a s t h e lin e b e n d s , it d o e s wit h a 'cu rve '. Dra w in t h e fre e h a n d cu rve a s s h o wn .

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perspective eleven

Ne xt , we fin d a va n is h in g p o in t 'a b o ve ' t h e h o rizo n ! Th is will h a ve t h e e ffe ct o f m a kin g t h e lin e a p p e a r t o ris e u p . S e e a b o ve .

Th e n g o d o wn a g a in . . . wit h a va n is h in g p o in t n o w b e lo w t h e lin e .

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Firm in t h e lin e s a n d e xp la in t h a t e ve ry 're g u la r' o b je ct ca n b e p la ce d in s p a ce t o h a ve it s o wn va n is h in g p o in t . He re we h a ve m e re ly jo in e d a fe w t o g e t h e r.

S t u d e n t s c o n s t ru c t m a rg in a n d t it le b o x o n a n e w p a g e t h e n :

a ) In a p p ro xim a t e p o s it io n s , a s a b o ve , lig h t ly co n s t ru ct a ro a d b e n d in g t o t h e rig h t a n d d e s ce n d in g . ...

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perspective eleven

b ) Firm in u n t il t h e cu rve s t ra n s ce n d t h e h o rizo n t a l . . .

c) a n d a d d a n ice cu rvin g h ill.

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d ) Ch a n g e d ire ct io n a n d d o t h e s a m e t h in g a g a in . Yo u r o wn 'ju d g e m e n t ' s h o u ld b e u s e d t o d e t e rm in e t h e 'n e w' wid t h o f t h e ro a d . Lo g ica lly it m u s t b e s m a lle r t h a n it s wid t h a s it d is a p p e a rs o ve r t h e firs t h ill. Po in t o u t t h a t t h is wid t h will d e t e rm in e ju s t h o w fa r t h e firs t h ill is fro m t h e s e co n d .

CON TI N UED . . . .

GO TO . . . LES S ON ELEVEN ( CONT. ) le s s o n m e n u

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perspective eleven cont.

LES S ON - P ERS P ECTI VE ELEVEN - ROAD ( CON TI N UED )

f) De fin e t h e s e co n d h ill a s I h a ve , wit h a n ice flo win g cu rve .

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g ) Us in g t h re e m o re 'va n is h in g p o in t s ' ( VP's ) re p e a t t h e e xe rcis e ; o n ly d o n 't ch a n g e d ire ct io n .

e ) Tit le t h e d ra win g a n d if t im e p e rm it s b e g in s o m e g e n e ra l s h a d in g .

Ho m e w o rk : Ad d a p lo u g e d fie ld , fe n ce s , t re e s , ca rt s , ca rs , b u ild in g s , e t c.

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GO TO . . . LES S ON TWELVE le s s o n m e n u

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twelve - one

LES S ON - TW ELVE Aim : To in t ro d u ce , e xp la in a n d u s e e xt e n d e d va n is h in g p o in t s o ff t h e p a g e . Th e t e a ch e r s h o u ld p rin t o ff t h e fo llo win g fo u r d ra win g s a n d h a n d t h e m o u t a s re fe re n ce s h e e t s .

a ) Th is d ra win g o f a b o o k is d o n e a s a s im p le t wo p o in t p e rs p e ct ive u s in g t h e s a m e m e t h o d we u s e d o n t h e cit y b u ild in g s in le s s o n n u m b e r o n e .

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b ) Wh a t wo u ld h a p p e n if we zo o m e d in a n d cu t o u t a p a rt o f o u r d ra win g ? . . . ?

c) Th e n we m a d e t h a t d ra win g o u r fu ll s ize d ra win g ? Ab o ve is t h e re s u lt . Th e o n ly p ro b le m is t h a t o u r va n is h in g p o in t s h a ve d is a p p e a re d co m p le t e ly o ff o u r p a g e . Wh a t t h e n a re we t o d o fo r t h is t yp e o f d ra win g ?

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d ) We co u ld t ry a n d p la ce a m u ch la rg e r p ie ce o f p a p e r u n d e r o u r p a d a n d e xt e n d o u r lin e s a s s h o wn a b o ve , b u t m o re s im p le is t o 'im a g in e ' t h e ir p o s it io n a n d ju s t d ra w p a rt o f o u r lig h t lin e s o u t wa rd s a s if t h e 'va n is h in g p o in t s ' p o in t s we re a ct u a lly t h e re .

GO TO . . . TWELVE CONTINUED le s s o n m e n u

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LES S ON - TW ELVE c o n t . Aim : To d ra w a b o o k u s in g e xt e n d e d va n is h in g p o in t s . TI ME: Allo w 4 0 m in

Ma t e ria ls : Th e s ke t ch p a d , HB p e n cil, ru le r.

Co n s t ru c t m a rg in a n d t it le b o x t h e n :

a ) As wit h t h e e xa m p le in t h e p re vio u s le s s o n co n s t ru ct t h e lin e s a s s h o wn a s if t h e re we re va n is h in g p o in t s o ff t h e p a g e .

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b ) Co m p le t e t h e b lo ck lig h t ly a s it will fo rm t h e b a s is o f o u r b o o k. No t e CA is la rg e r t h a n DB, AB is la rg e r t h a n CD, AE is la rg e r t h a n BF a n d GC.

c) Lig h t ly d ra w in s o m e m o re m a in fe a t u re s o f t h e b o o k. It s h o u ld n o w lo o k a s if it s it s o n t h e d e s k in fro n t o f t h e s t u d e n t .

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d ) Pu t a wa y t h e ru le r a n d b e g in t o s ke t ch t h e b o o k fre e h a n d . . . u s in g d a rke r lin e s a s s h o wn a b o ve .

e ) Co m p le t e t h e d e t a ils u s in g s h a d in g a n d yo u r im a g in a t io n . Ad d a co u p le o f lo o s e s h e e t s o f p a p e r.

HOMEW ORK: Co m p le t e b y a d d in g a p e n cil.

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GO TO . . . PART TWO INTODUCTION le s s o n m e n u

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Part Two - introduction

LES S ON NOTES FOR TEACHERS - PART 2 LEARN HOW TO D RAW I s o m e t im e s re fe r t o a n in d ivid u a l a s b e in g vis u a lly 'lit e ra t e '. We kn o w t h e m e a n in g o f 'lit e ra t e ' a n d 'illit e ra t e ' re g a rd in g re a d in g , co m p re h e n s io n a n d writ in g . . . wh ich I will re fe r t o a s t h e 'p a s s ive ' ( re a d in g ) a n d 'a ct ive ' ( writ in g ) e le m e n t s o f b e in g lit e ra t e . Th e a b ilit y t o 're a d ' o r u n d e rs t a n d a d ra win g is t h e p a s s ive p a rt o f vis u a l lit e ra cy wh e re a s t h e a b ilit y t o a ct u a lly 'd ra w' is t h e a ct ive e le m e n t . Be in g 'vis u a lly' lit e ra t e is n o le s s im p o rt a n t t h a n b e in g lit e ra t e in t h e re a d in g a n d writ in g s e n s e . In fa ct , s o m e m a y e ve r a g re e t h a t 'd ra win g ' s h o u ld b e s t u d ie d a lo n g s id e re a d in g a n d writ in g . Wh y? Be ca u s e b e fo re yo u ca n writ e yo u m u s t le a rn t o d ra w circle s a n d s q u a re s , a t le a s t ; o t h e rwis e h o w will we m a ke a '3 ' o r '7 ' . . . a n d 'S ' o r a n 'Z'?

S o h o w d o e s s o m e o n e b e c o m e v is u a lly lit e ra t e ? 1 . P a s s iv e By le a rn in g t o re co g n ize t h in g s in t h re e d im e n s io n s , a ls o le a rn in g t o re a d m a p s a n d p la n s e t c. in t wo d im e is io n s . Le a rn in g a b o u t lin e , t e xt u re , s h a p e a n d p a t t e rn . 2 . Ac t iv e By le a rn in g t o d ra w ju s t a s a writ e r wo u ld le a rn t o co m p o s e s e n t e n ce s . Dra win g lit e ra cy ca n b e s t b e u n d e rs t o o d in t h e a b s e n ce o f la n g u a g e . . . a n d it s e ffe ct ca n b e q u it e p o t e n t . A t e s t m ig h t b e . . . 'Us in g t h e q u icke s t , s im p le s t d ra win g a n d t h e m in im u m n u m b e r o f lin e s yo u ca n im a g in e , d ra w a s e co n o m ica lly a s yo u ca n a n y o f t h e t h in g s o n t h e fo llo win g lis t : A house, caravan, dartboard, pineapple, road, a railway line, a fish a snake, an apple and a pear, a ship, boat, submarine, shark, martini, basketball, helmet, a pair of scissors, sword, spear, banana, cucumber, church, fruit tree, bunch of grapes, traffic lights, ladder, television antenna, lightbulb, scooter, mammoth, the road from your house to the nearest store, comb, fork, paperclip, saucepan, leaf, an anchor, shoe, yoyo, and a button etc.

N O AGE LI MI TS : Th e s e t e s t s co u ld b e g ive n t o ch ild re n a s yo u n g a s five a n d a d u lt s a s o ld a s e ig h t y a n d t h e re s u lt s m a y we ll d e t e rm in e t h e ir 'a ct ive vis u a l lit e ra cy'. Th e re m a y s o m t im e s a ls o b e lit t le d iffe re n ce in t h e re s u lt s . I wo u ld t e s t fo r s p e e d a n d in ve n t ive n e s s ju s t a s a yo u m ig h t ju d g e s o m e p ro s e t h u s . Be a r in m in d t h e t e a ch e r n e e d n o t b e Le o n a rd o o r Ru b e n s t o s a t is fa ct o rily ju d g e t h e re s u lt s ! Le t 's t a ke t h is a ct ive a n d p a s s ive d ivis io n lit t le fu rt h e r. In wh a t is 'a rt ' t o d a y we h a ve t h e vis u a lly s e m i- lit e ra t e - in t h e 'a ct ive ' s e n s e ; t h e y m a y h o we ve r, b e q u it e vis u a lly lit e ra t e in t h e p a s s ive s e n s e . S h o u ld t h e y b e ca lle d 'a rt is t s ' - a n d wo u ld we b e a s re a d y t o e m b ra ce p e o p le wh o ca lle d t h e m s e lve s writ e rs if t h e y a t t e m p t e d t o writ e o f t h e ir e xp e rie n ce s n e g le ct in g a n y s t ru ct u re ? I d o n 't t h in k s o ; a n d s o m e o f m y o wn writ in g p ro ve s ju s t t h a t ! Is a n y o f t h is im p o rt a n t t o t h e h u m a n s p e cie s ? Th e ch ild re n I t e s t e d s e e m e d t o t h in k s o . . . . m a yb e

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Part Two - introduction

s u ch t e s t s n e e d t o b e g ive n t o s o m e o f o u r n a t io n a l a rt crit ics . . . I m a d e a co m m e n t o n ce . . . wh e n we t a lk o f e d u ca t in g o u r ch ild re n in 't h e b a s ics ' we s h o u ld m e a n t h e b a s ics o f re a d in g , d ra win g , writ in g . . . a n d p e rh a p s m a t h s ; b u t t h e n I m a y b e a lit t le b ia s e d . Im a g in e b e g in n in g e ve ry a rt cla s s wit h 'OK ch ild re n , o p e n yo u r s ke t ch p a d s a n d d o t wo q u ick s ke t ch e s ; a co co n u t a n d a s a w. Yo u h a ve t h re e m in u t e s . . . . . t h e n we will b e fin is h in g o ff t h e d ra win g we s t a rt e d la s t we e k. We ll t h is is e xa ct ly wh a t we s h a ll n o w b e d o in g wilt h o u r d ra win g co u rs e . Tim e - Le s s o n s s e p a ra t e d in t o a p p ro x 4 0 m in s e g m e n t s . Ho m e s t u d y - 1 0 t o 2 0 m in u t e s p e r le s s o n - s e t wo rk p ro p o s a ls s u g g e s t e d a t e n d o f e a ch le s s o n . Ma t e ria ls ; 3 0 x4 5 cm s o r 1 2 "x1 8 " s t a n d a rd ca rt rid g e p a p e r ( t h ick, wh it e , p la in ) s ke t ch p a d . 2 H, HB a n d 4 B p e n cils e ra s e r N e w Ge n e ra l le s s o n s t ru c t u re ; 5 m in . s h o rt d ra win g t e s t ( 3 m in . fo r t e s t 2 m in h o ld u p a n d lo o k a t re s u lt s ) 5 m in . re vis io n a n d h o m e wo rk a s s e s s m e n t . 5 m in n e w p a g e , d ra w m a rg in a n d a d d t it le ( b o t t o m rh co rn e r) 2 0 m in d e m o a n d ch ild p ra ct ica l d ra win g 5 m in s u m m a ry a n d s u g g e s t e d h o m e wo rk.

GO TO . . . FIRS T LES S ON le s s o n m e n u

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part two - freehand setup

P ART 2 : LES S ON 1 - S ETTI N G UP

TI ME: Allo w 4 0 m in

Aim : To e s t a b lis h a n e w fo rm a t fo r fre e h a n d le s s o n s a n d t o in t ro d u ce t h e 'q u ick s ke t ch t e s t ' t o e n fo rce o b s e rva t io n a n d a wa re n e s s o f co m m o n d a y t h in g s .

Ma t e ria ls : Th e s ke t ch p a d , HB a n d 4 B p e n cil, e ra s e r

W it h o u t u s in g t h e ru le r ( o r a n y o t h e r s t ra ig h t e d g e ) p re p a re t h e p a g e w it h m a rg in a n d a d d t h e fre e h a n d b o x e s a s s h o w n . a ) Th e s t u d e n t s h o u ld d ra w t h e m a rg in lig h t ly ( HB p e n cil) , u s in g s h o rt lin e s a n d wh e n s a t is fie d , firm it in . Allo w a g o o d t e n m in u t e s fo r t h is a s s o m e s t u d e n t s will b e co n ce rn e d t o p ro d u ce lin e s o f g re a t e xce lle n ce . Th is will n o t b e p o s s ib le a t t h is s t a g e a n d t h e y co u ld b e t o ld t o e xp e ct a s m u ch . Th e s t u d e n t s h o u ld b e e n co u ra g e d t o ke e p t u rn in g t h e s ke t ch p a d t o s u it t h e ir h a n d m o ve m e n t , a n d t o u s e t h e p a g e e d g e s a s g u id e s .

b ) Wh e n t h e s t u d e n t is s a t is fie d wit h t h e lig h t lin e s t h e y ca n b e 'firm e d in ' t h u s ( a g a in u s in g s h o rt , http://www.geocities.com/~jlhagan/K9-14/part_two_setup.htm (1 von 5) [08.12.2002 12:41:42]

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co m fo rt a b le lin e s ) :

c) Wit h o u t u s in g a ru le r d ivid e t h e p a g e in t o q u a rt e rs u s in g lig h t lin e s a s s h o wn b e lo w.

d ) Divid e a g a in .

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e ) An d ye t a g a in a s s h o wn .

f) An d a g a in , s o n o w yo u h a ve 6 4 s p a ce s ( ig n o rin g t h e t it le b o x) .

TW O QUI CK S KETCHES Allo w t wo m in u t e s a t t h e b e g in n in g o f e a ch le s s o n fo r t h is n e xt e xe rcis e . In t h e firs t t wo lit t le s p a ce s a lo n g t h e t o p t h e s t u d e n t is a s ke d t o d ra w t h e ir s im p le s t re p re s e n t a t io n o f a n y t wo co m m o n d a y o b je ct s o f ch o ice . Th e y m a y m a ke t h e m u p o r u s e a n y o f t h e e xa m p le s lis t e d

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o n t h e p re vio u s p a g e . It is re co m m e n d e d t h a t t h e re s e a rch ( p ra ct ice ) fo r t h e s e b e s e t a s h o m e wo rk. Th e n t h e s t u d e n t will b e fo re wa rn e d a n d p re p a re d - a lt h o u g h a n y la ck o f p re p a ra t io n ca n le a d t o in t e re s t in g t im e s . . .

At t h e co m p le t io n o f t h e t im e a llo we d fo r t h is t a s k ( ca n b e s h o rt e n e d fo r fu t u re le s s o n s ) t h e s t u d e n t will a s k h is o r h e r n e ig h b o u r t o g u e s s a n d writ e d o wn t h e n a m e s o f t h e a rt icle s o r o b je ct s . It t h e y m a t ch t h e d ra win g s t h e y s h o u ld re m a in u n id e n t ifie d ( n o n e e d fo r a n y n o t a t io n ) . If n o t re co g n ize d t h e s t u d e n t s h o u ld id e n t ify t h e m a s s h o wn b e lo w. Th e Te a ch e r will b e t h e fin a l a rb it e r. Be kin d !

Th is wh o le e xe rcis e s h o u ld b e t re a t e d a s fu n a s t h e t e a ch e r will fin d t h e s t u d e n t s s e rio u s e n o u g h a n d n a t u ra lly co m p e t it ive . Do n o t rid icu le a n y e ffo rt ye t b e co n s t ru ct ive wh e re n e ce s s a ry. Pra is e t h e g o o d a n d d is p la y t h e b rillia n t fo r t h e re s t o f t h e cla s s t o s e e . S im p licit y a n d e ffe ct ive n e s s a re t h e ke ys . In t h e e xa m p le a b o ve t ry a n d g u e s s wh a t t h e t wo u n n a m e d o b je ct s a re ? Yo u will s e e t h e y a re d ra wn wit h t h e m a xim u m e co n o m y o f lin e . Th a t wh a t we wa n t fro m t h e s t u d e n t .

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part two - freehand setup

Th e p o s s ib ilit ie s fo r s e t h o m e wo rk a re m a n ifo ld in t h e s e n e w s e t o f le s s o n s . Pa g e p re p a ra t io n , co m m o n o b je ct re s e a rch , co m p le t in g d ra win g s b e g u n in cla s s e t c. Ju d g e t h e p a ce a cco rd in g t o s t u d e n t le ve l a n d cla s s p re fo rm a n ce . If t im e re m a in s in t h e 4 0 m in p e rio d t h e s t u d e n t co u ld b e g in p re p a rin g fu t u re p a g e s ( lig h t lin e s ) wit h t it le b o xe s a n d fre e h a n d b o rd e rs .

GO TO . . . LES S ON TWO le s s o n m e n u

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part two - shading

P ART 2 : LES S ON 2 - S HAD I N G

TI ME: Allo w 4 0 m in

Aim : To b e g in t h e le s s o n o n s h a d in g . Th is will e n co m p a s cro s s - h a t ch in g a n d o t h e r u s e fu l m e t h o d s a s we ll a s n o t in g t h e t h e o ry o f s h a d in g g e n e ra lly. Ma t e ria ls : Th e s ke t ch p a d , HB a n d 4 B p e n cil, e ra s e r Allo w fiv e m in u t e s t o fo r t h e q u ic k s k e t c h t e s t . Tw o m in u t e s t o d o a n d t h re e t o m a rk . S w a p , d is p la y a n d t it le if n e c e s s a ry .

CUP S a ) Wit h o u t u s in g t h e ru le r ( o r a n y o t h e r s t ra ig h t e d g e ) p re p a re t h e p a g e wit h m a rg in a n d t it le b o xe s t h e n : Ma ke a lig h t fre e h a n d s ke t ch o f a cu p a s s h o wn b e lo w, t h e n re p e a t t h is u n t il fo u r s im ila r cu p s a re m a d e

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b ) Us in g s h o rt s t ro ke s firm in cu p s .

c) Us e t h e 4 B p e n cil a n d m e d iu m p re s s u re 'h a t ch ' a s e rie s o f p a ra lle l s lo p in g lin e s a s s h o wn .

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d ) Do t h e s a m e , t h o u g h wit h s h o rt e r lin e s , in t h e o t h e r d ire ct io n . Ne xt u s e s o m e ve rt ica l lin e s a n d la s t ly s o m e h o rizo n t a l. Th is m e t h o d o f s h a d in g is ca lle d cro s s - h a t ch in g a n d is u s e fu l fo r q u ick re n d it io n s .

e ) Ma ke a n o t h e r ro w o f fo u r cu p s .

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part two - shading

f) Th is t im e we will u s e a 'fig u re 8 ' a s o u r s h a d in g m e t h o d . Yo u co u ld u s e a n 'O' o r a n 'S '. Us e yo u r 4 B p e n cil wit h a 'lig h t we ig h t ' o r lig h t p re s s u re a n d d ra w a s e rie s o f '8 's ' a s s h o wn . As yo u n e a r t h e d a rke r e d g e o f t h e cu p t h e 8 s ca n 'o ve rla p ' a n d g e t a lit t le d a rke r. Do n 't fo rg e t t h e t o p le ft 'm o u t h ' o f t h e cu p a s it t o o will n e e d t o b e s h a d e d .

g ) Ma ke a n o t h e r ro w o f fo u r cu p s . Ag a in u s in g yo u r 4 B p e n cil a n d 'lig h t p re s s u re ' m a ke a s e rie s o f lin e s u s in g cro s s h a t ch o r '8 's . Wit h t h e e n d o f yo u r fin g e r ru b t h e p e n cil lin e s u n t il t h e y m e rg e t o g e t h e r a n d fo rm a fla t e ve n 's m u d g e '. Try a n d s t a y wit h in t h e e d g e s o f t h e cu p . Re p e a t t h is a n d d a rke n a s yo u n e a r t h e rig h t h a n d e d g e o f t h e cu p . Ag a in , d o n o t n e g le ct t h e t o p lip . http://www.geocities.com/~jlhagan/K9-14/part_two_shading.htm (4 von 5) [08.12.2002 12:41:59]

part two - shading

La b e l t h e t h re e m e t h o d s a n d t it le t h e d ra win g 's h a d in g '.

TENNIS CUPS le s s o n m e n u

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part two - shadows

P ART 2 : LES S ON 2 - S HAD I N G

TI ME: Allo w 4 0 m in

Aim : To in t ro d u ce re fle ct e d lig h t a n d it s e ffe ct o n s h a d o ws a n d s h a d in g . To d e ve lo p t h e u s e o f s h a d in g fo r a t e xt u ra l e ffe ct . Ma t e ria ls : Th e s ke t ch p a d , HB a n d 4 B p e n cil, e ra s e r Allo w fiv e m in u t e s t o fo r t h e q u ic k s k e t c h t e s t . Tw o m in u t e s t o d o a n d t h re e t o m a rk . S w a p , d is p la y a n d t it le if n e c e s s a ry .

a ) Wit h o u t u s in g t h e ru le r ( o r a n y o t h e r s t ra ig h t e d g e ) p re p a re t h e p a g e wit h m a rg in a n d a d d t h e fre e h a n d b o xe s a s s h o wn p re vio u s ly. W h ile t h e s t u d e n t s a re t h u s o ccu p ie d h a n d o u t t h e s e p re p a re d t h e o ry s h e e t s . --------------------------------------------------------S it t in g in t h e g a rd e n I a s ke d a p e rs o n if t h e s h a d o w ca s t b y a t re e wo u ld b e lig h t e r o n a s u n n y d a y, t h a n it wo u ld , a t a s im ila r t im e , o n a clo u d y d a y. 'Do e s it re a lly m a t t e r? ' h e s h ru g g e d , a s h e p o u re d h im s e lf a n o t h e r g la s s o f m y m o s t e xp e n s ive im p o rt e d re d . 'Th a t d e p e n d s . ' I re p lie d , 'o n e d a y yo u m ig h t wa n t t o p a in t a s h a d o w. ' 'Th e g ris a ille le g a cy' . . . . . . . 'I m e t a m a n o f b la ck a n d wh it e wh o h a d s a d ly lo s t h is wa y. Wrin g in g h is h a n d s , h e s a id t o m e , "b u t a ll I s e e is g re y". '

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part two - shadows

If a cu p wa s p la ce d in a s p o t lig h t t h e s h a d o w it ca s t wo u ld b e a s b la ck a s t h e s u rro u n d in g d a rke n s s wh ile t h e s h a d in g o n t h e cu p s h o u ld m o ve fro m a g re y a t t h e 't u rn in g p o in t ' t o a s im ila r b la ckn e s s .

Ho we ve r, if t h e re wa s s o m e o t h e r lig h t in t h e ro o m t h e 'b la ck' s h a d o w wo u ld lo o k o u t o f p la ce - a s s h o wn a b o ve . Th e re a s o n fo r t h is is t h a t in o u r n o rm a l life we m o s t ly d o n 't live u n d e r s p o t lig h t s . Us u a lly, t h e re a re m a n y s o u rce s o f 're fle ct e d ' lig h t a ro u n d u s . In a ro o m o r o u t s id e o u r s h a d o ws a re ra re ly co m p le t e ly b la ck a s t h e y a re m o d ifie d b y t h e 'g e n e ra l lig h t n e s s ' o f t h e d a y - o r t h e ro o m .

Th e re fo re a m o re 're a lis t ic' re n d it io n o f s h a d in g a n d s h a d o w wo u ld b e a s s h o wn a b o ve . Th is ca n b e http://www.geocities.com/~jlhagan/K9-14/part_two2_shadows.htm (2 von 5) [08.12.2002 12:42:13]

part two - shadows

b e t t e r u n d e rs t o o d b y re fe rrin g t o m y g e n e ra l le s s o n o n s id e lig h t a n d t u rn in g p o in t s in t h e 'p a in t in g ' s e ct io n . --------------------------------------------------------------------------b ) Le t s n o w g o b a ck t o o u r p re p a re d s h e e t a n d o u r le s s o n fo r m a kin g a q u ick d ra win g o f a t e n n is b a ll.

Us in g t h e m e t h o d we le a rn t in p a rt 1 fo r m a kin g a fre e h a n d d ra win g o f a la rg e circle - d ra w o n e o f t h e a p p ro xim a t e s ize a n d p o s it io n s h o wn .

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part two - shadows

Em p lo y t h e fig u re 8 a n d s m u d g in g m e t h o d t o s h a d e t h e b a ll ( m e d iu m t o lig h t we ig h t p re s s u re ) . . . b u t le a ve t h e t wo 'S ' s h a p e d 't ra cks ' a s s h o wn .

In cre a s in g t h e p re s s u re wit h yo u r 4 B p e n cil s h o w s o m e o f t h e 'flu ffy' h a ir a t t h e t u rn in g p o in t a n d a t the e dge s.

HOMEW ORK Fin d a g o lf b a ll, b a s e b a ll, b a s ke t b a ll o r o n e o t h e r a n d d ra w it a lo n g s id e t h e t e n n is b a ll. It is

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n e ce s s a ry t o lo o k u p t e xt u re a n d a d va n ce d t e xt u re e ffe ct s b e fo re yo u b e g in yo u r d ra win g a s s ig n m e n t .

GO TO . . . TEXTURE le s s o n m e n u

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part two - texture

P ART 2 : REFEREN CE S HEET ON TEXTURE

TI ME: re fe re n ce s h e e t

Aim : At t h is s t a g e I t h o u g h t it m ig h t b e va lu a b le t o s h o w h o w we ca n co m b in e s h a d in g a n d t e xt u re in t h e o n e d ra win g . La t e r we s h a ll b e d o in g m o re wo rk o n t h is b u t fo r n o w it is s u fficie n t t o s h o w t h e s t u d e n t wh a t t h e y will b e a b le t o d o if t h e y a p p ly t h e m s e lve s t o t h e le s s o n s s o fa r. All t h e t e ch n iq u e s a re a lre a d y d e s crib e d . S cra p e rb o a rd is a b o a rd m a d e o f a b a ckin g , a la ye r o f co m p re s s e d wh it in g / a d h e s ive 1 m m t h ick) t h e n co ve re d wit h a film o f b la ck in d ia n in k. An in cre d ib ly fin e wh it e lin e s t ylu s a s it is d ra g g e d a cro s s t h e s u rfa ce . Th e fla t e d g e s o f t h e s t ylu s a re s h a rp e n e d s cra p e la rg e r a re a s cle a n o f t h e in k. Th e b o a rd s ca n b e b o u g h t a lre a d y m a d e a s ca n o t h e r t o o ls fo r t h e s cra p in g p ro ce s s .

m ix ( a p p ro x is e t ch e d wit h a a nd use d to t h e s t ylu s a n d

In e a rlie r d a ys , wh e n I wa s p o s s e s s e d b y a s t e a d y h a n d a n d ke e n e ye s ig h t , I p ro d u ce d a n e xh ib it io n o f 2 8 s cra p e rb o a rd d ra win g s o f wh ich t h e d ra win g b e lo w is b u t o n e e xa m p le I h a ve s ca n n e d fro m a n o ld e xh ib it io n in vit a t io n co ve r. Ala s , n o n e re m a in in m y p o s s e s s io n a n d I n e e d e d t o s e a rch m y re co rd s fo r t h e o n e s h o wn t o s ca n it a n d s h o w it t o yo u a s a n e xa m p le o f 'd ra win g wit h t e xt u re '.

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part two - texture

I u s e d lit t le 'cyp h e rs ' o r cu rve s ( b e lo w) fo r t h e wo lle n t e xt u re o f t h e p u llo ve r( ve ry s im ila r t o t h e fu rry t e n n is b a ll in t h e p re vio u s le s s o n ) a n d s t ra ig h t lin e s ( s in g le h a t ch in g ) fo r t h e s kin t e xt u re . Th e re wa s lit t le o p p o rt u n it y fo r 'cro s s h a t ch in g in t h is d ra win g a p a rt fro m t h e h a ir wh e n a co n fu s e d t a n g le is re q u ire d .

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part two - texture

Yo u will n o t e h o w t h e s kin ca n b e t e xt u re d e it h e r a lo n g t h e fo ld s , a s in t h e fo re h e a d , o r a cro s s t h e fo ld s a s in t h e n o s e a n d ch e e ks . Th is p ro d u ce s a 'd yn a m ic t e n s io n ' t h a t ca n b e u s e d t o e m p h a s is e ro u n d n e s s o r fla t n e s s . Fo r t h o s e s t u d e n t s wh o d e cid e t o a d va n ce in t o p a in t in g it is u s e fu l t o re a lize t h is s a m e 'd ire ct io n a l lin e ' is t h e d ire ct io n t h e p a in t e r wo u ld e m p lo y wit h t h e b ru s h t o g ive t h e h u m a n b o d y a p p ro p ia t e 'd yn a m ic t e n s io n '.

Fu ll s ize a p p ro x 1 0 " b y 1 2 " in p riva t e o wn e rs h ip ( h e a ve n kn o ws wh e re it is n o w fo r, a t t h e t im e , it wa s p u rch a s e d b y a re s t a u ra n t o wn e r fo r $ 3 0 0 a n d fre e m e a ls wh e n e ve r I wa s d e s p e ra t e ly h u n g ry, wh ich wa s q u it e o ft e n in t h o s e d a ys !)

GO TO . . . LES S ON THREE le s s o n m e n u

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part two - space

P ART 2 : LES S ON - 3 D D RAW I N G TI ME: Allo w 4 0 m in Aim : To in t ro d u ce a t h e b a s is o f t h re e d im e n s io n a l d ra win g a n d a p p ly t o d ra win g . Ma t e ria ls ; Th e s ke t ch p a d , HB a n d 4 B p e n cil, e ra s e r, a ru le r if need be.

Allo w fiv e m in u t e s t o fo r t h e q u ic k s k e t c h t e s t . Tw o m in u t e s t o d o a n d t h re e t o m a rk . S w a p , d is p la y a n d t it le if n e c e s s a ry . Dra w a lit t le b u t t e rfly o n yo u r p a g e in a p p ro xim a t e ly t h e s a m e p o s it io n a s m in e .

Bu t wh e re e xa ct ly is t h e b u t t e rfly? Ho w fa r fro m u s , h o w h ig h a b o ve t h e g ro u n d ? We h a ve n o id e a u n t il we 'p la ce ' o u r b u t t e rfly. To d o t h a t we s h a ll p u t h e r in a ( re fe re n ce ) b o x o r ca g e . S e e b e lo w . . .

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part two - space

No w we h a ve o u r re fe re n ce a n d we ca n re la t e t h e p o s it io n o f t h e b u t t e rfly t o s o m e t h in g t a n g ib le , s p e cific. Fu rt h e rm o re if we d ra w a lin e 'fo rwa rd ' fro m o u r b u t t e rfly we ca n d e cid e wh e re we wa n t o u r b u t t e rfly in re la t io n t o t h e fro n t o f o u r b o x ( p o in t 'a ')

In a s im ila r fa s h io n if we p ro je ct a ve rt ica l lin e u p fro m o u r b u t t e rfly we ca n re la t e t h e b u t t e rfly t o t h e t o p o f o u r b o x ( p o in t 'b ') . Bu t h o w fa r u p ? S in ce t h e b u t t e rfly is in a s e t p la ce t h e n p o in t 'b ' ca n b e jo in e d b y t h e ve rt ica l p ro je ct io n a n d b y t h e p ro je ct e d lin e t o t h e le ft va n is h in g p o in t . It is a s if we s lice d t h ro u g h o u r b o x a n d t h e 'p la n e ' o f t h a t s lice s u d d e n ly cu t t h ro u g h t h e m id d le o f o u r b u t t e rfly.

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part two - space

Do t h is a g a in a n d lo ca t e t h e b u t t e rfly o n p o in t 'c' t h e le ft h a n d fro n t s u rfa ce . S u ch is t h e m e t h o d we ca n o b t a in t h e 't h re e d im e n s io n s ' t h a t lo ca t e o u r b u t t e rfly in s p a ce . Of co u rs e we n e e d e d t o 're fe re n ce ' t h e b u t t e rfly wit h in a b o x. No w we h a ve o u r 't h re e d im e n s io n s '. Th e b ig g e r b u t t e rfly I h a ve in t ro d u ce d is m u ch clo s e r a n d ca n b e re la t e d t o t h e firs t in a s im ila r m a n n e r.

HOMEW ORK Pre p a re fo r t h e n e xt le s s o n b y d ra win g a 't o p vie w' a n d 's id e vie w' o f a co m m o n fo rk.

GO TO . . . LES S ON FOUR le s s o n m e n u

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P ART 2 : LES S ON - D RAW I N G A FORK

TI ME: Allo w 4 0 m in

Aim : To a p p ly in re ve s e t h e p rin cip le s le a rn t in o u r p re vio u s le s s o n t o d ra win g o b je ct s t h a t h a ve m o re co m p lica t e d t h re e d im e n s io n a l s h a p e s .

Ma t e ria ls : Th e s ke t ch p a d , HB a n d 4 B p e n cil, e ra s e r

Allo w fiv e m in u t e s t o fo r t h e q u ic k s k e t c h t e s t . Tw o m in u t e s t o d o a n d t h re e t o m a rk . S w a p , d is p la y a n d t it le if n e c e s s a ry . Pre p a re t h e s h e e t a s u s u a l t h e n u s in g t h e p re p a re d t o p a n d s id e vie w o f t h e co m m o n fo rk d ra w a b o x o f a p p ro p ia t e d im e n s io n s a s s h o wn .

On t h e t o p s u rfa ce d ra w a 'fla t ' t o p vie w o f t h e fo rk.

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Dra w a s id e vie w o n t h e fro n t rig h t h a n d s u rfa ce a s s h o w.

If we n o w p ro je ct lig h t lin e s 'in ' fro m t h e fro n t vie w a n d 'd o wn ' fro m t h e t o p we ca n lo ca t e a s m a n y p o in t s a s we like o n t h e e d g e o f o u r fo rk ( 'a ' a n d 'b ') .

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Jo in a ll t h e s e p o in t s u p wit h n ice s m o o t h fre e h a n d cu rve s a s s h o wn .

Co m p le t e a s s h o wn a b o ve t a kin g e xt ra ca re wit h t h e p ro n g s .

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No w le t u s g ive o u r fo rk a lit t le 't h ickn e s s ' u s in g s h a d in g o n t h e fro n t e d g e .

S h a d e in t h e re s t o f t h e fo rk a n d a d d a s h a d o w wh e re a p p ro p ia t e . If yo u h a ve a fo rk wit h yo u o n yo u r d e s k yo u ca n a d ju s t t h e s h a d o w a s yo u s e e it , o t h e rwis e ju s t co p y m in e .

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HOMEW ORK Re fin e t h e d ra win g a n d a d d a kn ife .

GO TO . . . PORTRAITURE le s s o n m e n u

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http://www.geocities.com/~jlhagan/K9-14/part_two_portrait.htm

P ART 2 : LES S ON - P ORTRAI TURE TI ME: Allo w 4 0 m in Aim : To s t u d y d ra w a p o rt ra t it u s in g t h e 'in s id e - o u t ' m e t h o d . Ma t e ria ls : Th e s ke t ch p a d , HB a n d 4 B p e n cil, e ra s e r, a ru le r fo r m e a s u re m e n t s if n e e d b e .

Allo w fiv e m in u t e s t o fo r t h e q u ic k s k e t c h t e s t . Tw o m in u t e s t o d o a n d t h re e t o m a rk . S w a p , d is p la y a n d t it le if n e c e s s a ry . Mo s t ly e ve ryt h in g we d ra w is b a s e d o n re g u la r s o lid s s u ch a s cu b e s , s p h e re s , cylin d e rs a n d p ryra m id s . . . o r a co m b in a t io n o f t h e m a ll. In t h is le s s o n we s h a ll b e u s in g a s p h e re , a h a lf- p yra m id a n d a cylin d e r.

S p h e re

Pyra m id

S p lit p yra m id

Firs t we co n s t ru ct a lig h t circle in t h e a p p ro xim a t e p o s it io n a n d s ize s h o wn b e lo w.

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Dra w a n o t h e r circle in t h e p o s it io n s h o wn ( e xa ct ly o n e fu ll circle a p a rt ) . Us in g a n ice 's ickle m o o n ' a rc d e s crib e t h e e d g e s o f t h e s h a d o ws t h a t will g ive t h e s p h e re s s o m e d e p t h .

S h a d e in t h e s h a d o w p a rt s o f t h e t win s p h e re s .

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Co p y t h e e ye s h a p e s fro m m y d ra win g b e in g ca re fu l t o ke e p t h e m le ve l a n d s ke t ch t h e lit t le in s id e co rn e rs a s I h a ve d o n e .

Ad d t h e e ye lid s a n d circle in t h e iris a n d p u p ils a s s h o wn b e lo w. To m a ke t h e e ye s lo o k rig h t o r le ft yo u wo u ld p o s it io n t h e p u p ils a cco rd in g ly.

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S h a d e in t h e p u p ils a n d iris e s . Re m e m b e r t h e p u p ils a re a ct u a lly h o le s a n d t h e re fo re s h a d o ws .

GO TO . . . PORTRAIT ( CONTINUED) 2 le s s o n m e n u

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P ART 2 : LES S ON - P ORTRAI TURE 2 TI ME: Allo w 4 0 m in Aim : To s t u d y d ra w a p o rt ra t it u s in g t h e 'in s id e - o u t ' m e t h o d . Ma t e ria ls : Th e s ke t ch p a d , HB a n d 4 B p e n cil, e ra s e r, a ru le r if need be.

Allo w fiv e m in u t e s t o fo r t h e q u ic k s k e t c h t e s t . Tw o m in u t e s t o d o a n d t h re e t o m a rk . S w a p , d is p la y a n d t it le if n e c e s s a ry . Us in g yo u r e ra s e r m a ke t h e s m a ll h ig h lig h t s in t h e e ye s t h a t g ive t h e m t h e ir s p a rkle . Th e a m o u n t o f 's p a rkle ' s h o u ld d iffe r fro m o n e e ye t o t h e o t h e r. S o m e t im e s yo u wo u ld 's p a rkle ' o n e e ye o n ly a s t h e o t h e r m ig h t b e in s h a d e . Ca re fu l o b s e rva t io n is t h e ke y.

Yo u ca n s u g g e s t s o m e e ye la s h e s a t t h is s t a g e . Ne xt we will co n s t ru ct t h e p yra m id t h a t will g ive u s o u r 'd e s ig n ' fo r o u r n o s e . All yo u will n e e d t o d o in t h e fu t u re is t o re m e m b e r t h e s e b a s ic s t ru ct u re s wh e n d o in g yo u r p o rt ra it s .

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Th e 'le n g t h ' o f t h e n o s e will o b vio u s ly d iffe r b e t we e n in d ivid u a ls . . . b u t n o t t o o m u ch . Th e d is t a n ce b e t we e n t h e e ye s will o ft e n va ry s lig h t ly a s we ll b u t o n ce yo u kn o w t h e a p p ro xim a t e d is t a n ce s a s I h a ve g ive n yo u yo u ca n m a ke t h e m in o r a d ju s t m e n t s yo u rs e lf.

Wit h a lit t le s h a d in g a n d ca re fu l e d g e s o n t h e b a s e o f t h e n o s e yo u will b e a b le t o s u g g e s t t h e s h a p e . Try n o t t o in clu d e t o o m a n y d e t a ils a t t h is s t a g e . Ne xt we will lo o k a t t h e lip s . . .

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Lip s a re b e s t vis u a lize d a s p a rt o f a cylin d e r a s t h e y 'wra p a ro u n d ' t h e fa ce . He re I h a ve d a wn t h e 'cla s s ic' s h a p e wit h m o u t h clo s e d . Us in g s im ila r p ro p o rt io n s co n s t ru ct yo u r o wn a s s h o wn b e lo w.

No w a d d a lit t le b it o f s h a d in g a n d co m p le t e yo u r d ra win g a s s h o wn .

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HOMEW ORK Co m p le t e b o t h e ye s a n d m o re s h a d in g .

END OF DRAWING BOOK b a ck t o s t a rt

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part two - roses

P ART 2 : LES S ON - D RAW I N G A ROS E

TI ME: Allo w 4 0 m in

Aim : Th is is a p ro je ct t h a t h a s t wo p a rt s . Pa rt o n e , in t h is s e ct io n , is le a rn in g t o d ra w a ro s e a n d p a rt t wo is in t h e g e n e ra l le s s o n s e ct io n o n m a kin g t h e d ra win g in t o a p a in t in g .

Ma t e ria ls ; Th e s ke t ch p a d , HB a n d 4 B p e n cil, e ra s e r. In a d d it io n e a ch s t u d e n t will n e e d a s in g le ro s e . . . e it h e r h a ve t h e s t u d e n t o b t a in o n e in p re p a ra t io n o r t h e t e a ch e r m ig h t d e cid e t o p ro vid e t h e m in wh ich ca s e o n e p e r e ve ry t wo s t u d e n t s will b e s u fficie n t .

Allo w fiv e m in u t e s t o fo r t h e q u ic k s k e t c h t e s t . Tw o m in u t e s t o d o a n d t h re e t o m a rk . S w a p , d is p la y a n d t it le if n e c e s s a ry . Yo u will n e e d five s h e e t s fo r t h is le s s o n b u t h a ve t h e s t u d e n t p re p a re t h e m a s t h e y n e e d t h e m . Ne xt h a ve a ll t h e s t u d e n t s e xa m in e t h e p e t a ls o n t h e ir ro s e . Th e y s h o u ld t a ke p a rt icu la r in t e re s t in t h e o u t s id e d ro o p in g p e t a ls wh e re t h e y will o b s e rve t h e fo llo win g s h a p e s . Th e s e t h e y will d ra w a s I h a ve d e m o n s t ra t e d b e lo w b u t wit h t h e ir o wn va ria t io n s .

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part two - roses

Yo u will n o t e t h a t ro s e s g e n e ra lly h a ve five p e t a ls . . . in s id e five p e t a ls - in s id e five p e t a ls e t c. Th e p e t a ls a re o ffs e t s o t h a t t h e o u t s id e p e t a ls d o n 't lin e u p wit h t h e a d ja ce n t ro w in s id e a n d s o o n a n d s o fo rt h . Th e re fo re o n t h e n e xt s h e e t lig h t ly d ra w a p e n t a g o n ( five s id e d fig u re ) a s s h o wn in Fig . 1 . Yo u m a y u s e a circle if yo u like t o b e m o re a ccu ra t e . Nick t h e co rn e rs a s I h a ve s h o wn in Fig . 2 Pu t a ve e in t h e fla t s id e s o f t h e p e n t a g o n a s t h is will d e fin e t h e e xt e n t o f t h e p e t a ls . Fig . 3 . Firm in t h e o u t lin e a s in Fig . 4 . a s we ll a s d e fin in g t h e p e t a ls a n d t h e ce n t e r o f t h e ro s e . Yo u s h o u ld n o w b e g in t o u n d e rs t a n d t h e b a s ic s t ru ct u re o f t h e ro s e a s s e e n fro m in fro n t . Co m p le t e a n d la b e l t h e s h e e t .

On a n e w s h e e t d ra w t h e ro s e a s I h a ve d o n e t a kin g p a rt icu la r ca re t o va ry t h e e d g e s o f t h e p e t a ls a s yo u d is co ve re d in yo u r d ra win g s h e e t No . 1 . Th o u g h t h e s t ru ct u re ( p e n t a g o n ) re m a in s t h e s a m e t h e o u t lin e g e t s va rie d a s t h e p e t a ls fo ld o ve r o n t h e m s e lve s h e n ce we g e t t h e irre g u la r o u t lin e a s in Fig . 5 . In Fig . 6 we will d ra w t h e cla s s ic 'b e ll s h a p e ' o f t h e in t e rn a l s e ct io n o f t h e ro s e a s vie we d fro m s id e on. Fig . 7 s h o ws t h e 'b e ll s h a p e ' in s e rt e d in t o t h e o u t s id e p e t a ls . Fig . 8 will b e yo u r s ke t ch o f t h e 'ro s e b u d . ' La b e l a ll t h e s e d ra win g s a n d t it le t h e s h e e t .

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part two - roses

On t h e n e xt s h e e t ( b e lo w) we will d ra w t h e fro n t vie w o f t h e ro s e fro m t h e 'in s id e ' o u t . Be g in wit h t h e ce n t e r a s I h a ve in Fig 1 a n d ca re fu lly co n s t ru ct yo u r p e t a ls a ro u n d it g e t t in g b ig g e r a s t h e y s p re a d o u t . S h a d e t h e d e e p p a rt s o f t h e p e t a ls a s I h a ve d o n e u n t il yo u h a ve t h e co m p le t e 're fe re n ce s h e e t ' s im ila r t o m in e .

Fo r o u r fin a l re fe re n ce s h e e t we will b e d ra win g t h e p e t a l a g a in a n d fo rm in g it in t o s id e o n vie ws o f t h e ro s e in s e m i a n d fu ll b lo o m . No t e t h e cla s s ic 'b e ll' s h a p e a n d ju s t co n ce n t ra t e o n a s s e m b lyin g a ll t h e p e t a ls . Yo u will n o t e yo u will o n ly ju s t s e e t h e t ip s o f t h e in s id e p e t a ls t h o u g h t h e y will m o s t ly a p p e a r fla t o n t o p a s t h e y cu rl o ve r. Th e y g e t s m a lle r a n d s t ick u p m o re a s t h e y g e t t o wa rd t h e http://www.geocities.com/~jlhagan/K9-14/part_two_roses.htm (3 von 4) [08.12.2002 12:43:25]

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ce n t e r o f t h e ro s e .

Ple a s e n o t e t h e o t h e r 'p a rt s ' o f t h e ro s e a n d a d d t h e m a s I h a ve . Co m p le t e a s s h o wn a b o ve . . . a n d a d d t h e t it le .

HOMEW ORK Ob s e rve a n d p ra ct ice u n t il yo u a re co m fo rt a b le d ra win g t h e ro s e fro m a n y a n g le . Try d ra win g it fro m t h e b a ck! Fo r t h o s e s t u d e n t s wis h in g t o s e e h o w s u ch a d ra win g ca n b e co n ve rt e d in t o a n o il p a in t in g d e p ict in g a va s e o f ro s e s g o t o p a in t in g ro s e s in t h e a d va n ce d le s s o n s e ct io n .

END OF DRAWING BOOK b a ck t o s t a rt

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roses3

PAI N TI N G RED ROSES

This lesson is a cont inuat ion of t he drawing lesson on roses t hat you should view before at t em pt ing your own paint ing. I have done t he paint ing in four st ages and will at t em pt describe each st age as t hey are shown below. The st udent should t ry and com plet e t his paint ing in one session as it is essent ially a 'wet in wet ' proj ect t hat relies on t he fluidit y of t he paint . First of all I covered a prim ed canvas ( 16" x 13" ) in a 't hin' m ix of raw um ber. Technically t his is usually referred t o as a 'im prim at ura'. When I say 't hin' I m ean a m ix dilut ed wit h t urps t hat spreads like wat ercolor and dries very quickly. When alm ost dry I use chalk t o draw in t he design. For t his classic or form al design I place m y im aginary 'horizon' about one t hird up from t he bot t om and t hen cent er t he vase. I f you prefer you could use charcoal for t he drawing.

Wit h t he drawing com plet e I begin paint ing t he cent ers and shadows in t he roses. For t his I use 'cadm ium red deep' wit h perhaps a t out ch of t he um ber or burnt um ber in t he very cent ers. Next you should really load up a half t o t hree quart er inch flat brist le brush wit h 'cadm ium red' and begin t o paint bet ween t he cadm ium red deep wit h broad singular st rokes t hat will represent t he forem ost of t he pet als ( see below) . Not e t hat your brushst rokes should becom e a lit t le t hinner ... use t he edge of your brist le brush for t his ... as t he pet als near t he cent er of t he flower.

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roses3

For t he leaves I use a m ix of ult ram arine blue and yellow ochre. Liven t his up wit h som e st rokes of deep red. Shadows should never be bland. Where t he light st rikes som e of t he leaves you m ight want t o bring t hem up wit h a lit t le cadm ium yellow and a blue/ whit e m ix ( see t he green highlight s above) .

Next I would like you t o consider t he 'negat ive' space. That is what I call m ost of t he area around t he roses, in t his case t he background, t he foreground and t he cast shadow. Here you

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m ight m ix up a m auve wit h your cadm ium red and ult ram arine blue light ened wit h whit e and again load up your brush and begin 'cut t ing in' t he out line of t he part icular bloom s t hat int eract wit h t he background.Use a m edium if your paint is t oo dry. I t should be cream y and fluid so you will need t o recharge your brush aft er every t hree or four st rokes. You can do a sim ilar t hing wit h t he foreground wit h a m ix of raw sienna and whit e. Spend som e t im e and t hought doing t his 'cut t ing in' and if a shape does not appeal rub it off wit h a rag and t ry again. Try an achieve a balance bet ween shapes using m ore one st roke 'concave' shapes for t he rose bloom s in out line. DANGER ... do not overwork t he brush st rokes ot herwise t he paint ing will lose it s freedom and im m ediacy. I f t he hues begin t o look t oo garish you can always t one t hem down by adding a lit t le raw um ber.

Finally you will be left wit h t he wat er filled glass bowl. This is not hing but a m irror for what surrounds it . Basically you should 'sm ear t he bowl' wit h all t he adj acent colors as I have done and when t his looks sat isfact ory use t he chisel- edge of a brist le brush t o show som e of t he rose st em s as t hey are seen t hrough t he glass. Add a lit t le 'whit e' highlight t o t he glass. Such highlight s are best wit h t it anium whit e/ naples yellow m ix which gives a bet t er 'glow' t han j ust pure whit e.

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roses3

Here is anot her variat ion on t he sam e t hem e on a larger canvas ( 24" x 16" ) . GO TO .... paint ing percy t he pelican Advanced lesson m enu

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Advanced painting lessons

THE MODERN ILLUSIONISTS AD VAN CED PAI N TI N G - BEYON D FASH I ON ... BY JOHN HAGAN

N EW : A view of all works available as print s can be seen by pressing here. Un de r st a n din g t h e a im s Why I llusion? Pa in t in g m e t a ls gold and chrom e silver and copper W h a t is ph ot o- r e a lism ? phot o- realism kissing pract ice [ 2] [ 3] The grape, t he cherry and t he eye! The eye com plet ed Br u sh st r ok e s t he paint erly effect ( Virgil Elliot t ) Virgil's 'Oil Paint ers Bible' [ 2] t he paint erly effect ( William Whit aker) Bill's dem o [ 2] [ 3] [ 4] What m akes a m ast erpiece?

Einstein etching shown (10"x12") by John Hagan (1975) Pe r spe ct ive som e advanced perspect ive rivers lakes and ponds Applica t ion s t he golden m ean com put ers and paint ing [ 2] [ 3] Pa in t in g fu r ,lin e n ,sa t in ,silk ,ga u ze drawing t ext ure paint applicat ion Color what color t o use hue sat urat ion psychology and t he adj acent effect harm ony color m ixing and psychology Pr a ct ica l pa in t in g de m on st r a t ion s The eart h, a sm aller place? [ 2] [ 3] Roses [ 2] [ 3] NEW Technology and Paint ing - t he way ahead? All le sson N e w CD h e r e

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Illlusion and photo-realism

3 - 1 CLASSI C I LLUSI ON AN D PH OTO- REALI SM

Here we will exam ine t he not ion t hat good paint ings can be m ade by sim ply copying phot ographs. To do t his we shall ret urn t o t he lat t er half of t he last cent ury when phot ography was all t he rage and t he great debat e of t he t im e was whet her phot ography should confine it self t o science or also develop as an art form . The perceived danger t o paint er's incom es was what spawned t he im pressionsist s who believed represent at ional art was doom ed. Meanwhile it gave t he academ y paint ers som et hing t o t hink about - rat her like t he lat e 1980's when t he cham pions of com put er t echnology predict ed t he dem ise of newspapers and books. I t seem s t hey t oo were a lit t le prem at ure as t rees seem in m ore danger now t han t hen. There is lit t le doubt t hat Monet ,Van Gough, Renoir, Cezanne and ot hers were art ist s of innovat ion and t hat t he 'academ y' paint ers such as Bouguereau and Gerom e, aft er I ngre depart ed t his m ort al coil, were t he next m ast ers of t he classic west ern art t echnique. I call such paint ers as Bouguereau and Wat erhouse t he paint er's paint ers as t hey com bine advanced t echnique wit h subt elt y t o t he ext ent you alm ost forget t he paint ing is m erely a t wo dim ensional illusion. I n t he fervent bat t le t o m aint ain a presence against phot ography it was unfort unat e t he im pressionist s were pit t ed against t he academ y art ist s for a shrinking art m arket . While t he im pressionist s m ost ly t urned t o landscape t he academ y art ist s concent rat ed even m ore on developing a m ore subt le t echniques for figurat ive and port rait paint ing.

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Illlusion and photo-realism

I ia n N e il w r it e s: 'Cert ainly Bouguereau does have a cert ain Rom ant ic flavour t o his works, but by and large he did not work in t he st yle of Delacroix, David- Freidrich, or Gericault , t o nam e a few exponent s of t hat st yle. When I look at Bouguereau's work, t he overwhelm ing im pression I receive is of Classical polish and perfect ion, it s pot ent ial severit y soft ened wit h aspect s of Rom ant icism . One m ust underst and t hat by describing Bouguereau's work as Phot o- I dealism one risks classing him am ongst t hose who m erely copied phot graphs. Most crit ics probably do not realize t hat Bouguereau, like m any of t he great " academ ic" paint ers, did not rely very heavily on phot ographs at all - - Bouguereau, like Piet ro Annigoni half a cent ury lat er, preferred t o work from life. The fact t hat his paint ings are so ext raordinarily verisim ilut udinous is due t o his enorm ous t echnical abilit y, and not t o a slavish at t it ude t owards represent ing realit y " phot graphically" .

I ia n 's dr a w in g Aft er all, why should we declare Bouguereau t o be " phot ographic" ? I s it t rue t hat t he only * real* realit y is t o be found in phot ographs? - t hat is obviously ut t er nonsense! The only realit y t o be found is in realit y it self. Bouguereau did not set out t o im it at e phot os, alt hough it is possible he m ay have spurred him self ever onwards out of t he sheer delight of pushing his skills t o t he lim it ; nevert heless, he wasn't a parasit e or a m ediocrit y - - he paint ed from REALI TY and not from a faded recreat ion of realit y. Aft er all ... can not t he eye capt ure m ore of t he world's beaut y t han t he phot o? Can we not perceive t he beaut y of m ovem ent , t he subt let ies of colour, and so fort h, whereas our cam eras st ruggle t o be able t o even t ake adequat e phot os in poorly lit condit ions? We hum ans don't need t o spend hours in t he developing room j ust t o see what is out t here - - Bouguereau did not need t o seek t he Trut h t hrough phot os - - t he Trut h was already out t here.

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Illlusion and photo-realism

Now, ret urning t o m y init ial classificat ion of Bouguereau as a " Clasical- I llusionist " . I t is not m y int ent ion t o suggest at all t hat he was an im it at or of ( or slave t o) t he cam era; I have m erely lat ched on here t o t he t erm m ost fam iliar t o us t o describe a represent at ion of realit y which is ext raordinarily life- like. Bewarned, t hough - never m ist ake Bouguereau's suprem e illusionist ic skill for a barrenness of invent ion or a servit ude t o t he m inut ae ( which im plies t he * irrelevancies* ) of realit y. Bouguereau st ands prom inent ly in t he long line of I llust ionist s who m ade m agic out of t he m undane, who dist illed t he Beaut y out of Trut h, and who feeds our eyes and our souls on a feast of life- affirm ing verdor. Em phasizing t he " academ ism " of t he non- I m pressionist paint ers is t o do t hem a disservice. These people didn't j ust execut e works for t he st at e, t he Second Em pire or what ever. To declare t hat t heir 'st yle' m arks t hem as oppressors of t he I m pressionist s or enem ies of " t rue art " is t o m ake a grave error in j udging t heir im port ance in art hist ory. Therefore, I obj ect t o t hem being described as " Pom piers" - - I underst and t hat t he t erm s " baroque" and " rococo" also previously had a negat ive connot at ion, but if we are t ry and ressurect t he reput at ions of m en like Gerom e, Bouguereau and Meissonier, why should we m ake our t ask t hrice as difficult by referring t o t hem in what we have all acknowledged is a derogat ory t erm ? I t m ay be t hat in t he fut ure t he t erm " Pom pier art " can be applied wit h equanim it y and fairness by som e generat ion of art hist orians - - but at t he present we would be playing right int o t heir hands by assert ing ( quit e falsely) t hat Bouguereau and Gerom e were m erely academ ics or pedagogues'. STUD EN T ACTI VI TY:Use t he library or t he int ernet t o m ake a list of 8 im pressionist art ist s of 1890 and a list of 15 academ y art ist s of t he sam e period. I nclude any Orient alist s and t he PreRahpaelit es in t he lat t er group. Also nam e a paint ing by each art ist list ed. Allow 40m in.

GO TO .... t he eye, t he grape and t he cherry advanced lesson m enu

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Advanced lessons - introduction

1 - 1 TH E M AGI C OF PAI N TI N G - I N TROD UCTI ON

'Give m e som e paint , brushes and canvas and I will give you gold, silver, ruby and pearl. I will give you t he great est t reasures you have ever seen. I will show you m agic. Art ist s are t he great est alchem ist s, t he best m agicians of all. They can m ake gold from base m et als, t hey can m ake you laugh and cry and t ouch your very soul, and t hey do t hat every day - and m ore ... JH from t he 'Modern I llusionist s'.

Th e M a gicia n - A following st ory will explain how t hese disciplines can int eract and why t he word illusionist applies t o t he m ast er paint er as well as t he best m agicians. Early t his cent ury a m agician was sent t o Nort h Africa t o quell a rebellion. He cam e on st age wit h a large wooden chest which he placed in t he cent er and asked for t he st rongest m an in t he audience t o st ep up. Aft er som e coaxing a warrior cham pion, a lum bering ox of a m an was propelled up on st age. The m agician t old him not t o fear but t o lift up t he sim ple wooden chest . This t he m an did t his wit h consum m at e ease. Next t he m agician t old t he audience he would st eal t he giant ’s st rengt h and render him as weak as a kit t en. He clicked his fingers and asked t he m an again t o t ry and lift t he chest . Now t he st rongm an st rained and pulled but could not m ove t he wooden chest , even an inch, and finally gave up. To prove he had t aken away t he m an’s power t he m agician asked his assist ant , a slight ly form ed young boy, t o prove he could lift t he chest - which he did. There was m uch const ernat ion which t he m agician st illed by suddenly announcing he could rest ore t he form er st rongm an's st rengt h. Then aft er asking t he audience if t hat was what t hey want ed, and wit h anot her click of t he fingers, he did. Finally, upon ordering t he st rongm an t o lift t he chest for a t hird t im e t he m an raised it wit h his form er ease. The chiefs gasped and t he rebellion was quelled for who could oppose such power? Of course a st eel plat e in t he bot t om of t he chest and an early elect ro- m agnet under t he st age was t he sim ple cause of t he phenom enon. But what is im port ant is t he st ory. I t was t he m agician's m anipulat ion of t he m inds of t he audience t hat was t he real m agic. That is t he art of t he illusionist . Not t he t rick. I t is t he sam e wit h a paint ing or a play. A good paint ing will m ake you believe what you are seeing has a realit y in t im e and space even t hough you know it is an illusion, m erely a pict ure on a wall. Th e Applica t ion - The t echniques of paint ing silk and sat in, gold and silver or diam onds and rubies or anyt hing else for t hat m at t er requires t he art ist t o em brace t he sam e t hree disciplines t he m agician uses in m y st ory. 1. The art ist m ust underst and t he nat ure of t he obj ect s or t hings he or she desires t o paint . Just as t he m agician needed t o underst and cert ain principles of elect ro- m agnet ism t he art ist also m ust be a scie n t ist . To creat e t he illusion of gold or chrom e t he art ist m ust know som et hing of it s m olecular or cryst alline st ruct ure, som et hing of light and refract ion. I n ot her words som e elem ent ary physics and chem ist ry. 2. The art ist m ust be ph ilosoph e r enough t o ask and answer quest ions regarding t he nat ure of t hings in t heir ideal from - a concept ual analysis if you like. The art ist m ust underst and how people feel about t he t hings he or she desires t o paint . For t he m agician in m y st ory it was his underst anding of people’s feelings and t heir views and prej udices regarding a m an’s physical http://www.geocities.com/~jlhagan/advanced/intro.htm (1 of 3)1/13/2004 3:33:29 AM

Advanced lessons - introduction

st rengt h t hat was t he key. The concept and knowledge of how people feel about som et hing was - and is - essent ial for illusion t o succeed. 3. Whereas t he m agician needs t he skill and discipline of t he act or, pe r for m e r so t he art ist s m ust sim ilarly have t he abilit y t o cont rol t he paint ing in t he t ot alit y of it s part s. The art ist needs t o be creat ive and know how best t o const ruct and present his t wo dim ensional paint ing as a t hree dim ensional illusion. The art ist will need t o know and apply t he t echniques t hat paint ers use creat e form and dept h ( chiaroscuro and perspect ive) . To sum m arise t hen: we have t he t echnical analysis, t he concept ual analysis and t he present at ion t echnique. When we underst and t hese t hings about an obj ect or subj ect we can t hen paint it .

Many will recall t he pearl necklace I m ade from scrat ch in a previous lesson - so now let us use t hat t o dem onst rat e t he st udy necessary t o preform t he t ask. Please underst and t hat in t his exercise paint ing wit hout form and dept h will produce m erely a pale im it at ion, a sad flat t hing t hat t akes us back t o kindergart en.

Te ch n ica l a n a lysis - t he physical nat ure of a pearl. The pearl's t echnical charact erist ics fall under four m ain headings; a) Shape - various spherical - round, oval, t et rahedron wit h no sharp edges. b) Text ure - hard- edge sat in, non- oxidising c) Color - t he whole visible spect rum wit h an underlying m ilky yelloworange t o blue- grey. Pacific island pearls are yellow orange while art ificial Japanese blue - grey. d) Reflect ive abilit y - part ially diffuses t he light rays wit h it s sem iopaque non - cryst alline surface. Con ce pt u a l a n a lysis - The pearl as it exist s in t he m ind of m ost is usually round, glowing diffused and organic. I t 's m ost est eem ed color is underlying gold. The pearl is nat ural and feels benevolent against t he skin. Pr e se n t a t ion t e ch n iqu e - To t ake advant age of t he pearl's reflect ive nat ure I decided t o place it in a sit uat ion where t here was som et hing t o reflect . I n t his case in front of a window on a red t able in a brown room wit h a blue ceiling and an observer bet ween t he window and t he pearl. A st ring of pearls is m ore believable t han a single. Use a rich, soft background ( prussian blue) t hat exaggerat es t he pale, glowing diffused nat ure of t he pearl. That sat isfies t he form and t he dept h ( perspect ive) is int ernal in t he reflect ion.

STUD EN T ACTI VI TY: Paint ing t he pearls: 1) Paint m iniat ure scene as above in a wet m edium and allow paint t o diffuse. 2) Glaze in a sem i- t ransparent m ix of whit e, wit h a lit t le red and yellow. 3) While st ill wet int roduce t he faint est t ouches of as m any colors of t he spect rum you like. http://www.geocities.com/~jlhagan/advanced/intro.htm (2 of 3)1/13/2004 3:33:29 AM

Advanced lessons - introduction

4) Sharpen t he out side edges. Allow 40m in. Th e gr e a t e st illu sion of a ll cou ld be t h e illu sion you n e ve r n ot ice . Th e gr e a t e st m a gic cou ld w e ll be t h e m a gic you a r e n e ve r k n ow . A r e t ir e d spy on ce sa id t o m e ... 'You k n ow , n ot a ll m a gicia n s w e a r ca pe s a n d w a ve spa r k lin g w a n ds.'

GO TO ... Paint ing precious m et als Main Menu

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The Oil Painter's Bible - chapter 5

THE OIL PAINTER'S BIBLE - CHAPTER 5

M a st e r Cla ss - a dva n ce d oil pa in t in g pr in ciple s a n d t e ch n iqu e s fr om t h e Re n a issa n ce t o t h e pr e se n t by Vir gil Elliot t , APSC, ASPA 1 1 1 Goodw in Ave n u e , Pe n n gr ove , Ca lifor n ia 9 4 9 5 1 - 8 6 6 0 , U.S.A. Te le ph on e : ( 7 0 7 ) 6 6 4 - 8 1 9 8 E- M a il: Vir gilElliot t @AOL.com © 2 0 0 0 Vir gil Elliot t . All r igh t s r e se r ve d

PRINCIPLES OF VISUAL REALITY The greatest art is that which moves the viewer in a positive way, which touches perhaps dormant sensibilities inherent in human nature, and awakens and/or fortifies man's better qualities in so doing. Great performances in all the arts accomplish this same goal. A well-written operatic aria, for example, sung brilliantly and with feeling by a virtuoso soprano, can move an audience profoundly, raising the hair on the neck and bringing tears to the eyes, leaving at least some of them gasping and choking back sobs of deeply felt emotion as they try to maintain their composure . Experiencing such profound appreciation for a masterly performance leaves one forever changed for the better. It cannot do otherwise. Great Literature provides many comparable experiences. In painting, it is possible to achieve the same thing. Great Literature provides many comparable experiences. In painting, it is possible to achieve the same thing. The reader is referred to Rembrandt's "Judas Returning the Thirty Pieces of Silver" for an excellent example. The depth of Judas' remorseful anguish is compellingly conveyed by his body language as well as his facial expression, and the viewer cannot help but be deeply moved upon viewing it.

Compassion and sympathy are called forth as the audience feels the anguish of the subject, so eloquently is it expressed in the painting. Compassion , empathy, sympathy; these are all aspects of man's better nature. To change people for the better—what more noble purpose could an artist be called upon to fulfill? To what higher calling could we aspire? In each of the examples presented above, the means by which the experience is made possible is http://www.geocities.com/~jlhagan/advanced/chapter5.htm (1 of 8)1/13/2004 3:33:53 AM

The Oil Painter's Bible - chapter 5

virtuoso performance in an artistic endeavor by a Master of the discipline employed. Whereas the focus of the performance itself is to make the audience feel whatever the artist wants it to feel, it must be stressed that the objective can only be successfully attained through a thorough understanding of every aspect of the art form involved, including the psychological effects produced by each possibility. There is a language to be learned, and mastered, before any great performance is remotely possible. In literature, the language is verbal; in music, it is music theory. In visual art, it is a thorough understanding of the Principles of Visual Reality, coupled with heightened aesthetic sensibility and mastery of drawing and painting techniques. Why the Principles of Visual Reality? Because we live in a world of realistic images. We relate to realistic imagery. We even dream in realistic imagery. Of all the visual possibilities available to a painter, the only way to move our viewers to the utmost is to employ realistic imagery in our work. We may depict things which are not real, but if we render them in accordance with the Principles of Visual Reality, they will read as if they were real, and thus will be able to exert maximum impact on the viewer. It is the language by which we express whatever it is we wish to express, and which our viewers will be able to read and comprehend on the receiving end. Our messages cannot communicate if we speak in a language comprehensible only to ourselves. Thus we must use a language common to everyone who can see. Realistic imagery is that language. The Principles of Visual Reality are established by the way our vision works. The further one deviates from these principles, the less the work in question will resemble visual reality. In creating the illusion of reality, the artist depends heavily on the indication of the third dimension, which is depth, or spatial recession. Spatial recession is indicated by observing the principles of Geometric Perspective, Atmospheric Perspective and Selective Focus. GEOMETRIC PERSPECTIVE Geometric perspective, often referred to as simply perspective, may be defined as the natural law which says the further something is from our eyes, the smaller its image will be. Since there are two types of perspective, the other being atmospheric perspective, it is necessary to distinguish between them by referring to what is normally called perspective as geometric perspective, in reference to the fact that it is a geometric breakdown of a natural optical phenomenon. It is sometimes referred to as linear perspective, as it involves the use of lines in its construction. As simple as it sounds, the problem of how to convincingly render this visual phenomenon had baffled painters for centuries, until a mathematical approach was discovered in the early Renaissance. The painters Masaccio and Uccello, as well as the architect Bruneleschi have each been credited with its discovery. The Roman architect Vitruvius may actually have preceded all of the others named, and may in turn have been influenced in it by someone still earlier, but the discovery does not seem to have reached painters until the early Renaissance. Whichever of these attributions is correct is less important than the fact that the discovery was made, and that it constituted a major breakthrough in illusionistic painting. Once artists learned the system, they could indicate spatial recession more realistically than had previously been possible. The system involves the use of vanishing points; points at which lines intended to depict parallel lines converge. These vanishing points are on the horizon if the lines are level. It is important to note that the horizon is always at the viewer's eye level. When two or more vanishing points are necessary, as in all but the simplest perspective problems, their placement may be worked out following the mathematical system, or, if we are working from life, by simply copying the angles we see and extending them to the horizon. The points at which the extended lines cross the horizon are the Vanishing Points. All lines parallel to the one used to establish the Vanishing Point will converge at that Vanishing Point. If there is any question as to their accuracy, the mathematical system may then be employed to double-check. The mathematical approach must be learned first, and practiced until a point is reached whereby the artist is able to visualize the scene in correct perspective automatically, without the need of actually drawing in the vanishing points and guide lines. The subject is taught to students of architecture, but is not part of the curriculum of fine arts programs in most universities at the time of this writing. It may be that a Fine Arts major could take it as an elective. There are several books on the subject, the best of which are listed in the bibliography. However one chooses to study, whether alone, in an institution, or with a private instructor, the

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The Oil Painter's Bible - chapter 5

importance of mastering geometric perspective cannot be stressed too highly. It is imperative that any serious aspiring artist absorb this fundamental principle completely, if he or she is to ever create genuinely Great Art. It must become second nature, so thoroughly assimilated that virtually no effort is required to visualize it correctly. As the subject is so completely covered in Rex Vicat Cole's book, Perspective for Artists, there is little point in addressing it in full detail in this book. Errors in perspective are far too common in modern times. Such an error immediately destroys the illusion of spatial recession, and prevents the viewer from receiving the artist's message. In the simplest exercises in perspective, one Vanishing Point only is used, and may be placed arbitrarily, on the Horizon. A straight road on absolutely level ground may be indicated by drawing lines from points on each side of the road to the Vanishing Point on the horizon, where they converge. Suppose we want to add a line of telephone poles, or fence posts, running parallel to the road and placed at regular intervals. The spaces between them must diminish as greater distance from the viewer's eye is indicated. The interval between the nearest pole and the second pole is established arbitrarily by the artist. The placement of the base of the third pole may be determined by drawing a guideline from the top of the first pole through the center of the second pole, and extending it until it intersects the line running from the base of the first pole to the Vanishing Point.

A vertical line drawn from the point thus established becomes the third pole. Its height is found by drawing a line from the top of the first pole to the Vanishing Point. The fourth pole is located by drawing a line from the top of the second pole through the center of the third pole and extending it to the line connecting the base of the first pole with the Vanishing Point, and so on. This example is quite simple, and should serve only as an introduction to the geometrical system of indicating three-dimensional depth on a two-dimensional surface. Refer to the insets and accompanying illustrations for solutions to some of the more complex perspective problems. The system is not quite perfect, as it fails to take into account the curvature of the Earth. It works well because the Earth is so large that in most cases the curvature is not apparent. Its limitations are that it can become quite complicated, and artists are generally not mathematicians, nor are they likely to be interested in approaching the scene from such an analytical, as opposed to intuitive, standpoint. For this reason, many artists, or would-be artists, are weak in their understanding of this fundamental principle. It is imperative that the student, the aspiring artist, apply the discipline necessary to learn the mathematics of the system so well that all awkwardness with its application disappears and ceases to interfere with the creative, intuitive processes so essential to art. Once it is committed to second nature, it becomes a help rather than a hindrance. The artist should then be able to "eyeball" the scene accurately, without having to actually draw the vanishing points and guide lines. Its parallel in music would be the learning of music theory; perhaps no fun at first, but Great Music cannot be created without it. ATMOSPHERIC PERSPECTIVE http://www.geocities.com/~jlhagan/advanced/chapter5.htm (3 of 8)1/13/2004 3:33:53 AM

The Oil Painter's Bible - chapter 5

As objects recede in space they not only appear to shrink in size, but tend to lose detail, contrast of values, intensity of color, and their edges appear less distinct the greater the distance from the viewer's eyes. This is the principle of Atmospheric Perspective. Some writers call it "aerial perspective," but this is misleading, as the term, "aerial" usually pertains to flying. The visual alteration of images over distance is the direct result of "X" amount of atmosphere between the eye and the object or plane in view. The atmosphere contains water vapor and its own density, which renders it somewhat less than totally transparent, adding a certain degree of whiteness to the air. Light renders the atmosphere white. The more air we must look through to view something, the more atmosphere we see between it and our eyes, and the more the image is altered by it. An optical illusion is created by the presence of a semitransparent white between the eye and any color darker than white, which alters the color in question in the direction of blue, as well as lightening the value. This is precisely why the sky appears to be blue. The sky's blue is created by the blackness of space being viewed through a layer of semitransparent white atmosphere. The white is the atmosphere illuminated by the sun.

At night, without the sun's light, the atmosphere is no longer white, and the blackness of space becomes visible. Note that the sky is always lightest just above the horizon. This is the greatest distance we can see at ground level, which is where the atmosphere contains the most (white) water vapor and the greatest density. At the horizon, the density of the atmosphere renders it more opaque, and thus, whiter. As we look up, we look through thinner air, which is less opaque, and the sky is bluer and darker. This is why distant objects and planes appear lighter, bluer, and less distinct. The same phenomenon can be produced with paint. The process is called scumbling and is accomplished by applying a thin veil of white paint semitransparently over a layer of (dry) darker paint. The optical result in paint is the same as in the air. Translucent white over black reads bluish, just as light grey smoke against dark trees reads blue. Note that the same smoke may appear to be brown when a white cloud is behind it, a reverse of the scumble phenomenon. Dark over light increases apparent warmth. This is the principle at work in glazing, that is, the application of darker transparent paint over a lighter passage. Glazing and scumbling are discussed at length in Chapter Six and Chapter Ten. In painting, atmospheric perspective can be rendered directly, in one step, using opaque paint http://www.geocities.com/~jlhagan/advanced/chapter5.htm (4 of 8)1/13/2004 3:33:53 AM

The Oil Painter's Bible - chapter 5

exclusively, at least in the distance and middle ground, following the principle, by adding white, and sometimes blue, increasing the white (and blue) to indicate greater distance, softening edges by working wet paint into wet paint, suppressing detail and diminishing contrast between light and shadow to indicate greater distance. The effect can also be gotten, perhaps slightly more convincingly, in a two-stage process whereby the same procedure is used as in the one-step method except that the area of greatest distance is rendered very slightly darker than the desired final effect. The illusion is completed in the second step by scumbling a thin film of white or light grey over the dried paint of the first step in the areas of the greatest distance. The illusion of depth can be further enhanced by painting the deepest foreground shadows, and only these foreground shadows, in transparent glazes over a relatively lighter underpainting or primer. This creates the highest degree of clarity, as would be the case when the least amount of atmosphere is present between the shadow and the viewer's eye, appropriate for the immediate foreground only. The combined, systematic use of glazing, scumbling, and opaque painting allows the painter to create the illusion of depth to the highest degree possible. However, the successful rendering of spatial recession depends even more heavily on observance of the principles of geometric and atmospheric perspective than it does on expert paint handling. SELECTIVE FOCUS There is a third principle to be observed when creating the illusion of reality, which is closely aligned with atmospheric perspective. This is the Principle of Selective Focus. It is the phenomenon whereby our eyes, directed by the brain, register the highest attention to detail on whatever we consider most important within our cone of vision. Please note that this process is unique to the natural viewing apparatus. A camera does not operate in the same way. The specific differences will be discussed at length in the chapter on photography. In designing our painting, we must simplify the shapes of lesser importance and render them in softer focus than the areas of primary importance. Hard edges should be used sparingly, and for specific reasons. The use of too many sharp edges destroys the illusion of reality, as it does not correspond to visual experience. Our eyes cannot focus on more than one small area at a time. Everything else appears duller and less distinct. By following this principle, the artist can assign greater importance to key elements in the picture by rendering them in sharper focus and adding more detail, and can arrange things in such a way as to lead the eye from point to point, including areas of secondary and tertiary interest, if desired, to hold the viewer's attention for as long as possible. Areas of secondary and tertiary importance may also be rendered in sharp focus, but must be made less noticeable than the primary subject by their positioning on the picture plane and by arranging things in such a way as to have less contrast of values, lower chroma colors, or whatever other means will render them less noticeable at a distance. Orchestrated in this way, they do not compete with the area of primary importance for the viewer's attention. The main focal point is emphasized not only by sharper focus, but by greater contrast of light and dark, by higher chroma color, perhaps by its juxtaposition with contrasting hue accents, and especially by its strategic placement on the canvas. Other elements in the picture may also point toward it. Thus are the elements of secondary and tertiary interest rendered subordinate, even though they may be rendered in sharp focus in certain instances. Their effectiveness, however, depends on softer focus being used over most of the picture. If one had to choose between painting everything sharp, or everything soft, the soft option would allow for a more convincing illusion of reality. We all, at times, see everything in soft focus, as it takes a certain amount of effort and direction from the brain to focus the eyes on anything. It is not possible, however, to see everything in sharp focus at once; thus, a view painted in such a way clashes with our experiences in viewing the real world. It is easy to fall into the trap of painting this way, for as we move our focus from what we have just painted to what we will paint next, each element appears to us in sharp focus. The temptation to paint it as sharply as we see it when focusing on it is very strong, but must be resisted, or we violate the Principle of Selective Focus, and the illusion of reality of the overall scene will be compromised for the sake of superfluous detail. It is helpful to squint when observing these elements, thereby throwing the eye somewhat out of focus, and then paint them as they appear when squinting. If the painting requires a sharper focus on certain parts of the scene, it is still advisable to begin by squinting, in order to read the larger, more general shapes, and then add whatever

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The Oil Painter's Bible - chapter 5

detail is desired after we are certain that the big shapes are correct. We must not lose sight of how our picture will appear to its viewers at first glance. It must register upon their sense of sight just as the scene itself would, or they will not be drawn in to look at it more closely, and will never see to appreciate the fine work we may have put into the details. A picture must be designed to work as a visual whole. It must be more than a collection of details assembled at random. Elements of lesser importance should be simplified, lest they confuse the viewer as to what the subject, or focal point, of the picture is. If the focal point is rendered in sharper focus, and subordinate areas in softer focus and simplified, confusion is avoided.

This follows precisely the manner in which we view a scene with our own eyes. To see something in sharp focus, the brain must direct the muscles within both eyes to simultaneously adjust their respective lenses to focus on that object, and the muscles guiding the position of each eye to allow them to converge on that same object or surface. This involves a certain degree of effort, thus this action is only triggered by the brain when it deems something of sufficient importance to warrant it. Therefore, by rendering a given object or surface in our painting more sharply, we are indicating to the viewer that this particular thing is important. Thus the term, "Selective Focus." As artists, we should not just paint what we see, we should paint what we want to show to our audience, selecting only that which is worthy of such special attention, and then presenting it as it appears at its most appealing, or making it more so if it will make a better picture. The viewer's attention is directed where we want it by the use of selective focus. If the visions we paint exist only in our imaginations, so much the better. By understanding the Principles of Visual Reality, one can render imaginary scenes convincingly real, and perhaps transcend even the limitations of working from life. This is the mark of a Master. This level of ability can only be attained by working from life until the Principles of Visual Reality are thoroughly absorbed. There is no short cut. THE NATURE OF LIGHT

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The Oil Painter's Bible - chapter 5

Of equal importance to the principles governing spatial recession is an understanding of the nature of light and shadow. Three-dimensional form is indicated by the distribution of light. Shadow is, in theory, the absence of light, but in reality there is light in shadow as well. Areas of light are generally illuminated by light rays which have traveled in a straight line from the strongest source, whereas shadows receive their light indirectly, as the rays ricochet off nearby surfaces and bounce in behind objects that block the direct rays, or from secondary light sources weaker and/or farther away than the primary light source. Without secondary light, shadows would read as black. The dark side of the moon is an example. Secondary light is what enables us to perceive form within the shadows. The shadow is darkest at the just beyond the planes illuminated by the primary (strongest) light source. This area is called the shadow accent (sometimes referred to as the core shadow) of the body shadow. The phenomenon of the shadow accent is best understood in scientific terms. Whenever enough light is present to allow us to see at all, there are light rays coming from many directions, of varying strengths, both reflected and direct, often from more than one source. The strongest light creates what we consider light and middletone areas, whereas the weaker are only visible in shadow. Whatever is blocking the strongest light also blocks a certain amount of secondary light, and the closer the shadow is to the blocking obstacle, the more of the secondary light rays are blocked. A good analogy is to suppose we are standing under an awning or umbrella in the rain. Our head stays dry, being closer to the awning, umbrella or whatever is blocking the rain. Further down, some rain may reach us, where there is greater distance between a given surface and the awning. If we substitute light rays for rain, it becomes apparent why the shadow accent is darker than the rest of the shadow. Less light means more dark. Beyond the shadow accent, more reflected or secondary light is allowed to enter the shadow area, reflecting off nearby objects or planes, or from secondary (weaker) sources, as the distance from the light-blocking obstacle increases. This light is commonly called reflected light in shadow, although it often includes direct light from weaker or more distant sources as well. Perhaps a more technically correct term would be secondary light. So the shadow accent, also known as the core shadow, is most simply described as the zone of shadow between the primary light and the secondary light. The shadow accent is a most useful device for describing interior planes, that is, planes within the edges of the object being depicted, by its shape and by how sharply it makes the transition from middletone to shadow. A sharp change in angle will have a sharp transition; a more rounded form would have a softer transition from middletone to shadow. Once the artist understands this principle, he or she will look for the shadow accent, and will use it to good advantage. The cast shadow follows the same principle as the body shadow (the shadow on the unlit side of the object in question), in that it is darkest at the edge nearest whatever is blocking the light. Its edge is also sharpest at that point, and softens as it recedes from there, due to reflected light from surrounding planes or from secondary sources. The middletone is the area on the lighted side which is far enough from the angle of incidence of the light rays to our eyes that the body color of the object is least altered by the light. Thus the color of a given surface is seen at its highest chroma, or intensity, somewhere in the middletone. This is explained in greater detail in the chapter on color. The highlight is the point at which the light from the primary light source bounces off the object and to our eyes the most directly. It will contain more of the color of the light source than any other area in the light. The highlight will describe the surface texture of the object being viewed, by the degree of sharpness at its edge, and by the contrast between its value and the value of the middletone. There will be a transition zone between highlight and middletone. The extent of this transition zone, again, depends on the texture and shape of the surface, and on the intensity of the light from the source, striking at the highlight. It is necessary at this point to address the way in which color is affected in the shadow areas. Shadows are areas where the direct light rays from the strongest source cannot reach. If there were but one source of light, and no surfaces nearby to reflect light back into those areas, the shadows would be totally dark, and we could not read shapes within them. However, situations such as that are rare, except in outer space. In reality, there is usually more than one light source, and/or nearby surfaces which reflect http://www.geocities.com/~jlhagan/advanced/chapter5.htm (7 of 8)1/13/2004 3:33:53 AM

The Oil Painter's Bible - chapter 5

light into shadow areas. The color of the secondary light source affects the color of the shadows. The color of nearby surfaces, which reflect light into shadows, is also cast into the shadows as an inseparable component of the reflected light. The body color of the shadowed surface is also an influence; however, its chroma will be lower (duller) than in the middletone for the same reason that its value is lower (darker). The reason is that there is not enough light in the shadow to reveal the body color at its full intensity. The strongest influence on the color in shadow is usually the color of a secondary light source. The best example is an outdoor scene on a sunny day. The main light source is direct sun, which is slightly yellowish. The secondary light source is the sky, which is blue. The color of the sky will be the strongest color influence, other than the body color of each surface, in all areas facing it not lit by direct sunlight. The sun's rays, striking directly, are so much stronger than the light of the secondary source (the sky) as to effectively overcome the color influence of the sky in those areas, replacing it in the highlights with its own color plus white. In other words, direct sunlight "eats" the blue. When a cloud obscures the sun, the sky becomes the primary light source, and its color, blue, becomes an influence in the lighted areas, until the cloud moves away and allows the direct rays of the sun to again eat the blue. All areas then in shadow retain the blue influence of the sky, except where the light from the sky cannot reach. In those areas, reflected color will have a stronger influence. For example, the underside of an object surrounded by a green lawn will register a certain amount of green in the shadow areas, whereas the upward-facing areas in shadow will register the blue of the sky. The green is carried with the light from the sun as it bounces off the lawn, reflecting into nearby surfaces. If the object has no color of its own, such as a white or grey statue, this will be more apparent. If the object has its own body color, it will be influenced by the color of the secondary light, but not replaced by it. After the student has been exposed to these principles, they will become more obvious, as he or she will be on the lookout for them. This is an important step toward becoming an artist. Once the Principles of Visual Reality are completely understood, the artist is freed from dependence on external sources. Nothing the imagination can conjure up will be beyond the artist's ability to depict on canvas. This in itself is still no guarantee, however, that an artist so equipped will be a Master, as he or she must also have something of interest to say. Inspiration is an individual thing that cannot be taught. One finds inspiration on one's own. However, all the inspiration in the world will not help, if the inspired person lacks the vocabulary to express it. An understanding of the Principles of Visual Reality is an extremely important part of that vocabulary.

Detail from "The Songstress" by Virgil Elliott GO TO ... Techniques of Painting in Oil main menu

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kissing practice, a painting

KI SSI N G PRACTI CE - A D EM ON STRATI ON PAI N TI N G

'REALI SM D EFI N ED ' On e of t h e m ost difficu lt pa in t in g t a sk s it t h a t of a ct u a lly pa in t in g r e a list ic fle sh . N ow h e r e w a s t h is e x ce lle d bu t by t h e Fr e n ch Aca de m y pa in t e r s of t h e la t e n in e t e e n t h ce n t u r y or t h e ir cou n t e r pa r t s a cr oss t h e ch a n n e l su ch a s Le igh t on , W a t e r h ou se a n d Alm a - Ta de m a . Pe r h a ps t h e m ost su blim e of a ll t h e se w a s W illia m Bou gu e r e a u w h ose pa in t in gs of pe ople w e r e so con vin cin g it be com e s m ost difficu lt t o dist in gu ish t h e m a s m e r e im a ge s. M or e t h a n a n yon e Bou gu e r e a u m a de a n ge ls a s r e a l a s t h e pe a sa n t gir ls h e pa in t e d a s pot - boile r s for t h e m or e fa sh ion a ble com m e r cia l m a r k e t . Bou gu e r e a u is t h e pr ofe ssion a l pa in t e r 's be n ch m a r k for t e ch n ica l pe r fe ct ion in t h e r e n de r in g of fle sh . So h ow did h e do it ? I n t h is le sson I sh a ll de m on st r a t e a t e ch n iqu e a n d pr ovide a br ie f e x pla n a t ion of h ow h e a ch ie ve d su ch r e su lt s.

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kissing practice, a painting

Fig. 1 Prelim inary sket ch on a sm all gray board

Fig. 2 Prelim inary sket ch developed and t ransferred t o canvas

Aft e r sk e t ch in g m y for m s, in m a n y a spe ct s, a n d de cidin g on m y ge n e r a l com posit ion , a s I h a ve don e h e r e in Fig.1 in pe n cil, I a m r e a dy t o t r a n sfe r t h is t o m y pr e pa r e d ca n va s. I n t h is ca se it is r ou gh ly 5 2 " by 3 6 " a n d pr im e d w it h a cr ylic pr im e r a n d cove r e d by a n im pr im a t u r a of u m be r s a n d ligh t gr a ys t o a va lu e be t w e e n 4 a n d 5 . I n Fig.3 I h a ve t r a n sfe r r e d m y sk e t ch u sin g t h e 'gr id' m e t h od a n d a dde d som e a n a t om ica l fe a t u r e s. For a pa in t e r t h e st u dy of a n a t om y is a s im por t a n t a sk ill a s t h e pr a ct icin g of sca le s t o a m u sicia n or t h e u se of a sa w , ch ise l a n d dr ill is t o a ca r pe n t e r . Th e r e is n o sh or t cu t t o st u dy a n d dr a w in g of m u scle s, sin e w s a n d bon e s if a pa in t e r de sir e s t o pa in t t h e h u m a n for m . M y sk e t ch h e r e is don e in ch a lk for e a sy r e m ova l.

Fig. 3 Looking for shapes t hat sat isfy t he eye

Fig. 4 Hint ing at a background

To fu r t h e r de fin e m y com posit ion , a n d pa r t icu la r t h e m a sse s of t h e for m s a n d h ow t h e n e ga t ive a n d posit ive spa ce s r e a ct w it h e a ch ot h e r , I h a ve , in Fig.3 , h igh ligh t e d t h e ba ck gr ou n d. I n Fig.4 I su gge st a ba ck gr ou n d. H e r e , sin ce t h e figu r e s w ill dom in a t e t h e pa in t in g, I pla ce http://www.geocities.com/~jlhagan/advanced/kissing_practice.htm (2 of 3)1/13/2004 3:34:23 AM

kissing practice, a painting

t h e h or izon low ( 1 / 3 u p) . Th is w ill pla ce a h igh con t r a st a r e a a cr oss t h e m iddle of t h e pict u r e . To fu r t h e r a m plify t h e dr a m a I sh a ll e ve n t u a lly cr e a t e w it h in t h is ba ck gr ou n d t h e t h r e e de fin it e dist a n ce s, fa r , m iddle - gr ou n d a n d for e - gr ou n d. On e of t h e se cr e t s of cr e a t in g a su pe r - r e a lism is t o a llow t h e e ye t o be a ble t o com pr e h e n d a ll dist a n ce s a t on ce . Of cou r se t h is ca n n ot be a ccom plish e d by a ca m e r a or by t h e e ye w it h ou t r e focu sin g. GO TO .... k issin g pr a ct ice N o2 Adva n ce d le sson m e n u

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The Oil Painter's Bible - chapter 6

THE OIL PAINTER'S BIBLE - CHAPTER 6

M a st e r Cla ss - a dva n ce d oil pa in t in g pr in ciple s a n d t e ch n iqu e s fr om t h e Re n a issa n ce t o t h e pr e se n t by Vir gil Elliot t , APSC, ASPA

TECHNIQUES OF PAINTING IN OILS From the earliest days of oil painting to the time of this writing (late Twentieth Century, into the early Twenty-first), a number of oil painting techniques have evolved. A great deal has been learned through the processes of trial and error and from the experiments of various artists through the centuries. From Jan and Hubert Van Eyck, possibly the first innovators to paint pictures in oils, in the late Fourteenth and early Fifteenth Century, to William Bouguereau, Jean Léon Gérôme, Alexandre Cabanel, Jehan-Georges Vibert and the other French Academic painters in the late Nineteenth Century, technical knowledge developed more or less continuously, as artists of each generation added their discoveries to what their predecessors had learned.

The continuity was interrupted around the end of the Nineteenth Century as a result of the popularity of the Impressionists, who were viewed as a rebellion against the academic style of painting. The emotional reaction to the Impressionists' emergence resulted in a total rejection of the Academy and all it stood for, to the detriment of art instruction throughout the Twentieth Century. The techniques taught at the Academy and the ateliers of the Academics represented the culmination of at least five hundred years of more or less continuous development in representational drawing and painting, dating back to the early Renaissance. This wealth of knowledge included many of the discoveries of the Old Masters, yet it was

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The Oil Painter's Bible - chapter 6

suddenly regarded as "old fashioned," “passé,” etc., and therefore of no further interest. Technical development essentially ceased at that point. Fortunately, a few of the dedicated students of the Academics carried on in obscurity, and passed what they had been taught on to their students. There was also enough written documentation of the older techniques to enable this author, and a few other similarly obsessed individuals, to gain some understanding of what was involved, undaunted by the best efforts of several universities' art departments to discourage the pursuit of this knowledge. These written clues made possible a more thorough reading of the paintings themselves, sought out in museums across Europe and the United States over many years. Conservation scientists have also been able to provide a considerable amount of extremely valuable information previously only guessed at, which has helped to unravel the mysteries of the past, as technological advances and ongoing scientific inquiry continue to provide an ever-sounder base of knowledge from which to operate. Only after considerable practice in painting (below) can one fully understand what is there to be read in the paintings of the Great Masters and in the books which attempt to explain the techniques (including this one).

The hope is that this book will prove a little less cryptic (and more accurate) than the old manuscripts which the author was compelled to seek out and decipher in his own quest for knowledge. It is further hoped that it will find its way into the hands of others sharing the same obsession, and help to reestablish a link with the Great Art of earlier times. THE FLEMISH TECHNIQUE The earliest oil painting method evolved from the earlier discipline of egg tempera painting, as an attempt to overcome the difficulties and limitations inherent in that medium. As this took place initially in Flanders, the method is referred to as the Flemish Technique. Essential to this method of painting are a rigid surface primed pure white, and a very precise line drawing. The Flemish painted on wood panels primed with a glue chalk ground, which caused the transparent passages to glow with warmth from beneath the surface of the paint. As this method did not easily accommodate corrections once the painting

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The Oil Painter's Bible - chapter 6

was under way, it was necessary to work out the idea for the picture with studies done on separate surfaces. The completed drawing was then transferred to the white panel by perforating the "cartoon", or a tracing of it, along its lines, then positioning it over the panel and slapping it with a pounce bag, or sock filled with charcoal dust. The stencil was then removed, and the drawing finished freehand. Another method for the transfer was to cover one side of a piece of tracing paper with charcoal, or with a thin layer of pigment and varnish or oil, which was then allowed to become tacky, and use it as one might use carbon paper. Once the drawing was transferred to the primed panel and completed, its lines were gone over with ink or very thin paint, either egg tempera, distemper (glue tempera), watercolor or oil, applied with a pen or small, pointed, sable brush, and allowed to dry. The drawing was then isolated, and the absorbency of the gesso sealed, by a layer of varnish. Sometimes a transparent toner was added to this layer of varnish, which was then called an imprimatura. The tone of the imprimatura set the key for the painting, making the harmonization of the colors easier, and allowing for more accurate judgment of values. A field of white primer tends to make everything applied to it appear darker than it is, until the white is completely covered, at which time the darks are sometimes seen to be too light. And when the darks are too light, generally the rest of the tones are too light as well. By toning the isolating varnish (a warm tone was most commonly used), to a tone somewhat darker than white, this problem could be avoided or minimized. Once the isolating varnish or imprimatura was dry, painting commenced with the application of transparent glazes for the shadows. The paints used by the early Flemish practitioners were powdered pigments ground in walnut or linseed oil. There is widespread speculation regarding whether other ingredients, such as resins, balsams, and/or various polymerized oils were added, and the issue is not yet resolved as of this writing. All opinions on this subject must be understood to be guesswork until scientific analyses have been completed on enough paintings from this era to settle the issue. It is likely, though not definitely established, that the brushing characteristics of the paints might have been altered to a long molecular configuration by the addition of boiled or sun-thickened oils, and possibly balsams such as Strasbourg Turpentine or Venice Turpentine, and/or resins. Strasbourg Turpentine, sap from the firs growing in and around what is today Alsace Lorraine and elsewhere in Europe, is similar to Venice Turpentine but clearer and faster drying. Balsams and polymerized oils add an enamel like consistency to oil paint, changing its structure to a long molecular configuration. Long paint is easier to control than short paint, especially with soft hair brushes on a smooth painting surface, as in the Flemish Technique. Brushes used by the early Flemish oil painters were primarily soft hair rounds. Some were pointed at the tip; some were rounded, and some flat. Hog-bristle brushes were also used for certain purposes, such as scrubbing the paint on in thin layers for glazing and other effects. Painting commenced with the laying in of shadows and other dark shapes with transparent paint. In this method, the painting is carried as far along as possible while the paint is wet, but is usually not finished in one sitting. Large areas of color are applied after the shadows are laid in, and worked together at the edges. These middletone colors may be either transparent, opaque, or somewhere in between, depending on the artist's preference. The highlights are added last, and are always opaque. Several subsequent overpaintings may be applied after the initial coat is dry, if desired. Some Flemish artists also employed an underpainting of egg tempera, or egg oil emulsion paint, to help establish the forms before painting over them in oils. The Flemish method, in summary, consists of transparent shadows and opaque highlights, over a precise line drawing, on wood panels primed pure white. The painting medium may possibly contain a resin and/or balsam, which increases clarity and gloss, or a combination of a polymerized oil with a raw oil, which takes on the most desirable characteristics of a resin when used together (i.e., sun-thickened linseed or walnut oil, plus raw linseed or walnut oil, mixed together), without the defects of natural resins. The innovations are the use of oil paint and the technique of glazing with transparent color. A glossy varnish is applied at least six months after completion. Paintings are generally limited to smaller sizes, due to the difficulties involved in constructing, priming, and transporting wooden panels of greater dimensions. It had its limitations, but was a vast improvement over egg tempera, both in ease of execution and in the beauty of the final result. Although it originated in Flanders, word quickly spread of the marvels of oil painting, and it was soon adopted by the German artist Albrecht Dürer, who is known to have traveled to Flanders and to Italy, http://www.geocities.com/~jlhagan/advanced/chapter6.htm (3 of 11)1/13/2004 3:34:38 AM

The Oil Painter's Bible - chapter 6

and by Antonello da Messina, who studied in Flanders, according to Vasari. Giovanni Bellini then learned it from Antonello, and taught it to Giorgione and Titian. The Flemish painter Rogier van der Weyden, who was adept at painting in oils, came to Italy around 1449 and influenced a number of Italian artists, including Piero della Francesca. The use of oil as a painting medium was adopted cautiously by some, and derided by others, as anything new always seems to create controversy. Michelangelo refused to paint in oils, and reportedly ridiculed Leonardo for adopting it. Titian (Tiziano Vecellio) recognized its merits, and soon added several innovations of his own. THE VENETIAN TECHNIQUE Titian and Giorgione are generally credited with originating what became known as the Venetian Method of oil painting. The Venetian Method, or Venetian Technique, shares with the Flemish Method the use of transparent glazes for the shadows, darker darks and for certain special effects, and opaque highlights, but differs from the Flemish method in several important ways. The method evolved out of necessity, as the church desired large paintings of religious scenes for cathedrals, and wealthy dukes wished to adorn their palaces with large paintings of mythological themes and other subjects. The difficulties of constructing and transporting huge wooden panels influenced artists to seek an alternative. Canvas was soon adopted as the most convenient support for large paintings, as it could be rolled up and delivered, then reattached to the stretcher frame, or another of the same dimensions, at the painting’s destination and hung. However, the rough texture of the cloth created a need for certain adjustments in technique and perhaps in the chemistry of the paints. A new primer was also needed, as gesso (gypsum bound with animal glue) and glue/chalk grounds are brittle, and thus unsuitable for use on a flexible support. After years of experimentation, involving the addition of oil or honey to gesso to render it more flexible, white lead ground in linseed oil became the accepted primer for canvas. The canvas was first given an application of weak glue sizing to render it nonabsorbent, as the linseed oil would have otherwise caused the canvas to rot. The glue sealed the absorbency of the canvas and excluded the oil from the linen or hemp fibers. The gloss inherent in paints formulated for the Flemish Method was found to be objectionable for large paintings, and Titian seems to have made adjustments to produce a less reflective surface. It is likely he eschewed the use of polymerized oils, balsams and resins, all of which increase gloss, and opted instead for simpler paints ground in raw oil only. Thus the paint would have been of a short molecular configuration, rather than the (presumably) long paints of the Flemish. It was found that stiff, hog bristle brushes worked better with the short paint and rough textured canvas. The combination of large, stiff brushes, short paint, and the tooth of the canvas made the painting of hard edges more difficult. Sharp edges occur quite naturally in the Flemish Technique, with its smooth surface, long paint and soft hair brushes, whereas the stiff brushes and short paint produced soft edges as a normal result on a coarse textured canvas. Titian (or perhaps Giorgione, who died young), however, apparently found the softer edges more to his liking, and used them extensively, as they gave the effect of being slightly out of focus. The edges could be sharpened selectively, where desired, to call the viewer's attention to an area of greater importance, or to describe an object whose edges were actually sharp, such as a starched collar, sword, or piece of paper or parchment, or they could be left soft in the interest of Selective Focus. The systematic use of soft and hard edges together gave the paintings a more lifelike appearance, and more closely approximated the visual experience than did the overall use of hard edges, as had been the previous practice. Titian was perhaps not quite as accomplished a draftsman as Michelangelo, who is said to have criticized him for it, so he devised a technique which allowed him greater latitude for corrections. This technique involved the use of an opaque underpainting, with the edges left soft and nebulous to allow for later adjustments where necessary. Once the forms were established to the artist's satisfaction, he would allow the underpainting to dry, while he worked on other paintings. When dry, the underpainting could then be painted over in color, beginning with the transparent glazes for the shadow areas, as in the Flemish Technique, and developed further with opaque passages representing the areas of light. In the Venetian Technique, color is often applied over the underpainting initially as transparent http://www.geocities.com/~jlhagan/advanced/chapter6.htm (4 of 11)1/13/2004 3:34:38 AM

The Oil Painter's Bible - chapter 6

glazes, which are then worked into, while wet, with opaque pigments. The paint is worked together wet into wet until the desired effect is achieved, or until the paint becomes slightly tacky, at which time it is allowed to dry thoroughly. This process may be repeated as many times as necessary. At some point, someone, perhaps Titian, discovered that a light, opaque tone, rendered semitransparent by the addition of a bit more oil and/or simply by scrubbing it on thinly with a stiff brush, applied over a darker area produced an effect that could be put to good use. This is what we now call a scumble. It was found that a scumble over a flesh tone would produce the same effect as powder on a woman's face; that is, it made its texture appear softer. This is a useful device when painting women and young people of both sexes. It is also useful for indicating atmospheric density over distance, or atmospheric perspective. See Chapter Five, Principles of Visual Reality. Both glazing and scumbling create optical illusions. As such they effectively expand the capabilities of the limited palette of the early painters in oil. It was imperative that they get the most out of the materials they had. Glazing is the application of a darker transparent paint over a lighter area. The optical illusion created by the light rays’ having passed through a transparent darker layer, bouncing off the lighter surface underneath, then traveling back through the transparent layer to the viewer’s eyes, is unique to glazing, and cannot be obtained in any other manner. A warm glow is created, and the color thus produced appears warmer and more saturated (higher in chroma) than the same pigment applied more thickly and opaquely. The effect, in the darker passages, is that of a shadow seen up close, with no atmosphere between the viewer’s eyes and itself. The rich, golden glow in Rembrandt's dark browns is produced in this way. Rembrandt was influenced by Titian, and is reported to have at one time owned at least one of his paintings. Glazed darks appear darker than opaque darks, because the light rays are allowed to penetrate more deeply into the paint layer, and are thus subjected to a great deal of filtration before reflecting back out to the viewer’s eyes. This effectively expands the value range possible with paints, which are handicapped on the light end of the spectrum by the fact that white paint is not as light as light in Nature. The Old Masters compensated by carrying their darks as far as they could, to create as wide a range of values as possible. This can only be accommodated through the use of transparent paints on the dark extreme. Furthermore, as light contains color, the artist must make the highlights darker than white in order to include color in them. This further limits the value range, and makes necessary the darkening of all tones by a corresponding amount in order to maintain the proper contrast and relationships between each category of light or shadow. Transparent darks allow the expansion of the dark end of the range. Scumbling is the opposite of glazing. A scumble uses a lighter opaque paint, spread thinly enough so as to become translucent, over a darker passage. The optical effect thus produced is bluer than the paint applied, as the underlying layer is not completely obscured, and exerts its influence on the overall sensation, as has been previously described. It is very effective in softening surface textures, as soft cloth, such as velvet or cotton, or youthful complexions, the surface of a peach, etc., and, as mentioned, for indicating atmospheric haze over distant land planes and in the sky near the horizon. Overcast skies may be scumbled all over, as in Bouguereau’s “The Broken Pitcher.” There are still more advanced and sophisticated developments of the Venetian Technique. The "semiglaze", which can be either transparent or semiopaque, or anywhere in between, is a very thin application of color to an area of the same value as the paint being applied. Its purpose is to modify the color of a given area after that area is dry, as in the addition of a tiny bit of vermilion to a cheek or nose, and/or to allow subsequent wet into wet painting over an area in which the paint has dried. It tends to soften unintended too-harsh transitions of tone from the previous sitting, if used properly, and thereby adds a higher degree of refinement to the image. It is applied thinly, by scrubbing it on with a stiff brush, after the addition of a small amount of oil or a painting medium to lubricate the dry surface of the area to be repainted. Titian is reported to have sometimes applied glazes and semiglazes with his fingers, or perhaps he was wiping the excess away after having put too much on with a brush. Stippling with a flat tipped brush is a good technique for applying glazes, scumbles, and semiglazes, though other means work very well in skilled hands. As a further development of the Venetian Technique, the underpainting, or certain parts of it, may be executed in opaque color, rather than totally in neutral greys. One popular variation was Venetian Red and Flake White. The underpainting palette should be limited to lean paints (paints with low oil absorption) which are opaque and/or very high in tinting strength. High tinting strength fat paints (paints with high oil absorption) may be used if mixed in very small quantities with http://www.geocities.com/~jlhagan/advanced/chapter6.htm (5 of 11)1/13/2004 3:34:38 AM

The Oil Painter's Bible - chapter 6

very lean paints like Flake White. The objective is to keep the underpainting leaner than the layers applied over it. When dry, the color may then be subsequently modified with glazes, scumbles, and semiglazes, or painted over with opaque color. These steps may be repeated as many times as necessary. The highlights are placed last, applied wet into wet with a fully loaded brush. Impasto is often employed in the highlights, to produce the most opaque passages possible, and to ensure that they remain opaque. Oil paints become more transparent with age. Therefore, in order for the highlights to retain their opacity over the centuries, they must be applied heavily. The illusion thus created is that of direct light falling on a solid surface, ricocheting from that surface to our eyes. It is not actually an illusion, as that is exactly what is happening. Juxtaposed with the transparent shadows, the illusion of depth is thus enhanced. The underpainting, sometimes referred to as a grisaille if done in greys, should have its darkest passages painted somewhat lighter than the desired final effect, or the superimposed colors will lose much of their brightness and depth . Except for certain special effects, as in the technique of Rembrandt, the texture of the underpainting should be as smooth as possible. Any brushstrokes not smoothed out before the underpainting is dry, or scraped down before painting over, will produce a problem area in the next stage. Artists who prefer visible brushstrokes should decide where to place them in the final stages of the painting, as accents. The Venetian Technique allows the widest range of possibilities of any oil painting method yet developed. Its systematic use of opaque passages, glazes, scumbles and semiglazes stretches the capabilities of oil paint to the absolute limits, and allows the artist the greatest latitude for adjusting the picture at any stage. The employment of the optical illusions created by glazing and scumbling, combined with the control of edges (selective focus), enables the oil painter who has mastered it to indicate three dimensional reality more convincingly than is possible with any other technique. Among the Old Masters who used the Venetian Technique in one variant or another were Rembrandt, Franz Hals, Nicholas Poussin, Jacques Louis David, Jean Auguste Dominique Ingres, Jean Léon Gérôme, and many other great Masters whose names are not well known today. It should be stressed that the wonderful results achieved by the Old Masters and other great painters were attributable, in great measure, to the preparations undertaken prior to their beginning work on the final canvas or panel. The concept for the painting had first to be worked out in smaller drawings, sketches and studies done on separate surfaces, to solve all the problems to the artist's satisfaction beforehand. This accounts for the impression most often conveyed by their paintings, of having been executed without the necessity of corrections. In truth, there were many corrections, but the major ones, at least, were most often solved in the study stage before the painting itself was touched. For very large paintings, the usual practice was for the Master to paint the painting first on a smaller scale to work out its composition, and then turn it over to his apprentices to be transferred to the large canvas by means of a grid. Refer to the sidebar for a more detailed description of the grid method of enlarging a design. In some cases, the smaller painting was done without color, to be used by the apprentices as a guide in applying the underpainting to the large canvas, which process the Master would oversee, and usually correct and complete after the students and/or apprentices had done most of the work. Often many supplemental studies were drawn and painted by the Master, either to aid the assistants in painting the large picture, or to solve some of the problems for himself, in the development of the concept for the painting. This practice is as much a factor in the excellent quality of the works these great painters produced as were the actual painting techniques they used so well. DIRECT PAINTING The Direct Painting Method differs from the Venetian Technique and the Flemish Technique in that the artist paints in full color from the very beginning, without requiring an elaborate under drawing or underpainting, and without resorting to the use of glazes or scumbles. All paints except the deepest darks are used as if they were opaque, and are usually applied heavily enough as to appear so. The object, ideally, is to paint the entire picture wet into wet, from start to finish. Terms such as Alla Prima (Italian) or Premier Coup (French) are sometimes used for this technique, indicating that the picture is to consist of one layer of paint, applied all at once, in one sitting. In practice, this is not always possible, and great http://www.geocities.com/~jlhagan/advanced/chapter6.htm (6 of 11)1/13/2004 3:34:38 AM

The Oil Painter's Bible - chapter 6

pains must then be taken to nonetheless make it appear as if it were done alla prima. The Old Masters employed this technique for sketches only, to be used as visual aids in the creation of larger works executed following the Venetian method or a variant. Franz Hals was the first painter to use direct painting for other than sketches, although the works for which he is famous today may still arguably be called sketches. Hals was proficient in the Venetian Technique as well, and used it for his commissioned portraits. The Direct Painting technique was elevated to legitimacy in the Nineteenth Century by Carolus Duran, the teacher of John Singer Sargent, and then by Sargent himself, among others, most notably Anders Zorn, Cecelia Beaux, and Joachin Sorolla y Bastida. The range of effects possible with Direct Painting was once much narrower than with the Venetian Technique, but today's wider selection of pigments has expanded its possibilities considerably over what was available in earlier times. The invention of the cadmium pigments and synthetic ultramarine in the Nineteenth Century made Direct Painting a more viable alternative to the Venetian Technique. Individual approaches vary greatly. Some prefer to begin in charcoal, with a few quick guidelines sketched freehand on the canvas before beginning to paint, while others choose to begin immediately with the brush, and sketch in the shapes initially with thin paint indicating the shadow masses. Some painters tone the canvas beforehand with a very thin transparent imprimatura, to "kill the white", which might otherwise influence them to paint their darks too light a value, and some prefer to paint directly on the white canvas. Others tint the primer to a value darker than white by adding paint or pigment to the final coat of primer to make an opaque tone somewhat darker than white. A toned ground or imprimatura makes judgment of values a bit easier. Painting on an opaque primer darker than a value seven on the Munsell scale will make the superimposed colors duller, however, and will cause the painting to darken in time. It is better to use a white primer, and add a transparent tone over it to lower the value initially, or add a light opaque tone over the white primer. A transparent toner can be painted into immediately, or allowed to dry before commencing. With the latter practice, care must be taken to avoid violating the "fat over lean" rule. As with the Flemish and Venetian methods, darks should be applied first, and thinly. The reason for this is that the shapes are indicated reasonably well with just the dark shapes and shadows, and corrections may be made without excessive paint buildup by simply wiping out mistakes with a rag. The early stages are most likely to require correction of shapes, so it is prudent to begin thinly. This also allows a certain degree of transparence in the shadows, which is desirable. Oil paint is most easily controlled by painting wet into wet, from dark to light, systematically. As the reader has surely discovered at one time or another, to attempt to indicate a shape haphazardly, beginning with a middletone or light color soon results in a sea of wet paint into which everything disappears as soon as it is applied. This is called mud. The mud experience has discouraged many would be oil painters over the years. It is simple enough to avoid, if one proceeds methodically, following a logical progression. It is advisable to begin with a very large brush, and block in the large general shadow and other dark shapes first, correcting any mistakes by wiping with cheesecloth, used as an eraser, before adding a second color. The large color shapes in the middletones and lighter shadows should then be blocked in, using another large brush. One may then work back into the shadows and add secondary light, reflected color, and shadow accents, then return to the middletones and add refinements there, saving the lighter areas and finer details for last. The lights should be painted more thickly than the darks. Large brushes cover more canvas in a given time, hold more paint, and allow the artist to paint much faster. The use of small brushes and the addition of detail should be forestalled as long as possible. Many agreeable effects can be created through expert use of a large brush, especially in areas in which one might be tempted to switch to a smaller one. Facility in this style of painting is developed by the execution of studies painted from life. As they are only studies, there is no pressure to create a masterpiece, and the student is free to experiment. After a bit of practice, the studies become more and more accurate, as the student's ability to perceive value and color is developed to a higher degree, and the initial awkwardness with the brushes and paints is overcome. It is helpful to isolate value in one's first attempts in oils, by working only with white and greys made with Ivory Black and white. Once the student is past the struggling with the paint stage and has learned to understand values, color may be introduced a little at a time, at first adding only Yellow Ochre (or Raw Sienna) and Red Ochre , for use in color sketches of the human head from life. With this palette it is possible to mix what appears to be a full range of colors. It is only effective in paintings with an overall http://www.geocities.com/~jlhagan/advanced/chapter6.htm (7 of 11)1/13/2004 3:34:38 AM

The Oil Painter's Bible - chapter 6

warm tonality, in which context greys made with Ivory Black and white appear to be blue. Greens are made from yellow and black, or yellow, black, and white, and violets are mixed from black and red, or black, red, and white. An automatic unity is thus achieved, as the cool colors produced in these mixtures are low in chroma, and cannot disrupt the harmony of the warm dominance. The palette is then expanded gradually, as the student becomes familiar with the limited palette, by the addition of Burnt Sienna, Raw Umber, and Cadmium Red, Light. At the appropriate point, Ultramarine Blue is added, and so on, so that no lesson overwhelms the student with too much to learn at once. It must be stressed repeatedly during the early sketch sessions in oils that only the big shapes should be painted, and large brushes used exclusively. No detail should be attempted until the student is able to judge the correct value, color, shape, and relative proportions of the large shapes of shadow and light accurately. By then, the powers of observation will have been developed highly enough that the rendering of detail will be easier, and, hopefully, bad habits will have been unlearned. By this method of learning, one gains the necessary skills for painting well in oils, in any technique. The Direct Painting Technique is the one most widely used in modern times. The vast range of pigments available today has, in great measure, narrowed the gap between what is possible with it and with the Venetian Technique. It is also possible to modify the Direct Painting Technique by finishing off with glazes and/or scumbles after the painting is dry, but it then ceases to be direct painting. Some styles of Direct Painting owe their appeal to the painterly looseness obtained when painting very quickly with large brushes. For this type of painting, superimposition of glazes and scumbles would in most cases be inappropriate. In practice, the boundaries between techniques become blurred as artists combine elements of more than one method in pursuit of the desired effect. This is how new techniques are born. INNOVATIONS OF REMBRANDT Rembrandt Harmenszoon Van Rijn, whom many consider the greatest artist of all time, learned all that was then known about oil painting while still a very young man, surpassing his teachers very early in his career, and then proceeded to add his own discoveries to the technical knowledge of his time. To this day his best works remain unsurpassed, and serve as inspiration to the rest of us who paint. This being the case, any book on advanced techniques must address Rembrandt separately and at such length as the author's knowledge allows.

What technical information Rembrandt was taught may be discerned by studying the works of his instructors, Jacob Isaacxszoon Van Swanenburch and Pieter Lastmann. Such study also immediately shows the genius of Rembrandt by the extent to which he so obviously surpassed them both, and in how early in his career he did so. Nonetheless, his training under them was an important factor in his artistic development, and should not be minimized. Both teachers seem to have possessed a working knowledge of the painting methods in use at that time, which Rembrandt learned from them. This would include the Flemish Technique, the Venetian Technique, and the Direct Painting Technique. Various http://www.geocities.com/~jlhagan/advanced/chapter6.htm (8 of 11)1/13/2004 3:34:38 AM

The Oil Painter's Bible - chapter 6

examples of his work show that he was not limited to any one of them, but employed them all, the choice depending on which approach best suited the subject in question, and for what purpose the painting was intended. His facility with all three soon led him to combine aspects of one with another, and to add innovations of his own. Some of his paintings are on wood, executed in what appears to be essentially the Flemish Technique; some small studies on wood panels were done in a variation of the Direct Painting Technique, and some on canvas in both the Venetian and Direct techniques. The primer for the panels is white, the first coat consisting of glue chalk gesso, which was sanded to smooth out the irregularities of the panel’s surface, then a layer of white lead in linseed oil, sometimes tinted with black, Raw Umber, and sometimes an earth red, covered with a transparent brown imprimatura, which creates the golden glow characteristic of his work. His canvases are primed with an underlayer of a red earth, perhaps to fill the texture of the canvas, then overlaid with a light, warm grey made from lootwit (lead white with chalk, ground in linseed oil) and Raw Umber, sometimes with a little black and/or earth red, or sometimes with white lead alone.

Rembrandt was an extremely versatile artist, and did not likely follow an unthinking repetition of the same procedure every time. Undoubtedly he thought his way through each painting, from the genesis of the idea to the last brushstroke, never lapsing into a routine approach. From unfinished pictures we know that, at least sometimes, he began in transparent browns, working in monochrome to establish the design of the picture, attending to the masses of dark and light, often using opaque white for the strongest lights in this stage, sometimes referred to as the imprimatura, or later, by the French academic painters, as a frottée, though the term, “frottée” generally referred to a thin brown scrub-in without white, the lights instead being simply indicated by leaving the light ground more or less exposed. This stage was apparently allowed to dry before proceeding further, though there may well have been exceptions. Over the dried brown underpainting color was begun, with Rembrandt working from back to front rather than working over the whole picture at once. He exploited to the fullest the qualities of transparence and opacity, relying on the underglow of light coming through transparent color for many special effects, with opaque lights built up more heavily for the brightly lit areas, their colors sometimes modified by subtle glazes, semiglazes or scumbles, and the arrangement of transparent darks and opaque lights to play http://www.geocities.com/~jlhagan/advanced/chapter6.htm (9 of 11)1/13/2004 3:34:38 AM

The Oil Painter's Bible - chapter 6

against one another for maximum visual impact and depth. Clues as to his choice of primer may be seen in areas where he has used a sharpened brush handle to scratch through wet paint in order to indicate bits of hair. This is evident in a very early self portrait, now in The Hague, and in many other portraits. The primers and/or imprimaturas thus revealed show that he followed no one single procedure, but varied the choices, based on the effect he was after. The scratching with a sharpened brush handle into wet paint was one of his earlier innovations. Not long afterward, he began building up the opaque passages in his lights more heavily, and texturing them to take on the physical convolutions of the lighted surfaces of his subjects, most notably the skin textures of male subjects, including himself. The texture was created, or at any rate, can be duplicated, by applying the paint somewhat heavily with large brushes, then gently passing a large, dry, soft hair brush over the surface of the wet paint, back and forth, until the desired texture is attained. Rembrandt began to superimpose glazes of red over these textured passages when dry, then wipe them off with a rag, leaving traces remaining in the low spots to create an even more convincing texture of rough flesh. Someone, at some point, said you could pick up a Rembrandt portrait by the nose. As he began to expand the effect of glazing over dried impasto to other textures as well, he devised a method employing two whites; one for impasto and one for smoother passages. The impasto white was faster drying, probably made so by the addition of egg (traces of protein, presumed to be from egg, have been found in samples analyzed by conservation scientists), and ground glass, into the formulation. It was very lean, and consisted mostly of white lead with a minimum of binder. He began applying it more and more heavily as the first stage of a two (or more) stage operation which was finished with transparent glazes and wiping, to create fantastic special effects, the most extreme example of which is the man's glowing, golden sleeve in the painting referred to as "The Jewish Bride," in the Rijksmuseum in Amsterdam. The brilliance of this effect cannot be gotten in any other way. He has used the same technique on the bride's costume in the same painting, but here the underpainting is red, which is deepened with a glaze of red lake, probably Carmine (Cochineal). The red carpet on the table in "The Syndics of the Drapers' Guild" (sometimes called "The Dutch Masters"), also in the Rijksmuseum, is done in much the same way. The underpaint appears to have been trowelled on with a knife or some sort of flat stick, then sculpted before it dried. In Lieutenant Ruytenburch’s uniform in "The Night Watch," Rembrandt used this method, but with less heavy impasto, for the ornate brocade work. The wet underlayer was worked with sharpened brush handles and other tools while soft, then allowed to dry before applying the darker glazes. By wiping the glazes off as soon as they were applied, Rembrandt was able to create a bas relief effect of remarkable three dimensionality as the glaze remained in the nooks and crannies. By glazing again, this time with transparent yellows and/or browns, instead of Ivory Black, he gave the textures a rich, golden glow. Scientific analyses carried out by the National Gallery, London, show that Rembrandt added body to his glaze-like passages by mixing in a bit of chalk, which functions as an inert pigment essentially transparent when mixed with oil, and ground glass, which was probably used primarily to accelerate drying. The glass most likely would have contained lead and/or cobalt, both drying agents. There has been a great deal of speculation as to what medium or media Rembrandt used, with most of the theories stating that one resin or another had to have been a major component. It now appears that these hypotheses may be in error. Recent studies of paint samples taken from a number of Rembrandt’s paintings show no detectable resins. In most of the samples tested, only linseed oil was found, and walnut oil in some of the whites and blues. In some cases some of the oil was “heat-bodied,” as in perhaps boiled or sun-thickened linseed oil. It is probable that these were added to the paints in which he wanted a long brushing quality, and in at least some of his glazes. The combination of polymerized oil and raw oil produces a resin-like substance without the undesirable properties of resins. Reinforced with chalk for body, and ground glass for faster drying and perhaps transparency, these appear to comprise Rembrandt’s glazing media, as nearly as is discernible by the present level of scientific knowledge, which, it must be noted, is subject to change at any time, as new discoveries are made. For paints intended to be blended smoothly and opaquely, it is most likely that no medium was added, beyond the linseed or walnut oil in which the pigments were ground. Rembrandt had at least one life size jointed mannequin, on which he would pose the clothes of his sitters. The mannequin, unlike a living person, would remain motionless for as long as Rembrandt needed http://www.geocities.com/~jlhagan/advanced/chapter6.htm (10 of 11)1/13/2004 3:34:38 AM

The Oil Painter's Bible - chapter 6

to paint the clothing, the folds remaining undisturbed for days, or weeks, if necessary. A live sitter would have to visit the bathroom, eat, sleep, move around, etc., and the folds of the cloth would never be likely to resume their previous shape after any of these activities. The use of the mannequin may or may not have been Rembrandt's innovation, but it was, and is, a good idea regardless. We cannot expect to be able to rival the great genius of Rembrandt merely by following some of his procedures and using the same tools and materials he used. These are only a small part of his brilliance as an artist. At the core was his intelligence and artistic sense, his ability to constantly strive to improve upon what he had already done without losing sight of the original concept for the painting, to devise techniques, on the spot, which would create the effect he was after. We might hope to achieve the best results by adopting this same attitude towards our own work, rather than by attempting to reduce the methods of a great genius whose works we admire to a simple formula and then following it, unthinking. This is not meant to disparage technique, but to show it in its proper context. The more we know of technique, the more effects we have at our disposal, to serve our creativity and inspiration in the execution of our finest conceptions. If there is anything remotely approaching a formula for creating Great Art, it might be stated as the combination of knowledge and intuition in a single endeavor, plus a lot of work.

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This chapter concludes with sections on: THE BISTRE METHOD THE TECHNIQUE OF WILLIAM ADOLPHE BOUGUEREAU FRENCH ACADEMIC METHOD GENERAL PAINTING TIPS

To place your advance order contact; Virgil Elliott, APSC, ASPA 111 Goodwin Avenue, Penngrove, California 94951-8660, U.S.A. Telephone: (707) 664-8198 E-Mail: [email protected] © 2000 Virgil Elliott. All rights reserved GO TO ... Painterly effect No2 main menu

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kissing practice, a painting

KI SSI N G PRACTI CE - A D EM ON STRATI ON PAI N TI N G - PART 2

'Re a lism ' I n Fig.5 I h a ve br ou gh t som e of t h e h igh ligh t s for w a r d by u se of a h igh e r va lu e blu e - gr a y a n d a dde d som e w in gs. Th is st a ge you cou ld ca ll 'm oldin g' t h e for m s or t o u se it s pr ope r t e r m in ology you cou ld ca ll it t h e a pplica t ion of ch ia r oscu r o. Th is w a s t h e m e t h od m a de fa m ou s by t h e Re n a issa n ce pa in t e r Ca r r a va ggio a n d copie d in t h e n or t h by pa in t e r s su ch a s Re m br a n dt , Ru be n s a n d Ve r m e e r .

Fig. 5 Adding wings and cool grays

Fig. 6 Scum bling wit h som e highlight s

I n Fig.6 I h a ve be gu n t o a dd som e w a r m e r t on e s a n d som e a ddit ion a l com posit ion a l pr ops su ch a s t h e blu e sw ir lin g clot h , w h ich w a s a m u ch - love d de vice by pa in t e r s t o t h e t im e .

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kissing practice, a painting

Fig. 7 Det ail of lower t orsos.

Fig. 8 Thum bnail of full com posit ion.

N ow w e ge t t o t h e t e ch n ica l r e a son t h a t m a de Bou gu e r e a u pa in t in gs so r e a list ic. M or e t h a n a n y ot h e r pa in t e r Bou gu e r e a u sh ow e d ve in s a n d a r t e r ie s, w h ich w e k n ow by ou r st u dy of a n a t om y, lie j u st be low t h e sk in a n d sh ow be h in d t h e k n e e , in t h e n e ck , in side t h e e lbow , in t h e low e r a bdom e n a n d be t w e e n t h e t h igh a n d t h e t or so. Th e r e w a s n o n e e d t o sh ow t h e m a ll, ye t j u st su fficie n t t o give t h e m ode l a de fin e d 'h u m a n it y'. Th is is a la r ge st e p a w a y fr om t h e 'ide a l' t ow a r d t h e 'r e a l' a n d n e e ds t o be h a n dle d w it h t h e sa m e ca r e a j a zz m u sicia n m igh t u se a discor d t o a m plify a h a r m on y. N ot t oo m u ch t h a t m igh t m a k e it look lik e a blu e r oa d m a p. N o dou bt t h e displa y of ve in s a n d a r t e r ie s is n ot on e t h a t w ou ld n or m a lly a t t r a ct t h e vie w e r BUT in t h is ca se it h a s a n ot h e r pu r pose . I t t h r ow s in t o t h e m ix of t h e ide a l figu r e s a n d pe r fe ct for m s som e t h in g t h a t m igh t ot h e r w ise be t h ou gh t u gly. I n Fig.7 you ca n se e w h e r e I h a ve sh ow n t h e ve in s t h a t occu r be t w e e n t h e t h igh a n d t or so of t h e fe m a le , a n d t h e t h igh of t h e m a le . Also n ot e in Fig.8 a n d e lse w h e r e I h a ve r e dde n e d h a n ds, fe e t , k n e e s, e lbow s a n d fa ce s a s t h e blood is close r t o t h e su r fa ce in t h e se m or e se n sit ive a r e a s.

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kissing practice, a painting

H ow is t h is don e w it h pa in t ? GO TO .... k issin g pr a ct ice N o3 Adva n ce d le sson m e n u

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kissing practice, a painting

KI SSI N G PRACTI CE - A D EM ON STRATI ON PAI N TI N G - PART 3

'A ce r t a in r e a lism ' N ow for som e t e ch n ica l in for m a t ion r e ga r din g t e ch n iqu e . I u se d n on e ot h e r t h a n br ist le br u sh e s for t h is pa in t in g t o t h is st a ge . OK ... w e st a r t e d w it h a va lu e 4 - 5 bu r n t u m be r w it h a blu e - gr a y in t e r ior for t h e figu r e s. Th e blu e gr a y w a s m olde d in t h e ch ia r oscu r o m a n n e r a n d a llow e d t o se t t le a n d dr y. A h igh e r va lu e m ix of ligh t r e d/ bu r n t u m be r a n d fla k e w h it e w a s u se d t o br in g t h e fle sh u p t o a w a r m t h in t h e se con da r y a r e a s ( or t u r n in g poin t a r e a s) t h a t poin t e d u pw a r ds. Th e t u r n in g poin t a r e a s t h a t poin t e d dow n w e r e le ft blu e - gr a y( a s se e n in t h e ba ck gr ou n d) . I n ce r t a in ot h e r a r e a s close t o t h e gr ou n d, a n d r e fle ct in g dow n , a lit t le ye llow w a s a dde d. Th is t ook ca r e of m ost se con da r y a r e a s. W or k in g ba ck fr om t h e h igh ligh t s w it h a fla k e w h it e , som e t im e s w it h a lit t le r e d a dde d a n d som e t im e s w it h a t ou ch of u lt r a m a r in e , a n d u sin g a sm a ll br ist le ( 1 / 4 " ) , cu t a n d ble n d t h e h igh ligh t s in t o t h e se con da r y va lu e s. I f de sir e d a t t h is st a ge you ca n a dd ve in s a n d ot h e r se con da r y a r e a s a s w e ll pa in t in g w e t - in - w e t a s t im e pe r m it s a n d a dj u st in g a s you w ish .

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kissing practice, a painting

Th e m iddle dist a n ce is be st k e pt in dist in ct , ye t a t m osph e r ic, w h ile t h e for e gr ou n d sh ou ld n ot de t r a ct fr om t h e ove r a ll de sign . GO TO .... t h e e ye , t h e gr a pe a n d t h e ch e r r y a dva n ce d le sson m e n u

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Wall presence - brush strokes lesson by William Whitaker

4 - 2 PAI N TERLY 2 W illia m W h it a k e r writ es: 'Like everybody else whose worked at paint ing a long t im e, I 've t ried everyt hing. I 've learned t hat Art Leads, I j ust go along. I didn't consciously set out t o be a cert ain kind of paint er, it j ust evolved. I don't believe t here is any one t rue way, but I 'll t ell you what I like best . I st art loose and j uicy. I rarely paint alla prim a anym ore and I t ry t o sm oot h out t he paint at t he end of a session. I dislike t he effect when I paint over a t ext ured layer whose t ext ure is in t he wrong places. I have a very old, sharp palet t e knife ( sharpened from years of scraping.) I 'll carefully scrape t ext ure off a dried surface wit h it . I f I 'm working on a panel, I 'll oft en sand t he fuzz, t ext ure and grit off t he dried paint surface wit h wet or dry fine sand paper, sanding wet , before paint ing t he next coat - a t echnique I picked up from house paint ers.

I 'm very aware of what I call " wall presence" or t he lack of it . A lot of m y best buddies were successful illust rat ors before t hey becam e even m ore successful gallery paint ers. They all were sm art enough t o know and underst and t hat t he single m ost valuable charact erist ic in a paint ing on display is t he spirit ual wall presence. I t is easier t o achieve t his qualit y wit h oil paint t han wit h ot her m edium s. This is due t o inherent pigm ent st rengt h and nat ural body.

I t is very hard NOT t o have t ext ure even when you t ry. I believe it 's best not t o worry one way or anot her. I t hink it 's a kiss of deat h t o be t hinking consciously about t echnique in t he m iddle of t he paint ing process. One m ust really love t o paint , t o be driven as it were, t o put in t he t im e necessary t o really get proficient . Many people would like t o paint , but not enough t o paint t hose endless failures necessary t o get t o t he good work. I f it were ot herwise, we'd be overrun wit h paint ers. I f t here is t o be t ext ure in m y paint ing, I want it t o be in t he last layer. I 'm aware of t he vast range and int rinsic beaut y in oil paint . Using t hin paint and t hick paint , glazes and opaques, one can creat e a feast for t he eye.

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Wall presence - brush strokes lesson by William Whitaker

There seem t o be a great m any folks who are doing high finish ( t hey call it realist ic) work out t here t oday. Most of t hese people paint from t he out side in - paint t he hair on t he dog before paint ing t he dog. Most of t he t im e t hey are pret t y easy t o spot . I t ell t he viewer t o check out t he following: Do t hey paint Orange People? Thanks t o film , TV and Print , m ost folks t hink orange people are realist ic! Does everyt hing look like plast ic? Enough said about t hat ! What do t he broad, quiet passages look like. A poor art ist doesn't know how t o handle his brush. I t shows in t he backgrounds.

http://www.geocities.com/~jlhagan/advanced/painterly2.htm (2 of 3)1/13/2004 3:36:42 AM

Wall presence - brush strokes lesson by William Whitaker

All Pa in t in gs on t h is pa ge a r e by W illia m W h it a k e r STUD EN T ACTI VI TY:Writ e a short essay on t he relat ionship bet ween size and wall presence, colors and wall presence, design and wall presence. Give exam ples of each. Also explain how you t hink William Whit aker gives his paint ings such great wall presence. Allow 40m in. GO TO ... Bill's dem onst rat ion paint ing lesson m enu

http://www.geocities.com/~jlhagan/advanced/painterly2.htm (3 of 3)1/13/2004 3:36:42 AM

The painterly effect a lesson by Virgil Elliott

4 - 1 TH E PAI N TERLY EFFECT I n t hese lessons I do not hesit at e t o assert t hat art is about illusion and great art is t he t ot al present at ion of t he great est illusion. This brings m e t o t he ‘paint erly effect ’ or t he process of having your brush st rokes or knife effect s appear on t he canvas as you see opposit e in t he det ail from a pink rose I paint ed 'wet - in- wet ' before t he bloom s could wilt . The full paint ing is shown below ... JH

Vir gil w r it e s: The " paint erly" approach was originally an incident al effect m ost com m on in sket ches and st udies, t he sole purpose of which was t o help t he art ist solve som e of t he problem s in t he execut ion of a m ore refined paint ing. Tit ian and Rem brandt becam e m ore " paint erly" in t heir lat er years, when det eriorat ing eyesight m ay have hidden t he irregularit ies from t hem ( one hypot hesis) . Franz Hals paint ed a num ber of paint ings in t he sket ch st yle, probably for his own am usem ent and/ or t o cover his bar t ab or what ever. He was capable of m ore refined paint ing, as is evident in m ost of his m ore im port ant com m issioned port rait s, but em ployed t he fast er " alla prim a" approach for paint ing m ore light - heart ed subj ect s; probably his friends or int erest ing subj ect s encount ered at t he t avern, where no one was likely t o pose for very long. Bouguereau has been falsely charact erized as disguising his brushst rokes, but his brushwork is act ually visible from up close. I n reproduct ions t he st rokes do not show, because t he paint ings are generally large, wit h t he m ain figures life- size, and t he brushst rokes are sm all. He also used palet t e knife very expert ly for cert ain effect s, especially in t he veget at ion and ot her part s of t he background, but generally did not em ploy im past o.

http://www.geocities.com/~jlhagan/advanced/painterly.htm (1 of 3)1/13/2004 3:37:03 AM

The painterly effect a lesson by Virgil Elliott

The 'paint erly' st yle becam e m ore popular wit h John Singer Sargent , Anders Zorn, and Joachin Sorolla. Sargent act ually worked very hard t o achieve t he effect t hat he had dashed t he pict ure off effort lessly and accurat ely all at once. Many passages were scraped out and repaint ed over and over again unt il t he desired appearance was accom plished. There is a cert ain charm in t his t ype of paint ing ( see opposit e) , but it s effect iveness depends on t he values and colors being regist ered ext rem ely accurat ely, or t he result j ust looks sloppy. Sargent 's eye was precise enough t o m ake it work. I ronically, he expressed regret , lat e in life, t hat he had not carried his paint ings t o a higher degree of finish. The m ain t rick t o paint ing in t his m anner is t o work fast , wit h large hog- brist le brushes and large am ount s of paint available on t he palet t e. palet t e knife can also be used for cert ain effect s. A som ewhat rougher t ext ure canvas works best for t his t echnique, in m y experience. Som e subj ect s are m ore suit ed for t his approach t han ot hers. I t is well for art ist s t o be able t o paint in m ore t han one m anner, and t o choose whichever t echnique best suit s t he subj ect at hand. Regarding im past o highlight s, t he reason for t his is t o ensure t hat t hey rem ain opaque far int o t he fut ure. Oil paint becom es m ore t ransparent as it ages, and t he t hinner t he paint , t he m ore t ransparent it will becom e. Highlight s m ust be opaque in order t o reflect t he light which st rikes t hem in t he sam e way as it would reflect from t he surface depict ed.'

Re fin e d Pa in t in g - 'Th e m ost a dva n ce d con ce pt s go be yon d w or ds' ... VE

Rem brandt developed t he t echnique of glazing over dried im past o for a bas- relief effect , wiping t he wet glaze off t he high spot s and allowing it t o rem ain in t he nooks and crannies for a height ened t hreedim ensional effect . Used in t his m anner, im past o can act ually enhance t he illusion of t he t hird dim ension.

http://www.geocities.com/~jlhagan/advanced/painterly.htm (2 of 3)1/13/2004 3:37:03 AM

The painterly effect a lesson by Virgil Elliott

Gerom e ( below) insist ed on a perfect ly sm oot h surface t o t he paint ing, and forbade his st udent s t o use im past o anywhere.

My first inst ruct or, who happened t o be m y m ot her, t old m e it m akes a paint ing m ore int erest ing t o t he viewer when he or she can det ect som e of t he art ist 's brushwork from up close. I st ill adhere t o t hat , t o a great er or lesser degree depending on what I feel is m ost appropriat e for t he pict ure in quest ion, but I prefer t o only leave a few, in st rat egic places, rat her t han leave t hem everywhere indiscrim inat ely. My usual pract ice is t o have t hem undet ect able from norm al viewing dist ance, and only becom e barely visible from a few inches away. I n m y alla prim a st yle, which I seldom em ploy t hese days, I m ay let t hem show a bit m ore not icably in areas where t hey serve a purpose, as accent s. This was generally t he pract ice of m ost of t he Old Mast ers. I believe it is best for paint ers t o have com m and of all possible visual effect s, as t his opens up t he widest range of possibilit ies, and best facilit at es t he creat ion of what ever illusion is desired.' ... Virgil Elliot t le ft ... de t a il fr om Vir gil's 'St ill Life W it h Sa t in '

STUD EN T ACTI VI TY:Using paint wit h very lit t le oiliness and half- inch or less hog brist le brushes paint a sm all 'im pressionist st yle' pict ure using short t hick im past o st rokes. Allow 40m in. GO TO ... Virgil's 'Oil Paint er's Bible' or lesson m enu

http://www.geocities.com/~jlhagan/advanced/painterly.htm (3 of 3)1/13/2004 3:37:03 AM

Grapes, cherrys and the eyeball

3 - 2 TH E GRAPE, TH E CH ERRY AN D TH E EYE

A friend once wrot e ... 'There is such evident sparkle in t he eyes of int elligent people which if oft en m issing in ot hers, but always present t o som e degree. One of t he t hings t hat led m e t o believe t his is possible, was when I had t he unfort unat e experience of having t o put one of m y cat s t hat had a fat al disease, t o sleep. I can't t ell you what a horrible experience t his was as I loved t his anim al deeply. As t he fat al inj ect ion was given, I act ually wat ched t he eyes go from sparkling t o a dead grey. I have never got t en t hat im age out of m y m ind.' I n t h is le sson w e a r e goin g t o e x a m in e h ow t o do t h e r e ve r se ... t o pu t a spa r k le ba ck in t o t h e e ye . To do t his we m ust look at a whit e grape and a red cherry and see what m akes t hem appear real. First t he grape: Many art ist s love put t ing whit e grapes in t heir st ill life paint ings because t hey have a wonderful t ransparency which shows up part icularly well against a bunch of dark grapes and ot her it em s.

Fig 1

Fig 2

Fig 3

Many fruit s have a light grey covering on t heir skin I call 'frost ing'. This occurrs on t he skin of m ost fresh st one fruit but is part icularly not iceable on peaches, plum s and grapes. I have added t his frost ing t o Fig 2 above. I n Fig 3 I have added a t op 'highlight ' and a secondary highlight ( 180 degrees apart ) where t he ray of light 'em erges' from t he grape. This occurrs because t he grape is sem i- t ransparent allowing som e light rays t o 'penet rat e' t he liquid in t he grape it self.

I n t he exam ples of t he t hree grapes shown above I have alt ered t heir hue slight ly t o allow for various st ages of ripeness. Also, since t he 'frost ing' is som et im es rem oved as t he grapes are handled or m oved about I have cleared cert ain areas allowing t he sm oot h skin t o show t hrough. This has t he effect of em phasising t he frost ed areas even m ore. Now all we need do is assem ble our bunch in as a convincing m anner as possible ( see below) . This should not be difficult for t hose part ial t o eat ing grapes.

http://www.geocities.com/~jlhagan/advanced/grape.htm (1 of 3)1/13/2004 3:37:25 AM

Grapes, cherrys and the eyeball

The ch e r r y also has sim ilar qualit ies t o t he grape t hough wit hout t he t ransparency.

Fig 1

Fig 2

Fig 3

Fig 4

See above .... t he dark ( Fig 1) , t he frost ing ( Fig 2) , t he red ( Fig 3) and t he highlight ( Fig 4) . Then ... below t hey are assem bled wit h a few 'realist ic' t out ches. Most of t he frost ing is rem oved and t he exposed shiny bright red skin m akes t he 'highlight ' sharper. There is no 't ransparency' in t he cherry. You will no doubt rem em ber t he lesson on t he 'pearl' which was an obj ect wit h sim ilar non- t ransparency.

W it h t h e gr a pe a n d t h e pe a r l ( or ch e r r y) w e h a ve cr e a t e d t h e t w o sph e r e s t h a t t oge t h e r w ill a llow u s t o u n de r st a n d, pa in t a n d a dd t h e spa r k le w e w a n t t o t h e t h e h u m a n e ye . To se e h ow t h is is a ch ie ve d you m u st go t o t h e n e x t pa ge .

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Grapes, cherrys and the eyeball

GO TO .... t he eye ... lesson m enu

http://www.geocities.com/~jlhagan/advanced/grape.htm (3 of 3)1/13/2004 3:37:25 AM

http://www.geocities.com/~jlhagan/advanced/what_makes_a_masterpiece.htm

4 - 3 W H AT M AKES A M ASTERPI ECE?

A paint ing m ast erpiece is ’a port al or m agic window t hat will draw t he im aginat ion.’ How is t his done and why are we hum ans drawn t o cert ain paint ings like I carus was t o t he sun, or flies t o fly paper? Why, because t he paint er desires t he viewer t o ent er int o t he paint ing, and once t here, t o m ake t hem want t o dwell awhile. And how do t hey do t his? By im aginat ion and t he use of all t he m eans, t ricks, skill, subt erfuge, and t echniques at t heir disposal. The t echniques include t ext ure, design, color, chiaroscuro, aerial perspect ive, drawing perspect ive, form and shape. These skills have been honed over t housands of years and are a proven m et hod t o at t ract t he curious and ent ice even t he dullest im aginat ion. They are t he basic t ools of t he paint er.

During t he previous t wo cent uries a few ext ra skills have been added t o t he paint ers arsenal. 1. Dept h of field. 2. I m pressionist ic use of color 3. Brushst rokes and t he viscous use of m odern paint s. These also are legit im at e t ools paint ers can em ploy t o ent ice t he viewers int o t heir world.

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http://www.geocities.com/~jlhagan/advanced/what_makes_a_masterpiece.htm

Now t hat is out of t he way we can ask; how do we classify works as m ast erpieces? Answer; by finding t heir sim ilarit ies and j udging whet her t heir differences are relevant differences. For t his purpose I list below t en pre - 1900 paint ings I class as m ast erpieces. This is not t o say t here aren't ot hers ... Giorgione - The Tem pest Verm eer - Girl wit h pearl earing Leonardo - The Mona Lisa Rem brant - The night wat ch Caravaggio - Calling St .Mat hew Velazquez - Las Meninas Tit ian - t he assum pt ion Wat t eau - The clown - Pierot Turner - The fight ing Tem airaire Gerom e - Police Versa THEY ARE ALL SHOWN ON THI S PAGE

I t is assum ed t hat what binds t hese paint ings t oget her is m ore relevant t han t heir differences. So what binds t hem ? Here we m ust alm ost becom e Toaist in our answer. The art ist s all ‘walked on ricepaper but left no foot print s’( ie, m ore becom es less) . I n all t hese works t here is m yst ery, subt let y and a m agnet ic at t ract ion. The t echnique is so skilful, so m ast erful, so seam less, it is unnot iceable. Like t he great act or who m akes t he audience forget http://www.geocities.com/~jlhagan/advanced/what_makes_a_masterpiece.htm (2 of 4)1/13/2004 3:37:47 AM

http://www.geocities.com/~jlhagan/advanced/what_makes_a_masterpiece.htm

he or she is act ing; so does t he great paint er do likewise for t he im aginat ion. That is what requires all t he skill and t echnique.

This is not som et hing dependent on t he degree of realit y of t he scene or t he port rait , nor is it dependent on t he degree of unrealit y of t he sam e. I t is som et hing else. So, I will list what binds t hese paint ings; 1. They all have an elem ent of m yst ery 2. They all have a t echnical m ast ery t hat is sufficient ly high t o m ake it inst ant ly secondary, unnot iceable. 3. They all visit a m om ent in t im e and space t hat fires t he int erest and im aginat ion of t he viewer. 4. They all pre- suppose t he viewer can share a hum an underst anding and com m on experience wit h t he paint er.

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http://www.geocities.com/~jlhagan/advanced/what_makes_a_masterpiece.htm

So, what does all t his prove? Not m uch, but I st ill like t o call t he process ‘t he m agic of paint ing', and com ing across a m ast erpiece can t ake your breat h away. I t is wort h t he effort . STUD EN T ACTI VI TY:Select your own t en m ast erpieces and briefly explain why you adm ire each of t hem . Allow 40m in. GO TO ... Advanced perspect ivepersp.ht m ... lesson m enu

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Grapes, cherrys and the eyeball

3 - 3 TH E GRAPE, TH E CH ERRY AN D TH E EYE

The eye is a ball wit h t he iris ( dark part ) form ing a slight proj ect ion like a boss. The pupil is not a color but a dark shadow, a hole t hat allows light int o t he eye.

An at t ribut e of t he eye is t he t hat it is t ranslucent . This can lead t o t he following paradox: when t he light st rikes t he iris at an angle t he highlight appears t o be surrounded by dark even t hough being round, t hat side is facing t he light . There are t wo layers t o t he out er eye. There is t he cornea, and t he lens. Light m ight very easily pass t hrough t he cornea, and reflect off t he lens causing a hight light at odd locat ions on t he cornea. Bot h t hese st uct ures bend light t o som e ext ent ; t he lens obviously bending light m ore t han t he cornea. A hight light on t he cornea should show up on t he opposit e side of t he cornea as a reflect ed hight light j ust as it does in glass.

The light t hat is seen in t he iris of t he eye opposit e t he highlight is t r a n sm it t e d ligh t , which is seen also in a glass or bot t le of wine, or any cont ainer of t ransparent liquid. I t works t he sam e wit h a grape. The iris of an eye is likewise a cont ainer of t ransparent liquid. Light passes t hrough it and reflect s off t he inside of t he back of it , 180 degrees opposit e t he ent ry point . The highlight it self is t he reflect ion of t he light source from t he m oist out er surface of t he eye. Of course t his only occurs when t he eye is in t he light . So t he side opposit e t o t he highlight oft en seem s lit up, alt hough it is in shadow. The proper rendering of t his effect gives t he eye an aqueous and lum inous qualit y, which is not

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Grapes, cherrys and the eyeball

available in any ot her way. I ndeed it is possible t o int roduce t his effect deliberat ely by changing t he posit ion of t he highlight and t hus t ransform ing a dull eye int o a live one. Oft en I int roduce highlight s int o t he eyes even when it is opt ically im possible, or when t he light source was not even reaching t he eye. I consider t he em ploym ent of such a device t o be a legit im at e conceit and a m et hod som et im es necessary in port rait ure. The fact t hat , scient ifically, t he angle is 180 degrees is dependent on t he eye being spherical. Unfort unat ely t here are t wo spheres t hat cont ain t he surface of t he eye which com plicat es t he angle of reflect ion even m ore.

You'd t urn a cherry int o a grape by adding t he t ransm it t ed light t o t he side opposit e t he light 's ent ry point . A grape is t ranslucent ; a cherry is not . Light t ravels t hrough a grape. You'd also diffuse t he highlight a bit m ore t o indicat e a less glossy surface. The highlight is t he reflect ion of t he light source on t he surface, and t he degree t o which it is diffused indicat es t he t ext ure of t he surface. You m ight cont rast edgy polished m et al one t he one ext rem e wit h soft velvet on t he ot her, for exam ple.

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Grapes, cherrys and the eyeball

So t here we are, m ere prisoners of our derm is but wit h an int elligent sparkle in our eye! N OTE: Eye condit ions and t heir connect ion wit h paint ing is no where bet t er dem onst rat ed t han in Pet er Bueughel's 'The Parable of t he Blind' where t he five beggars are afflict ed wit h five separat e but ident ifable eye diseases. GO TO ....t he paint erly effect Advanced lesson m enu

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Advanced painting techniques and computers - Lesson 1

COMBINING OIL PAINTING AND TECHNOLOGY Lesson 1 I n t his sect ion I shall deal wit h t he fut ure of paint ing and how it m ight be affect ed by t echnology, com put ers, advanced print ers and scanners. I n t his regard I m ust say, wit hout apology, t hat in m y at elier, as well as all t he usual paint ing equipm ent , I have a scanner, com put er and large form at epson 7600 print er t hat is capable of print ing 75year light fast pigm ent s on canvas. The scanner is a com m on Cannon LCD ( diode) scanner t hat I cut apart wit h a hacksaw and re- assem bled t o allow m e t o scan paint ings of any size and t o reassem ble t hem in 'phot oshop' wit hout any discernable j oining. The scanner is set up on a large grid t able, face down has been used t o scan 50" x80" paint ings wit h sizes of over 500m g byt es. Now t he good part - should I wish I can print an exact copy of m y original t hen, using m y oil paint s, t reat t he canvas inkj et print as a prim at ura, and begin t o paint over it . The final result can be varnished and prot ect ed as you would any ot her oil paint ing. This again can be scanned... Of course t his allows m e t o creat e an endless st ream of variat ions on any of m y originals and hence poses t he quest ion: What exact ly is an 'original'? I shall leave t his for ot hers t o decide but let m e only say t hat t o t his point I am perfect ly happy wit h t he int egrit y of all t he processes upon which t he final work is const ruct ed.

Now I shall dem onst rat e som e of t he processes wit h m y 'Bount y' paint ing 'Port sm out h 1792', above. The im age above is a JPG com pressed im age m ade for t he purposes of t his lesson. The original oil paint ing was scanned at 360 dot s per inch ( DPI ) in 15 part s. This was j oined and color correct ed and flat t ened in Phot oshop giving m e a 250+ m egabyt e psd ( phot oshop) file. The JPEG above was saved from t his while t he PSD file is t he one I m anipulat ed.

http://www.wortorganic.com/computer/ (1 of 4)1/13/2004 3:38:35 AM

Advanced painting techniques and computers - Lesson 1

Wit hin phot oshop I select ed a port ion of t he original and copied and past ed it on t o m y work area.

Next I 'flipped' it over for t he reverse and j oined it as close as possible - lining up t he part icular feat ures t hat were im port ant for t he landscape generally.

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Advanced painting techniques and computers - Lesson 1

Som e furt her adj ust m ent s were needed and som e of t he det ails obviously need t o be isolat ed and reform ed.

Here I have rem oved t he ship No 1 which will becom e t he m aj or and closest ship. I t also need t o be t ilt ed a lit t le so t he m ast s line up properly. This is done separat ely and t hen t he ship replaced int o t he paint ing- see below.

http://www.wortorganic.com/computer/ (3 of 4)1/13/2004 3:38:35 AM

Advanced painting techniques and computers - Lesson 1

The final st age t ake m ore t im e as m any areas are rem oved, replaced, hidden, healed and j oined. The final scan was t hen print ed on canvas 24" x48" allowed t o dry. Color correct ion were m ade t o t he print using t ransparent oils ( indian yellow, perm anent crim son, phalo blue) in various m ixes. More adj ust m ent s and det ails were added using opaque pigm ent s from m y st andard palet t e.

This is t he final result which I have again scanned int o a file and added t o m y collect ion. Should any im provm ent s occur I can easily reprint from t his larger file. Should I need t o use any of t he various elem ent s in t his paint ing ( t he sky for inst ance) , I can easily isolat e it and use it as a background for anot her paint ing. Go t o Lesson 2

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Silver and copper

2 - 2 SI LVER AN D COPPER SI LVER Te ch n ica l: Second t o gold as m ost m alleable. Oxides are black form ing silver sulphide ( t ry egg yolks) - see dark cracks in exam ple. Spit t ing silver, when silver cools it expels oxygen and spit s. Used as an alloy, in phot ography and for coins. Absorbs m ost hues equally but seem s t o reflect m inor am ount s of m ost . Con ce pt ion a lly : Precious m et al wit h dull lust re. Jewellery, t ableware. Com bines well wit h gold and glass and useful for subt le neut ral highlight s. Pr e se n t a t ion : Always t ry and underst at e against a dark background if possible. As wit h t he pearl, silver can be paint ed over wit h a m ilky rainbow- hued sem it ransparent film . Adapt able for use beside obj ect s wit h st rong hues as it will give nice secondary glows. Make colors as subt le as possible.

Pa in t in g: First paint in grey as slick and sm oot h as possible m aking sure t o roughly place t he highlight s. Allow t o dry t hen glaze wit h t hin quick drying m edium . When dry scrum ble on red blue and yellows in m inut e m ilky am ount s. When dry glaze again ( or else you can apply t he colors t hinly wit hin a m edium ) . Scrum ble on colors reflect ed from nearby obj ect s et c. Place som e opaque highlight s and m erge wit h surrounding areas unt il a dull glow is achieved.

COPPER Technical: Found in pure st at e and can be beat en int o shape when cold. Alloyed wit h t in gives bronze. Used as plat es for engraving and et ching. Oxidises a green- blue. Oft en m ined wit h sulphur which is burnt off in sm elt ing. Great conduct or wide use as cooking ut ensils. Copper is usually fashioned using a 'ball- pane' ham m er which has a rounded face. This gives it t hat dist inct ive ripple effect . Con ce pt ion a l: Coins, warm brown colors wit h irregular highlight s. Goes in and out of fashion wit h house ut ensils et c. Age- old m et al easily beat en int o relief panels which som e years ago were m ade int o st andalone decorat ions. Pr e se n t a t ion : Best given t he beat en effect - see below. Hint s of green in t he shadows wit h subdued red- yellow hues in m iddle t ones.

http://www.geocities.com/~jlhagan/advanced/silvercopper.htm (1 of 2)1/13/2004 3:38:57 AM

Silver and copper

Pa in t in g: First use a sem i- neut ral background color such as raw um ber t o creat e form s and shading. Add a lit t le cobalt blue t o deepen t he form s if necessary. Glaze. Apply m id- t ones ( I used a t hin burnt sienna) feat her t he edges for a ripple effect but do not blend as wit h silver. Paint highlight s wet in wet keeping edges round but sharp. Glaze when dry. STUD EN T ACTI VI TY:For t his page and t he previous - find your own cylindrical obj ect ( cup) and paint it as chrom e, gold, silver and copper. Allow 80m in. GO TO ... phot o realism ... or lesson list

http://www.geocities.com/~jlhagan/advanced/silvercopper.htm (2 of 2)1/13/2004 3:38:57 AM

roses

BI RTH D AY ROSES

To m e a rose, is a rose, is a rose .... I have never ever paint ed a vase of flowers let alone roses. But now I was cornered. Many years ago I prom ised a lady I would paint her roses for a part icular birt hday and prom pt ly forgot about it . Recent ly I got a call t o rem ind m e t he birt hday was im m ent ... There was no way out . I drove off t o t he flower shop, sorry 'florist ', and bought som e bunches of roses t hen searched t he house for anyt hing t hat m ight be useful as a vase. ( All paint ings are roughly 24" x 20" )

I prom ised red roses so I decided t o warm up wit h som e pink ( above) . The pink also seem ed t o be t he first t o begin t o droop, lat er I was t o discover it was necessary t o keep t hem in t he refrigerat or t o prolong t heir life. The shell was t o fill a com posit ional space as well as reflect ing t he sam e hues. I t was also a rem inder I m ight be at t he beach inst ead of paint ing roses.

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roses

That seem ed ok so I t ried t he red.

http://www.geocities.com/~jlhagan/advanced/roses.htm (2 of 3)1/13/2004 3:39:22 AM

roses

Now I am paint ing roses expect I should look t o t heir placem ent . Asking around I find pink bloom s are suit able for bedroom s, red for a m ore form al set t ing such as a dining room and whit e and gold anywhere else. I also discover Cleopat ra was said t o have filled her room s wit h rose pet als t o welcom e Mark Ant hony and t hat t he early Christ ians banned t he rose from churches and churchyards because of it s connect ion wit h pagan rit es. This is get t ing int erest ing ... GO TO .... roses No 2 Advanced lesson m enu

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Applying painting theory to computer graphics

5 - 3 I M PROVE YOUR OLD PH OTOGRAPH S

Com bin in g com pu t e r t e ch n ology a n d pr in ciple s of pa in t in g. Bet ween paint ing and writ ing I som et im es get asked t o do lit t le j obs. When I begin I am always som ewhat reluct ant as t he t he j obs never seem t o rise t o m y exhalt ed level of 'high art ' and I usually m oan and com plain. This is a good t im e t o t ake a st ep or t wo back and view yourself as t he arrogant 'pain in t he but t ' you are slipping t oward. Probably because t here is no wom an around t o bring you back down t o eart h ( not t hat t hey ever did) ... anyway, I digress, t he j ob is t o fix an old phot ograph.

The phot ograph had been t orn int o four pieces t hen lovingly st uck back t oget her ... sounds like t he norm al com m erce bet ween loved ones or fam ily m em bers ... t hen a m arker pen was used t o repair t he rips. I was im m ediat ely st ruck by t he blandness of t he whole t hing, but st ick wit h m e here for even t he delicious local m ud crabs I can som et im es afford are t rapped in foul swam ps.

For a lit t le m ore det ail ... not ice how t he m arker pen was used on t he lips shirt and uniform .

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Applying painting theory to computer graphics

Well I fixed all t hat using what is called a sm udge brush.This allows you t o drag surrounding areas over t he cracks in what ever 'opacit y' you like. At t his point I was feeling rat her pleased wit h m yself - j ob quickly done - anot her m undane t ask bit es t he dust . But I st art ed t o t hink ( always a dangerous sign) , I asked m yself, 'I wonder what sort of life t his m an had? Which war was he fight ing and how do his com rades rem em ber him ? Maybe he was a hero? Maybe he was a heor who fought in t he t renches and saved t he day, or at carried a wounded com rade t o safet y t hrough a hail of bullet s?' So even if he can't pay m e perhaps he deserves a lit t le m ore of m y t im e.

Le t 's se e if I ca n 't m a k e h im com e a live a lit t le . GO TO ... creat ing color and at m osphere m enu

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Painting tecnique and computer graphics -2

I M PROVE YOUR OLD PH OTOGRAPH S N o.2

Com bin in g com pu t e r t e ch n ology a n d pr in ciple s of pa in t in g. I quickly separat ed t he m aj or elem ent s of t he pict ure knowing I could always use t he sm udge t ool t o put t hem back t oget her. Using som e color cont rols ( in a graphics program e) , I rem oved color from t he grey. This has t he effect of giving t he pict ure t int s of t he opposit e ( com plim ent ary) hues wit hout affect ing t he cont rast s ( values) . I n t his operat ion I applied color t heory regarding com plem ent s - while keeping t he values bright . The reason for t his is im port ant . I n previous lessons I have t alked about t he t heory of 'subt ract ive' color and how we use it in paint ing. The t heory I use here is called 'addat ive color t heory' and is com m only used in phot ography, film and com put er im aging. Sim ply put t he spect rum hues com bine t o produce whit e light , and t he rem oval of one leaves a predom inance of t he rest . I n ot her words if we had a red, blue and yellow spot light s and shone t hem all on a blank screen t hey would produce whit e. Whit e t hen is t he sum ( addat ive) of all t he colors. I f we subt ract red t hen t he whit e spot will t urn green, subt ract blue and orange will appear et c.

To produce t he hues above I st art ed wit h ovals of whit e. I n t he first I subt ract ed red, t he second green and t he t hird blue. This is how what t hey call 'addit ive' color, works! I n t his m anner I applied hue ( color) t o t he hat and uniform , t he face and t he shirt . Next I put t hem roughly back t oget her.

I gave t he cheeks and t he bot t om lip a lit t le ext ra blush wit h a com put er paint brush. This m eant I st ill had a raw figure wit h no background ... So I searched for a background t hat m ight describe t he nat ure of t he war t he m an fought . I want ed a st ark, rivet ing but an at m ospheric scene. I found what I want ed but it was t iny. This was not necessarily a disadvant age as I could repeat som e facial and clot hing hues in t he t op half of t he background. I creat ed t he background t hen sm udged again wit h m y sm udge brush.

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Painting tecnique and computer graphics -2

So we went from t his ... t o ... wait ! Two final t out ches before cropping 1. Make t he eyes com e alive wit h a t iny reflect ion - m y hand slipped a lit t le wit h t he second ... 2. A lit t le highlight as well on t he bot t om lip.

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Painting tecnique and computer graphics -2

Som ehow I hope t he m an has briefly com e alive but as all life surely passes as fast as a sum m er cloud shades a dist ant hillside ... anyway som et im es a m undane t ask can lead t o dist ant t hought s and m aybe a lit t le unexpect ed hum anit y. STUD EN T ACTI VI TY:Paint a color diagram t hat explains t he t heory of addat ive color. Hint ... look in t he phot ography or print ing sect ions of t he library. Allow 40m in. This reconst ruct ion was a result of using a very sim ple com put er 'paint ' program . To see anot her reconst ruct ion using t he m ore com plicat ed 'phot oshop' program go t o t he next page. GO TO ... anot her phot ograph m enu

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Painting tecnique and computer graphics -2

I M PROVE YOUR OLD PH OTOGRAPH S N o.3

Com bin in g com pu t e r t e ch n ology a n d pr in ciple s of pa in t in g. This is a phot ograph of a local dignit ary t hat hung on a very light effect ed wall for t went y or m ore years. As you can see it is very faded and any blue/ green has faded out com plet ely.

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Painting tecnique and computer graphics -2

The first m ove was t o scan it int o adobe phot oshop and rem ove all color. I n ot her words convert it t o a 'greyscale' form at . So I searched for a background t hat m ight describe t he nat ure of t he war t he m an fought . I want ed a st ark, rivet ing but an at m ospheric scene. I found what I want ed but it was t iny. This was not necessarily a disadvant age as I could repeat som e facial and clot hing hues in t he t op half of t he background.

Next I applied cont rast and t hen convert ed it back t o 'RGB' or a 'color' file since I nedded t o add color. I added color using 'color adj ust ' and 'variat ions'.

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Painting tecnique and computer graphics -2

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Painting tecnique and computer graphics -2

Next I used m asks and m ore color cont rols t o vary cert ain elem ent s. Then I rem oved t he background and applied a diagonal brown/ gold color gradient from t he t op left t o t he bot t om right . I needed t o t ouch up t he result by adding a lit t le rouge t o t he cheeks, sparkle t o t he eyes, dept h t o som e of t he shadows and generally t o work t he port rait up j ust as if I were doing a convent ional port rait in paint . The result you can see below.

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Painting tecnique and computer graphics -2

The final print size was 18" by 14" , print ed wit h a wide form at epson print er, on canvas, wit h pigm ent inks and varnished before re- fram ing and replacing on t he wall.

GO TO .... paint ing clot hing m enu

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Painting tecnique and computer graphics -2

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Painting textiles No 1

6 - 1 PAI N TI N G CLOTH I N G Th e pa in t in g of fu r , lin e n , cot t on , ve lve t , silk , sa t in , ga u ze s a n d ot h e r dia ph a n ou s m a t e r ia ls D r a w in g t h e e dge s a n d t h e folds ... t he t hickness and pliabilit y ( soft ness) of t he clot h det erm ines t he size and shape of t he folds.

Fur and t hick wool t hat is soft yet pliant requires lit t le drawing as it is m ainly com posed of large gent le cont ours. I t usually dom inat es t he form it conceals.

Thick heavy linen or dam ask t hat resist s folding will show st raight edges and will st ress at t he folds wit h double or even t riple indent s ( see in t he acut e angles left ) . I t also will override t he shape it conceals. Not e t he st raight lines on t he out side of t he folds and t he t riple creases in t he folds. Durer, who m akes t his t ype of rendit ion so st ylist ic it alm ost becom es his drawing signat ure, suggest s deeper creases wit hin t he shadows t o http://www.geocities.com/~jlhagan/advanced/cloth1.htm (1 of 4)1/13/2004 3:40:31 AM

Painting textiles No 1

suggest body form s. Not e part icularly t he t high and leg of Mary.

Light linen or cot t on will behave in a sim ilar fashion only t he folds and bends will be t hinner and closer t oget her. Not e t he size of t he folds and t he squareness of t he out line. Velvet ( t he cape) is heavy, yet quit e pliable and will show a slight curve and usually t urn in single folds. This m ore flowing st yle is t ypical of Bot t ichelli.

Silk and sat in are t hin and fold easily wit h narrow and som et im es a chaos of act ivit y where direct ions alt er. They cling t o t he shape t hey cover and fait hfully follow t he cont ours - be t hey st raight or curved. Here I have sim plified a part of a Virgil Elliot t paint ing t o show t he underlying http://www.geocities.com/~jlhagan/advanced/cloth1.htm (2 of 4)1/13/2004 3:40:31 AM

Painting textiles No 1

st ruct ure of t he folds.

Gauzes are eit her t hin linen or diaphanous silk in pliabilit y and should be light ly drawn accordingly. A soft shawl will follow a cont our while a st arched gauze will resist . Below is a st arched gauze over a linen dress.

Before you begin drawing a garm ent observe t he broadest and narrowest folds. The com plicat ed folds should be sim plified at t he drawing st age.

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Painting textiles No 1

Vir gil Elliot t is a m ast er paint er of silks, sat ins, and diaphanous gauzes ( as well as m any ot her t hings) . He offers t he following advice: 'The first t hing I do is t o arrange t he clot h in a way t hat suit s m y sense of aest het ics, so t hat it s form indicat es what is beneat h it , and at t he sam e t im e adds anot her elem ent of eye- pleasing shapes t o t he com posit ion which com prise areas of secondary int erest and lead t he viewer's eye from t he m ain focal point , around t he pict ure in a graceful pat t ern ( ideally) , which ends up back at t he m ain focal point and st art s t he process again. I t should reveal key form s in som e places, only suggest t hem in ot hers, and conceal point s of int erest in ot her places ( m yst ery increases int erest ) , while at t he sam e t im e incorporat ing it s own int erest ing and/ or pret t y shapes int o t he overall. I n ot her words, I usually design t he shapes t o begin wit h, before I st art t o draw or paint , unless by happy accident t hey have already assum ed a pleasing configurat ion. Oft en I use a m annequin for t his, as m odels t end t o obj ect t o having t he clot h at t ached here and t here wit h st raight pins, and won't hold st ill long enough. When I use a live m odel for t he clot h, I draw very quickly t o get t he shapes not ed before she or he has t o m ove for what ever reason, t hen I follow t he drawing, which is generally j ust a guide sket ch at t his point , when t he m odel is back from t he bat hroom or what ever, t o rearrange t he clot h back t he way it was. I t hen follow t he sket ch in designing t he act ual paint ing, but oft en deviat e from it wherever I see a way t o im prove t he shapes furt her.' Does your drawing suggest t he pliabilit y of t he m at erial? I f it does t hen you need no enhancem ent in t he drawing st age.

GO TO .... lesson 2 and t ext ure lesson m enu

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Textises and cloth No2

6 - 2 FABRI C TEXTURE 2 . Te x t u r e t his is t he roughness or sm oot hness of t he m at erial and us usually apparent in t wo places, t he boundaries or edges of t he garm ent or at it s general m ass where light values change ( t urning point s - basic lesson on t ext ure) . a ) Edge : silk obviously can com bine t he highest degree of sm oot hness wit h t hinness of m at erial so it s edge t reat m ent is t he sharpest . Next would be linen or cot t on gauze where t he edge would appear a t hin line. Not e - light will oft en reflect from a cut or bare edge. Fur is t he ot her ext rem e. b) Tu r n in g poin t s: here t ext ure can be shown as individual weaves, hair, cot t on or t hread st and proud of t he m at erial and cast t heir own m inut e shadow. The lengt h of t he shadow being det erm ined by t he sharpness of t he fold ( see below) . This is where t he professional art ist m akes j udicious use of t he m any brushes at his disposal as well as carefully adj ust ing t he paint t o t he viscosit y necessary for t he appropriat e effect . Som e will paint wet int o wet and ot hers paint over dry surfaces. St ill ot hers prefer t o use glazes, palet t e knives or a m ult it ude of inst rum ent s.

Can you decide from t he above exam ples which is silk, cot t on, linen and velvet ? 3 . Va lu e diffe r e n ce s: Ton a l - t h is is t h e va lu e diffe r e n ce on t h e gr e y sca le be t w e e n t h e h igh ligh t s a n d t h e sh a dow s of t h e m a t e r ia l be in g pa in t e d. This fact or should be approached com plet ely independent ly of any color considerat ions and for pract ical purposes we shall assum e one light source and one direct ion ( not backlight ing) . The art ist will usually lim it t hese t onal divisions t o a m inim um of t wo and a m axim un of four wit h t he following approxim at ions; Fu r a n d w ool - t wo - wit h lit t le value difference bet ween highlight and shadow Fla x - lin e n a n d h e a vy cot t on - t hree - values bet ween highlight s and m iddlet ones closest Sat in - t hree - values evenly spread ( not e t hat highly reflect ive m at erials like silk or sat in are very prone t o secondary surface reflect ions.) Silk , t a ffe t a a n d sa t in - four - values closer at t he highlight end. See blue t affet a dress below.

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Textises and cloth No2

Ga u ze a n d dia ph a n ou s silk s - t wo ( t he t hird one here is t ransparency or t he form beneat h) values bet ween highlight s and m iddlet ones close. Vir gil Elliot t writ es: 'The key is t o underst and t hat light on diaphanous clot h renders it m ore opaque, and t hereby obscures m ore of what is underneat h, while in shadows it is m ore t ransparent , allowing m ore of what is under it or behind it t o show t hrough. Also t he opacit y/ t ransparency is affect ed by t he angle of t he clot h relat ive t o our line of sight . Parallel t o t he line of sight it is m ore opaque, and perpendicular t o it it is m ore t ransparent , wit h varying degrees in bet ween t hose ext rem es.' Ve lve t - t wo + - folds work light a bit different ly t han ot her fabrics. Se con da r y ligh t - This is t he abilit y of a surface t o absorb light rays reflect ed from anot her nearby surface( such as t he yellow chair below) . The art ist can t hen insert com plem ent s in t he shadows or bet ween t he t onal divisions.

Here in t his det ail from a Goya paint ing t here are secondary and t ert iary reflect ed colors which

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Textises and cloth No2

provides a richness alm ost beyond t he im aginat ion. Even m ore so because t he init ial color of t he dress is so bland wit h only t wo basic value changes. There are t hose who will undoubt edly claim t hey see m ore. Vir gil Elliot t not es ' Whereas it is a popular pract ice t o place com plem ent s in shadows, it is not t he way light works in realit y. The m ain influence on t he color of shadows is t he color of t he secondary light , which could be any color. Only in highly reflect ive surfaces like sat in or polished m et al or glass will reflect ed color regist er not iceably in t he m iddlet ones.'

GO TO .... Pract ical paint ing Back t o lesson list

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Lesson in color

7 - 1 D ECI D I N G ON COLOR

The basic palet t e I used for t his paint ing was very sim ple light red, raw um ber and yellow ochre, cobalt blue and prussian blue - one red t wo yellows and t wo blues. The overall cast of t his paint ing is blue green. My concern t o t his st age ( above) was t o keep everyt hing subdued and t o m ake sure t he light s and darks ( values) looked correct . I knew I would be adding t ouches of highly sat urat ed red and yellow hues at a lat er st age. How did I know t his? I rem em bered a paint ing by Rem brant t hat had a sim ilar color schem e, all I needed were roughly t he sam e percent age of hues - alt hough t he values I want ed would be slight ly higher. Why did I use t his schem e? The narrat ive involving an ageing Thor dem anded clouds and sunset . Since I also knew I would be showing areas of sunt anned flesh I t herefore resist ed using red in t he sky and dist ant landscape. I want ed inst ead t he blue grey of t he st orm .

When t he paint ing was alm ost finished I added m y t out ches of cadm ium red and cadm ium yellow for t he highlight s, specifically t he handle of t he ham m er and t he apprent ice's t oga. These highly sat urat ed colors have t he effect of echoing and unifying all t he ot her reds and yellows. Drawing a parallel t o m usic I could say t hey act like a pure single high m aj or not e, played an oct ave it s harm onic chord. Suddenly you t hen see all t he reds and yellows unified and reverberat ing about t he canvas.

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Lesson in color

Next we shall em bark on a lit t le pract ical exercise where I hope you will m ore fully underst and som e of t hese t erm s and principles. I have found a fram e for t his paint ing but I will need t o color t he t im ber part . What color will I use and why? STUD EN T ACTI VI TY:For t his page and t he following - use t wo of your own paint ings and decide on your choice of t heir opt im um fram e . Allow 40m in. Here is m y paint ing

Here is m y fram e

GO TO ... t he possibilit ies ... or lesson list

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roses2

M ORE ON ROSES

Lat er I will show you how t o paint a roses but for now it is im port ant t o underst and exact ly how roses are const ruct ed. I t seem s t hey have t horns on t he st em s, five leaves on t he shoot s and t hings called sepals and corollas. This sort of inform at ion was not graspingly im port ant t o m e during m y younger years when get t ing a foot ball over a line or a girl int o a backseat were m ore pressing and roses were st olen from a neighbourhood garden t o celebrat e grandm a's infrequent visit s. That 's when I first discovered t he t horns.

Next I found t here are t wo t ypes of roses; t he sim ple and t he com plicat ed. Apparent ly t he sim ple are t he early prim it ive variet y wit h five pet als while t he com plicat ed are also known as hybrids, which it seem s have m ore colors and m ut at ions t han t he livest ock around Chernoble.

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roses2

They can also clim b, form a bush and grow from a st ick in t he ground. They are also nam ed aft er folk I have never heard of. There are som e posit ives however and t he fact t hat wit hout roses t he English language would be devoid of t he excit ingly beaut iful word 'floribunda' ... and 't ea' would be reduced t o a m ere beverage. I n addit ion it seem s som e hardy souls have devot ed t heir lives t o graft ing m iles upon m iles of t horny st em s t oget her as pleasure, rat her t han t he t ort ure it would seem t o norm al people. I m ust say t hat since I have had bunches of t he t hings in t he st udio ( for paint ing purposes only) t he general arom a of gum spirit and sweat has lessened. For t hat alone m any are great full. GO TO .... how t o paint roses Advanced lesson m enu

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Painting with John Hagan: CD information

Purchasing the John Hagan CD that includes printing information for use in classrooms etc.' For t hose folk who have enquired CD s of all our drawing, paint ing' and advanced paint ing lessons has been produced. This CD is an an updat ed, reform at t ed for easy print ing version so you can creat e you own reference handbook in your own t im e or j ust browse t he CD. These CD's we have priced at US $15 ( plus post ing) for st udent s and US$19 ( plus post ing) for ot hers. The print ed files are in pdf form at ... but don't despair, you can download t he free 'reader' so t here should be no difficult y for t hose who want t o print t o a work book t o st ore t he lessons as hard copy. Teachers will also be able t o print t he specific lesson or lesson plan t hey need, when t hey need it . We have also added ext ras t o t he CD such as a few chapt ers from Virgil Elliot t 's 'The Oil Paint ers Bible' ( yet t o be published) . I f you are a st udent and int erest ed in obt aining t he CD j ust send us a em ail indicat ing you universit y, college, school or if you are a hom e schooler. Ot herwise you can order direct ly by t he but t ons below. Delivery approx 14days. N EW RELEASE: Th ir d Edit ion CD Sin ce t h e r e le a se of t h e la st CD 1 5 m or e le sson s h a ve be e n a dde d a n d ot h e r s u pda t e d. Th e Pa r k h u r st Re fe r e n ce Book , W a t e r color le sson s by D a vid H a ga n a n d a se ct ion on Com pu t e r s a n d Pa in t in g h a ve a lso be e n in clu de d. Ot h e r a n d be t t e r for m s of pr in t in g h a ve a lso be e n for m u la t e d. This new THI RD EDI TI ON cd is now available at $29 plus post ing. Ordering is t he sam e as for t he first edit ion. Make sure when you go t o CCNow you select t he part icular edit ion you want .

We have decided t o use a Delaware com pany called 'CCNow.com ' for all US and I nt ernat ional credit card t ransact ions. They provide a secure and save t ransact ion base and t ake all recognized int ernat ional credit cards. Please m ake sure t he m ailing address for sending t he CD is correct and can som et im es be different t o t he billing address. From t he but t ons below select your preferred paym ent m et hod. The first but t on will t ake you direct ly t o CCNow. FIRST EDITION THIRD EDITION http://www.geocities.com/~jlhagan/cd.htm (1 of 2)1/13/2004 3:41:53 AM

Painting with John Hagan: CD information

BACK

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Value and hue -Lessons in color

7 - 2 COLOR POSSI BI LI TI ES

All t he values, hues and sat urat ions are t aken direct ly from t he paint ing. This will have t he effect of unifying t he whole package. The gold on t he fram e already echoes t he yellow of t he paint ing. What color will you ult im at ely choose? What will be it s value, hue and sat urat ion? Try and t hink of t hese as a com bined choice ( ie m edium value, green hue, highly sat ureat ed) 1 .VALUE Light is absorbed at t he back of t he eye by cells ( cones) sensit ive t o red, blue and green wavelenght s and seem t o be responsible for color vision in daylight . I n dim light t he 'rods' t ake over, which are m ore sensit ive t o blue- green light , and dist inguish clearly bet ween values of light and shade. This is why squ in t in g helps you det erm ine t he va lu e of a color. Fir st : what value ( how light or dark ) do you prefer?

Medium values - from breast plat e 2 . H UE Se con d: what hue ( color) do you like?

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Low and high value - from rocks and sky

Value and hue -Lessons in color

Blue hues - from sky

Green hues - from sky

Red hue - Thor's neck and flesh

How st rongly do you feel about your choices? GO TO .... Sat urat ion Lessons

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Saturation - lesson in color

7 - 3 COLOR POSSI BI LI TI ES N o 2

3 . SATURATI ON Th ir dly: sat urat ion level would you pick?

High and low red sat urat ion

High and low sat urat ion from sky

This is an inappropiat e exam ple of a non paint ing color

I n sum m ary ... in your m ind you should have pict ured t he value, t he hue and now t he sat urat ion. Com bine t hem and what do you get ? I s is anyt hing like m y choice? Low value ( 3) , red hue and m edium sat urat ion.

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Saturation - lesson in color

But if t his were t o be hung on a blue or green wall m y choice would alt er considerably. Now you should underst and color is about value, hue and sat urat ion ... and how t hey should be considered separat e elem ent s when describing and choosing 'color'. Theoret ically t his should all be obvious but whenever I am t eaching apprent ice paint ers m ost of t heir difficult ies arise when t hey grasp a brush. Then t hey t end t o forget com plet ely about color t heory and worry about everyt hing else. I f t his happens t he st udent should be m ade t o work out a separat e color design before t he paint ing is begun. GO TO .... The psycology of color ... or lesson list

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The psychology of color

7 - 4 TH E PSYCH OLOGY OF COLOR Psych ology is t h e st u dy of h u m a n be h a viou r ... What has t his t o do wit h color? We m ust first decide whet her t here is a genet ic or inst inct ive behavioural elem ent in hue recognit ion. Then we m ight ask if t here are any environm ent al aspect s t hat have a universal effect on t he hum an species. 1 . Ge n e t ic - I have seen no evidence of t he first . We are not like bees or birds where t he recognit ion of t he hues of flowering plant s are som ehow passed on from one generat ion t o t he next . 2 . En vir on m e n t a l - I have seen green associat ed wit h healt h - and wit h rot t ing m eat , red wit h luck and danger, blue wit h pain and t ranquillit y, yellow wit h disease or elsewhere int ellect . Sum m ing up I know of no universal accept ance of a part icular hue or color t hat has a universal significance across all societ ies. Movm ent has m ore significance for survival purpose for t he eye discerns m ovem ent before anyt hing else. The eye discerns m ovem ent at a span of 180 degrees where hue, depending on it s sat urat ion, can be seen only t o 140 degrees. When awareness of red is com bined wit h a sense of heat t hen we m ight say t he com binat ion is universally one of fire. This and m any ot her inst ances of com bined sensory experiences are m anifold but t hose inst ancing color alone escape m e. I m ust conclude t hat singularly hue has no universal behavioural consequences and t herefore no psychological im plicat ions - unless com bined wit h ot her senses or hues. Rem em ber t here is no universal hue indicat ing t he ripeness of an apple. This t hesis runs a parallel t o m usic where no universal psychological analysis can be m ade of single not es but when com bined wit h ot hers we can have harm ony or disharm ony and m oods creat ed wit h various com binat ions. To t ake t his analogy furt her it m ight be argued sensit ivit y t o color is rat her like sensit ivit y t o m usical not es where som e individuals can t une inst rum ent s easier t han ot hers, som e folk dream in color and som e rem em ber color easily while ot hers desire t o t rain t heir color discernm ent t o high levels of sensit ivit y. Sensit ivit y t o all elem ent s of life is t he key t hat opens t he door t o happy appreciat ion. The alt ernat ive is t o dark t o consider.

Fig.1 The adj acent effect .... color residuals of t he eye. Wit h m usical m elodies we have ‘progression’. I m ean by t his int ervals of t im e bet ween not es t hat allow t he brain t im e t o underst and t he t une. I f all t he not es were played sim ult aneously any m elody would be incom prehensible. But in paint ing all colors are played bot h individually and t oget her, depending on t he posit ion of t he viewer, and t hey m ust work on bot h levels. As t he eye physically m oves bet ween adj acent hues, a negat ive residual int erferes wit h t he ‘m elodic’ appreciat ion. Not e t he rat her sickly Fig.1 com binat ion above. This can be overcom e wit h a t ransit ional or neut ral hue as shown below.

or As a pract ical exam ple ...

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The psychology of color

This paint ing I did for t he 'Bount y' series is a com posit ion in blue and orange. Blue will nat urally fight t he orange if adj acent so here I separat ed t hem as m uch as possible. Even t hough t he sea line appears blue m eet ing gold it is a neut ral grey- black inst ead. The hat and coat are separat ed from t he orange clouds by a neut ral whit e. The not ion blue always receeds is disproved here.

Like a play in a t heat re or an opera a paint ing is t he creat ion of an illusion - of a paint er's part icular realit y. The dom inant hue in t he paint ing below ( blue- whit e) suggest s a m id- m orning scene. Here again, in t his dem onst rat ion piece, it m ay appear blue is against t he yellow - orange of t he boat . But where t hey are st rongest t hey are also furt hest apart . This m akes t he paint ing easy on t he eye and m ore 'm elodic'.

St ained glass windows, t he paint ings of Mondrian and Roualt are m odern exam ples of st rong colors being separat ed by ( black) neut rals. I f you feel st rongly t hat poet ry should not be elem ent in t he st yle of paint ing you want t o at t em pt t hen you can use t his inform at ion t o int roduce j arring and suddenly surprising passages t o your paint ings. I call t his t he 'Hawaiian shirt effect '. To underst and t he m echanics of color m eans t hat what ever effect you desire can http://www.geocities.com/~jlhagan/advanced/color_psychology.htm (2 of 3)1/13/2004 3:43:05 AM

The psychology of color

be realized and what ever you are doing, you are doing it deliberat ely. Trial and error is no way t o pilot a plane or creat e a m ast erpiece. GO TO ... Psychology and color harm onies Lesson list

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The psychology of color No2

7 - 5 COLOR H ARM ON I ES AN D PSYCH OLOGY Using colors and developing a color schem e for your paint ing is a lot easier t han you t hink. Many m ore color com binat ions work t han don't work. Let us t hink m ore on t he m usic analogy where each not e has pit ch, force and lengt h - j ust as in paint ing each color has hue, value and sat urat ion. A chord in m usic is a collect ion of not es t hat harm onise. Sim ilar t o m usic I like t o t hink paint ings can be com posed of color chords. A paint ing 'chord' could t hen be t hought of as a collect ion of colors t hat harm onise. But what causes colors t o harm onise? Below: Colors of sim ilar hue, value and sat urat ion will harm onise j ust as will m usical not es one oct ave apart . The colors m ust for t hey are t he equivalent !

Below: Colors of sim ilar value and hue ( but different sat urat ion) will harm onise. Any of t hese 'harm onies' can be ut ilised in a paint ing as eit her m aj or or m inor accent s ( chords) .

Below: Colors of sim ilar value ( but different hue and sat urat ion) will harm onise. This would describe a paint ing of colors wit h no value difference. No form s would be discernible j ust hues. We define a high key paint ing as one wit h t he 'm aj orit y' of t he paint ing surface paint ed wit h high value colors. Som e years ago a part icular paint m anufact urer produced ( m odular) colors labled wit h t heir value so art ist s could m ore easily harm onise t heir color schem es!

Below: Colors of sim ilar hue ( but different value and sat urat ion) will harm onise. This would be equivalent t o a paint ing done in sepia t ones.

I n t his paint ing ( left ) red is t he dom inant hue. The Dom inant hue is t he 'base' color t hat can be slight ly vaied by adding a lit t le of any of t he ot her colors red, blue, or yellow t o slighly m odify. Having t his 'base' color in all t he m ixes will unify t he paint ing and can be done at any st age. The deep t hinkers usually do t his progressively but ot hers ( m e included) som et im es use a unifying glaze t o rescue t heir problem paint ing. To be safe a lot of paint ers add a lit t le of t he one hue t o every color t hey use even t he highlight s! Here ( left ) light red is t he dom inant hue. I used light red t o unify all t he elem ent s even t hough som e of t he greys alm ost appear blue. This paint ing is sim ple in t hat it has j ust one m aj or schem e( chord) - colors of sim ilar hue. Here t he light source is redyellow t herefore t he shadows appear of t he opposit e ( com plim ent ry) hue. There is an old adage in

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The psychology of color No2

paint ing which is well wort h rem em bering 'w a r m ligh t , cool sh a dow s - cool ligh t w a r m sh a dow s.'

When considering t his schem e also rem em ber t he unifying effect of t he discordant not e. Paint ers use t his is when applying ‘spot ’ com plim ent s ( opposit es t o t he unifying hue) which, as in j azz m usic, has t he effect of underlining or exaggerat ing t he unit y of t he rest . I n t he paint ing above I could have done t his by m aking t he bird's wings greener ( rem oving all t he red from t hat hue) . There is not hing psychological in t his, it m erely is a pract ical t ool for t he paint er t o em ploy if t he paint ing seem s t o lack som e vibrancy. Turner was t he m ast er of t his effect . He would creat e a huge canvas of reds, oranges and golds t hen place in a st rat egic spot of blue or vice versa. The result can have viewers circling and m ut t ering words like genius, aweinspiring and unforget t able! From a paint er's point of view all it requires is great cont rol and rest raint - holding back unt il t hat last , final, daub of pure paint . That is t he real secret t o paint ing wit h color - t he underst at ed build up, t he flat feat ureless, bland t hing t hat has t aken six t errible cont rolled m ont hs t o produce t hen becom es a vibrant m ast erpiece in t he last five m inut es. This brings m e back t o sat urat ion. This is not , as m ost paint ers would have you believe, a post exhibit ion, or aft er dark act ivit y. Sat urat ion, som et im es called chrom a, is t he redness of t he red or t he difference bet ween a pale blue and a deep prussian blue.

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The psychology of color No2

My act ion paint ing of cricket ers in t he West I ndies has highly sat urat ed hues ( calypso colors) but not e how all t heir values are sim ilar. The red is separat ed from t he dom inant green and t he whit e uniform s provide t he unifying force. You can get away wit h a lot if you ut ilise high cont rast neut rals! The m aj or chord ( t he green, red, blue and yellow hues of sim ilar value) is played again in t he whit e of t he uniform s where it is repeat ed in a 'higher key'.

When color becom es highly sa t u r a t e d ( as in t he yellow t oga above) it begins t o elicit m ore at t ent ion. I n t his paint ing 'Thor' I have used colors of sim ilar hues but differing values and sat urat ions. Sim ilar blues appear in t he sky breast plat e and ham m er, yellows in sky wat er and t oga, reds in t he flesh and t wice in t he ham m er. These are all m inor chords. The m aj or chord is http://www.geocities.com/~jlhagan/advanced/color_psychology2.htm (3 of 4)1/13/2004 3:43:18 AM

The psychology of color No2

t he green - red com binat ion of sim ilar values. We cannot t alk about sat urat ion wit hout discussing value. Value is what we do when we m ake drawings and shade t hem . I t is t he m et hod we use t o define form . I f drawing is ‘line’ t hen as soon as we shade t hat line we creat e value differences, and a t hird dim ension. So t he t hird elem ent , when describing m ost colors, is value. Value, as st at ed previously, is t he blackness or whit eness of a color ( scaled 1- 10) . Most hues t end t o darken wit h increased sat urat ion. I f you desire t o m ake pleasing t wo dim ensional color com posit ions you can do so wit h chords of equal value or sim ilar hues. This is useful and great fun but t o m ake a paint ing wit h 'dept h' we will also need t o m at ch color 'values' t herefore we m ust consider how best t o 'm ix' t he values we want . Would you expect a value five red m ixed in equal am ount s wit h a value five yellow t o produce a value five orange or a value five red m ixed wit h a value five blue will produce a value five purple? STUD EN T ACTI VI TY:I asked: 'Would you expect a value five red m ixed in equal am ount s wit h a value five yellow t o produce a value five orange or a value five red m ixed wit h a value five blue will produce a value five purple?' Do t his on your palet t e and det erm ine t he result . Also do t he sam e wit h paint s of differing values t o see whet her t hey 'average' t heir values. Writ e up your result s. Allow 40m in. GO TO ... m ixing colors Lesson list

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Advanced perspective distortions

5 - 1 AD VAN CED PERSPECTI VE N o.1

Roll- ove r pe r spe ct ive Here is a paint ing t hat ut ilizes a single vanishing point wit hout unduly discom fort ing t he eye. I call t his roll- over perspect ive. My aim in t his paint ing was t o paint t he t ot al ext ent of t he landscape be yon d what t he cam era or t he eye would see, and wit hout m oving t he eye's cone of vision. As t he landscape is essent ially flat t he illusion needed is one t hat com bines ( in t he perspect ive m ode) a plan view wit h an elevat ion. Also t o m ake t he t ransit ion as seam less as possible! Secondly t he perspect ive scale m ust be such t hat t he dist ance from t ee t o green should st ill appear at least 400 yds. Two essent ials m ust be realised t o underst and how t he illusion is com plet ed.

Fir st : t he eye has a nat ural cone of vision wherein it can focus. This is usually about 30 degrees. Beyond t his cone focus is lost - even t hough m ovem ent is discernable up t o 160 degrees( wiggle your t hum bs and see when t hey disappear) . To look at m y paint ing you will not e I t rick or force t he eye t o alt er it s cone of vision, when it really, is not necessary. I t does not have t o refocus t o see t he ent ire paint ing, but I m ake it believe it does. We are forced t o look 'down' at t he t ee and 'up' at t he green.The eye will refuse t o do ot herwise. Se con d: t he perspect ive scale is dist ort ed in t hat I

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Advanced perspective distortions

creat e t he im pression t hat t he observer's dist ance from t he t ee is defined on one scale and t hat t he dist ance t o t he green is on anot her scale. I do t his by placing 'known' obj ect s at st rat egic point s. The t ee, t he bunker, t he t rees, t he green and t he flag are all known obj ect s and placed such as t o m ake t he ground appear alm ost flat . For t hose st udent s who have already st udied m y perspect ive lessons t hey will know t he principle - as congurent obj ect s receed t hey will be reduced on a proport ional scale. They will realise it is t his scale I have purposely dist ort ed.

My oil paint ing shown left is a m ore fam iliar exam ple as it is arguably t he m ost fam ous hole in golf. The t ee is on a hill above t he green and t he lengt h of hole is 155yds. I t is a par 3. Again, under norm al circum st ances, it is im possible for t he hum an eye t o focus on bot h t he green and t he t ee as it is for a cam era t o sat isfact orily render such im ages. This is st ill a m ost beut iful landscape ... even if it is a golf hole and m own grass is m erely an eart hbound oilslick. I f you sum m ise I refuse t o m ow t he lawn and st ill play a lit t le bad golf you m ight well be on t he right t rack! GO TO .... rivers, lakes and ponds lesson m enu

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rivers_lakes_and ponds

5 - 2 RI VERS, LAKES AN D PON D S

Robin wrot e: 'I 've been st udying ot her works and t rying t o achieve som et hing in t he way of great dept h t o wat er scenes via m ulit ple layers of t hin paint ... m ost ly t ransparent due t o being so severely dilut ed wit h Linseed Oil. I t 's not quit e t here, so I 'm now t hinking of using Marine Varnish, but if t hat doesn't work, I 'll have t o t rash t he whole t hing.! ) ' Don't despair for t his is not necessarily a m at t er of glazes, alt hough t hey m ay help in cert ain inst ances. I f you want t o paint som et hing behind som et hing else, you m ight consider paint ing exact ly t hat . Dept h is achieved in t he logical m ind of t he observer, assist ed by t he art ist providing all t he necessary inform at ion ( clues) . This is also dem onst rat ed in m y lesson on waves.

Cle a r w a t e r h a s n o color so it ca n n ot be pa in t e d. All t h a t ca n be pa in t e d is w h a t is u n de r it , ove r it ,st a n din g in it , or w h a t is r e fle ct e d u pon it s su r fa ce . Aft e r a ll t h ose t h in gs a r e pa in t e d t h e n t h e w a t e r w ill m a gica lly a ppe a r . Som e reflect ions will prevent t he t ransparency .... Som e will assist .... Som e will describe t he nat ure of t he surface... To achieve great dept h in wat er scenes you will need t o paint in a num ber of layers sim elt aneously. 1. The bot t om of t he lake or wat er 2. The reflect ed sky overhead. A lit t le darker t han it is. 3. Reflect ed veget at ion from around t he shore 4. Perhaps som e lilly pads or som et hing else on t he surface. Leave a part where t he viewer can see t o t he bot t om .

This 'dem onst rat ion paint ing' provides t he sim plest of exam ples. Const ruct it yourself as it will only t ake m om ent s.

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rivers_lakes_and ponds

Black whit e and blue will m ake a subdued background. The reflect ion is a value darker t han t he sky.

Wipe away t he cent er port ion and int roduce a green bank. The area where t he bank is reflect ed, will be t he area t hat receals t he bot t om of t he pond. Why? The angle of t he m ain light source, and t he shadows of t he overhanging bank, prevent t he sky reflect ions. This is where I int roduce som e color and blend wit h foreground. You can also paint in som e subm erged st icks t o det ail t he bot t om , as well as som e drooping reeds. Don't overdo it ! The pond bot t om can be any color t hat suit s your purpose - as could t he sky. I have used separat ed opposit es.( see lessons on color)

Next , paint in a figure or som et hing else t hat will enable you t o add adit ional reflect ions and dept h. As I had already used red, yellow, green and blue I used whit e for t he shirt . You can paint t housands of variat ions on t his t hem e. No glazes are necessary, and t he basic t heory is present ed in an earlier lesson on 'sunrise and sunset '.

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rivers_lakes_and ponds

GO TO .... golden m ean Main m enu

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Painting Percy the Pelican

PAI N TI N G PERCY TH E PELI CAN

Percy t he Pelican was t he fam ily pet and I was asked t o paint him . I said I norm ally don't do pelicans but t hen rem em bered I had a successful paint ing of a sm all wave and t hought it m ight be possible t o com bine t he t wo! ( See 'how t o paint waves', in a previous sect ion) I also was rem inded j ust how m uch pelicans look like old fashioned sailing ships, and I had paint ed plent y of t hose. I t did occur t o m e however, t hat som e of t hese pelicans can be quit e large and int im idat ing so m aybe having t hem sailing away from t he viewer m ight be t he t hing t o do. I t should be a cinch t hen ...

And so it t urned out wit h t he first paint ing, a great success t o all t he local pelican lovers. I http://www.geocities.com/~jlhagan/advanced/pelicans.htm (1 of 4)1/13/2004 3:44:57 AM

Painting Percy the Pelican

called it 'Percy and Pricilla paddle off t o find a pilchard' Flushed wit h t his init ial success I decided t o do a larger and deeper view - deeper wat er t hat is - so I repaired down t o t he river and observed t he ripples and sand. I was also concerned not t o let any background m at erial int erfere wit h all t he inform at ion in t he foreground.

This is a larger paint ing wit h som e im provem ent s on t he first wit h changes m ade t o Pricilla. I called t his 'Percy and Pricilla picnic in t he pilchard grounds'. Technically t he prim at ura was a raw um ber wit h a lit t le light red and raw sienna, wiped over wit h a rag for eveness and quick drying. Next t he sand was laid down wit h m uch t he sam e m ix only wit h variat ions and secondary sand ripples. The sky was laid down wit h t he com plim ent of t he sand wit h t he t wo m erging t wo t hirds of t he way up t he canvas. These const it ut ed t he darks of t he sky and sand. The next layer was light er and wet - in- wet , as was all t he paint ing from here on, wit h t he m ix get t ing oilier as we work forward. Som e of t he light er ripples are added t o t he sand and while a light er gray is added t o t he sky and worked downwards in 'figure eight

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Painting Percy the Pelican

st rokes' for t he wave form s. This cont rast s wit h t he m ore vert ical st rokes of t he sand reflect ions. Last ly t he figures are paint ed in wit h a t hree quart er inch flat brist le brush. Subj ect wise I was now on a roll and decided t o add t he daught er of t he fam ily where Percy was considered t he fam ily's pet pelican. They oft en fed him a ... you guessed it , a herring or a piece of squid. Of course t he girl's nam e was Peggy. The paint ing was t o be rat her in t he fashion of an int im at e port rait , only on wat er.

I was now becom ing m ore and m ore convinced t hat t hese large birds resem bled ships, m ore part icularly m an- o- wars, wit h t heir gunport s posit ioned along t he side looking like black feat hers. All t hey needed was cannon run out ... and sm oke and a few feat hers ...

http://www.geocities.com/~jlhagan/advanced/pelicans.htm (3 of 4)1/13/2004 3:44:57 AM

Painting Percy the Pelican

So as a final 'Percy t he pelican' paint ing I paint ed t he 'Pelican prom ont ary Wars', a bloody bat t le bet ween t he red beaks and yellow beaks t hat all st art ed over t he fishing right s t o t he pilchard grounds. You m ight observe t he feat hers in t he wat er and one of t he redbeaks lost t o t he deep wit h only feet showing. That courageous bird Percy was in t he van, and was one of t he first t o break t he bat t le line of t he opposit ion. Though wounded he quiclky recovered and spent m any an hour on t he local shore scrat ching lines in t he sand point ing out t o all his m at es how exact ly t he bat t le progressed, and how t he great vict ory for t he yellow beaks was won. All but t he last of t he series are being m ade int o print s. The last was done m ost ly for t he benefit of t he Cowdisley readers.

Advanced lesson menu

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Painting small waves

PAINTING LITTLE WAVES

Remember the first lesson on the importance of really looking at things and studying them? Well this lesson is a reminder of that and will also give you an understanding of how a painter must analyze the smallest things so as to best understand how to paint them in the biggest way. Nothing is more important than understanding this. You might think the figures I put into the following painting are the key. Not so, it is the study of the wave that makes this painting unique.

Have you ever wondered how t hose bright lines on t he shallow end of a swim m ing pool com e int o being - or when you wade in shallow wat ers, on a sunny day, how t he pat t erns rippling across t he sand are m ade? Well so did I . So I t ook m yself t o t he seaside on a sunny day and looked and looked ( all in t he nat ure of an art ist 's everyday grind) . Right is a phot ograph I t ook so you will can see what I m ean. Below is anot her wit h an analysis of t he reflect ed light t hat operat es on t he surface as t he eye is raised.

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Painting small waves

Not e t he yellow line t hat shows how t he lit t le blue wave t op is parallel t o t he pat t ern in t he sand.

So, how do t hese bright lines form on t he sand? Well t hey form because t he t op of t he wave is not sharp, but curved like a lens and like a lens, it focuses t he light like a lens( see diagram opposit e) . Were t he wave 'peaked' t he difference m ight occur as shown in t he second diagram .

OK, so now we know that small waves are usually rounded. The more scientifically minded might say the were flattened by gravity or that water finds its own level. Whatever the case I want you to consider the information in the photograph below and understand how the total structure of sand, wave, light and reflected light works and how we might transpose that to any painting we might do of a wave. http://www.geocities.com/~jlhagan/lessons/waves.htm (2 of 3)1/13/2004 3:45:05 AM

Painting small waves

Let's not waste too much time on the beach (why not!) but get back to the studio and see what we can make from the information we have learnt, gathered and understood. GO TO .... waves part 2 lesson m enu

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Painting small waves No. 2

PAINTING LITTLE WAVES No.2

In the detail of the wave shown opposite you may be convinced you are looking through the wave ... but this is mere illusion. My steps in painting were as follows: 1) Paint the whole canvas a thinned mix of dirty sand colored raw sienna mixed with a little raw umber and white. Adjust for a approx value 5 or 6. Let dry to the toutch. 2) With a nice runny flake or lead white with a little ultramarine and cobalt blue and using flowing figure eight horizontal hand movements create the wave tops. 3) Add some white to the raw sienna/umber mix and paint the pattern into the verticle wave surface making sure thet the lighter more intense pattern is in the shallower wave's forward edge as I have shown. NOTE: Don't begin the painting until you see the finished article and understand all the steps ... particularly that to make something look as if it were behind someting else does not necessarily mean painting it that way - as in the sand 'beneath' the wave.

http://www.geocities.com/~jlhagan/lessons/waves2.htm (1 of 3)1/13/2004 3:45:20 AM

Painting small waves No. 2

You should now underst and t he absolut e sim plicit y of t he whole scene; t hough t here are a few point s t o be not ed from looking at t he paint ing above. 1) The reflect ed light on t he t op of t he waves get s light er as it goes back ( t he angle of incidence wit h t he horizon decreases. I n ot her words t he t ops of t he closer waves are slight ly darker in value as t hey reflect a higher part of t he sky. 2) The waves get sm aller as t hey receed. 3) The alm ost vert ical front s of t he lit t le waves get darker and bluer as t he wat er deepens. I n ot her words t he sand color disappears. Every problem can be solved by a careful st udy of t he phot ographs shown on t he previous page or by anot her visit t o t he beach ... which is never a bad idea anyway!

http://www.geocities.com/~jlhagan/lessons/waves2.htm (2 of 3)1/13/2004 3:45:20 AM

Painting small waves No. 2

The figures are from sketches I made and I added the swimming costumes and altered there colors and to give a more satisfactory color scheme. (A full view of this painting can be seen by pressing here. It is also available as a quality giclee print.) STUD EN T ACTI VI TY: Make your own st udy ( drawing) of som e sim ple nat ural event or t hing such as a clum p of grass, part of a grape vine, a fish pond, a pile of aut um n leaves or a neglect ed corner of t he garden. Allow 40m in. Lat er you m ight decide t o base a m aj or paint ing on your part icular st udy?

Information for new CD releases! GO TO .... ot her t ransparencies lesson m enu

http://www.geocities.com/~jlhagan/lessons/waves2.htm (3 of 3)1/13/2004 3:45:20 AM

Art lessons - learn about shadows and transparency in painting

3-3 SHADOW AND TRANSPARENCY

Let us recall our lesson on sunset and sunrise and remember the effect of atmosphere on light rays. Remember how the motes in the sky or mist intercepted the long blue rays and let the red through? Now we will treat that 'mist' as a piece of glass or plastic; a solid yet semi -transparent medium. In the first example below the reddish pigment particles suspended in the glass are sparsely arranged. As with the earth's atmosphere at sunset the pigment particles in the glass absorb the blue-green light rays ... and this has a dual effect. (Fig 1.) 1. It reflects the red light rays back to the observer making the glass appear red. 2. It allows some of the red rays through to strike the surface behind. Here, that surface (green), absorbs some of the red rays. This tends to slightly neutralize the color. If the green was stronger the shadow would become grey.

The solid object in Fig.2 blocks out all the light rays and casts a theoretical neutral shadow. Most painters find it useful to paint a warm shadow if the light source is cold and a bluish shadow of the source is warm. In this example the greenish background and reflected side light prevent an altogether neutral effect. In the third example thicker glass is added to the center. This has the effect of both blocking the light and unsaturating the red. (see previous lesson on saturated color)

The principle regarding transparency is useful when painting with semi-transparent dark paint as the value and depth of the darks can be increased. As opposed to opaque darks, transparent dark allows light to penetrate the surface before reflecting back off what is underneath. This has the effect of filtering out light rays on the way in as well as on the way out thus allowing less of the light rays to escape and for our eyes to read richer, more ineresting darks. Application ... THE SEMI-TRANSPARENT RED RUBY RING http://www.geocities.com/~jlhagan/lessons/edge-sat.htm (1 of 3)1/13/2004 3:45:33 AM

Art lessons - learn about shadows and transparency in painting

1. Create an oval and smear with shades of red allowing a transparency around the edges. You could do this with a semi-transparent crimson red like alizarin. The rest is pure fiction and applied logic ... a) Light source (top left) determines the position of the shadow as well as the position of the reflected light on the stone.

b) The highlight on the stone tell us the much. As it is sharply focused we know the stone is smooth and shiny (very reflective). Here it is a window - reflected twice (the second time gives the stone greater transparency). By its position we also know the window is the main light source for the object and a line drawn from the observer to the highlight would reflect at an angle and pass out the window. This tells us that the object's surface is at an angle (round) and that the window is high left. This information should tally with the position of the shadow.

c) The horizontal bands on the ring band define its texture and roundness. The elliptical shadow reinforces this assumption. Here again this object is not drawn from anything real. It is a pure construction using logic and remembered observation. STUDENT ACTIVITY: Find examples of gold, silver, chrome and copper and describe them in terms of reflectiveness, edge and color (light hue and dark hue).

http://www.geocities.com/~jlhagan/lessons/edge-sat.htm (2 of 3)1/13/2004 3:45:33 AM

Art lessons - learn about shadows and transparency in painting

GO TO ... lighting it up ....or back to main lesson list

http://www.geocities.com/~jlhagan/lessons/edge-sat.htm (3 of 3)1/13/2004 3:45:33 AM

The magic of painting

PAINTING BEYOND FASHION

Ba sic pa in t in g a n d dr a w in g pr in ciple s a n d t e ch n iqu e s fr om t h e Re n a issa n ce t o t h e pr e se n t by Joh n H a ga n

TABLE OF CONTENTS Intro - Learning to look 1. aerial perspective -6 lessons perspective - the basics perspective - lets go outside veils of atmosphere sunrise and sunset reverse sunset and night clouds, mist and other veils 2. color - 2 lessons color the hows and whys color a different approach 3. looking harder - 3 lessons painting waves[2] shadows and transparency 4. light and shade - 4 lessons backlight works its magic side light and turning points front light, and artist's light cascading light and shade

5. drawing texture design-6 lessons drawing and proportion [2][3] pattern and texture design and golden mean [2] 6. analysis -5 lessons what to paint and why analysis of 'girl with pearl earing' depth of field abstract and texture work chaos and disorder 7. practical application -32 lessons practical painting [2][3][4][5][6][7] portraiture [2][3][4][5] demo Alexander [2][3][4][5][6] demo nude [2][3][4][5][6][7][8][9] framing [2][3] 8. personal paintings used here [press here] advanced art lessons

*The artist's role and making a living from painting. [2] [3] [4] [5] [6]

All artork is by John Hagan unless attributed or known pre- 20th century masterpieces! NEW Information for new CD release! LATEST: A fuller view of particular paintings available as prints can be seen by pressing here.

http://www.geocities.com/~jlhagan/lessons/mainmenu.htm1/13/2004 3:45:43 AM

Art Lessons - learn design and 'instinctive' proportion

5-3 DESIGN

TRUST YOUR INSTINCTS (and get to the theory later) Let us assume we are faced with the situation where the following picture must be cropped to fit a particular frame. How should it be done?

http://www.geocities.com/~jlhagan/lessons/design.htm (1 of 4)1/13/2004 3:45:57 AM

Art Lessons - learn design and 'instinctive' proportion

You probably have quite definite ideas about your preferred option ... and if I said I preferred No.2 you may decide I should seek serious counselling or some other form of professional help. But most paintings do have accents or points of natural interest. Sometimes these are the areas of maximum contrast (lightest against darkest), other times it is a color accent (hue), or in a narrative painting, it could be an area of high dramatic intent - or it may even be a combination of all three. There can, of course, be dominant, secondary and many other minor accents. The question is: where to place them within a defned space so they look right? Without explaining the complexities of physics, calcalus or harmonic proportion (all of which I forgot as soon as I gave up my promising career as a rocket scientist - I ran out of chalk). Still, I have found the following method a helpful starting point for the humble painter. 1. For primary accents - corners of the center rectangle.

Try and counterpoint a dominant accent with a two secondary or some minor accents (mostly outside the rectangle). Remember, everything is a balance with the relationship of all the parts to each other as they are to be sympathetic to the whole. Extra accents could lie on the corners of the second rectangle as shown below.

Remember the diagonals are powerful lines in any composition (below). http://www.geocities.com/~jlhagan/lessons/design.htm (2 of 4)1/13/2004 3:45:57 AM

Art Lessons - learn design and 'instinctive' proportion

Later you will see where spirals and curves can also assist in forming the basis of compositions. An example- one of my most difficult design tasks was to construct a painting to form the frontpiece of my tryptic (a three paneled paining). I was faced with a square to be split down the middle - upon which I wanted to place a single portrait. The problem was I did not want the figure to look as if it were cut in two by and axe.

1.The diagonal forms the main element of the composition. 2.The triangle forces a relief to the diagonal and is the principal construct of the figure. 3. The green and red circles are counterpoint highlights equidistant about the split just like you would balance weights on a seesaw (fulcrum).

http://www.geocities.com/~jlhagan/lessons/design.htm (3 of 4)1/13/2004 3:45:57 AM

Art Lessons - learn design and 'instinctive' proportion

With enough counterpoints we can almost create pattern ... STUDENT ACTIVITY: download or cut and paste into your book a famous painting of your choice. Analyse, showing diagonals and counterpoints and explaining elements that bring the painting into 'balance'. Time:40min.

GO TO ... the 'golden mean' ......or lesson list

http://www.geocities.com/~jlhagan/lessons/design.htm (4 of 4)1/13/2004 3:45:57 AM

How to frame your painting

7-5 FRAMES AND OTHER DECORATIONS

Historical developments It is useful to understand the evolution of the picture frame. Frames evolved from painted decorations of architraves and cornices that surrounded frescoes on walls and ceilings (as in the Sistine Chapel below), to actual plaster and timber mouldings used when oil paintings became transportable. Today frames have become ‘stand alone’ items of mass production.

From the early renaissance architectural fashion has often determined the design of frames. Popular architrave, cornice and skirting designs, often in miniature, formed the frame. If you desired to frame a Watteau painting, if you are lucky enough to possess one or one you painted yourself in the Rococco style, then you should check out the famous houses of the period noting all their architraves and cornices. The great decorators and designers of past eras were usually universally consistent in their style. This approach can be just as valid today so look to architraves and cornice when deciding what frame to use (see below).

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How to frame your painting

I have sometimes taken to painting decorations or frames on the canvas to achieve a historical effect as in the following example below.

From an artists point of view this allows you to paint a frame before the framer gets his hands on it. Other artists throughout the centuries such as Rubens, Tieopolo and Raphael have done the same often using fruit, leaves vines etc. as decoration. Some might argue it is a tradition worth keeping if only to keep the apprentices active. With the development of oil painting as a medium and canvas as its ground it became important to protect these new 'mobile' or moveable works of art. Obviously someone had the bright idea to make the frame perform all functions, protection, decoration and finally as part of some intended environment (room). All this has led to much confusion with a minefield of styles, frame mouldings and architecure to negotiate.

http://www.geocities.com/~jlhagan/lessons/frames.htm (2 of 4)1/13/2004 3:46:18 AM

How to frame your painting

So a picture frame can have certain characteristics and many functions; 1. Protect the painting 2.Unify the painting with the architectural style of the room as in repetition of color style or other design elements. 3. Separate the painting from the wall. 4. Tunnel the attention to the painting so it will become the focal point of a room.- or do the reverse. An artist may require the frame can echo all the qualities of the painting. Accents of similar texture, color, line or shape. Echoes between painting and frame: Just as parts of a painting can relate to each other in echoes of texture, color and form so can the relationship between the frame and the painting. This is a relationship the renaissance artists knew well. Some of these relationships I demonstrate in the following example. More can be observed on the following page.

This traditional example (above) only works in isolation and miniature as most eliments are fierce. However, texture of frame and breastplate, color values of frame, sky, armour and directional form match. The frame struggles to confine the painting and will only succeed if surrounded by a bland background. The frame is a color compliment of the painting while the gold still echoes the strong yellows. We are now going to simplify things and examine three elements. The painting, the frame and the background. GO TO ... traditional configurations

http://www.geocities.com/~jlhagan/lessons/frames.htm (3 of 4)1/13/2004 3:46:18 AM

How to frame your painting

............or back to main lesson list

http://www.geocities.com/~jlhagan/lessons/frames.htm (4 of 4)1/13/2004 3:46:18 AM

How to frame your painting -2

PICTURE FRAMES

The classic tradition of museum display is that of the Uffizi - deep gold frames on a salmon red background wall. This is a formula often repeated for many renaissance paintings. It is also one I sometimes use in internet gallerys but mostly without the frames. For landscape paintings of high contrast and dark greens the salmon red works well particularly if separated by a neutral (off-white, black) or transit (gold) color. This is a handy hint for painting as well as framing. When dealing with complementary or opposite colors redgreen or blue-orange try and separate them with a transit or neutral color. Even modern minimalist paintings of clashing compliments are often framed to separate them from a colorful wall. Fierce agressive paintings and color schemes are often impressive and eye catching - but difficult to live with. As with most art the understated is usually more powerful in the long run (less is more - again!) Below we examine three overall elements and their relationships - the wall, the frame and the painting.

Example 1. Complementary red wall green painting. Frame echoes the painting in color(darks and green-gold) and swirling shapes.

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How to frame your painting -2

Example 2. Complementary colors of wall and painting with transition light gold between. 1800's style rococo style frame matches swirling wave. The important feature here is the 'value' differences between the frame and the wall and the frame and the painting.

Example 3. Complementary again. Here the frame and the picture provide a unified package where the rust color of the painting is made even more dominant with the matched frame. This allows the wall green to work.

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How to frame your painting -2

Example 4. Wall and painting colors are the same and the light gold frame is the complement. Echoes of light and dark from painting to frame.

Example 5. Wall frame and painting colors are the same which allows the small blue and yellow accents. This arrangement gives the painting great depth. GO TO ... some aspects of modern framing ... or back to main lesson list

http://www.geocities.com/~jlhagan/lessons/frames2.htm (3 of 3)1/13/2004 3:46:38 AM

How to frame your painting - 3

MODERN FRAMES - ACCENTS AND ECHOES

When the print or painting itself is intended as a decorative item - fashion often dictates the frame. It is perilous in this instance to buy a finished item without checking its intended placement. All sorts of factors such as lighting, wall color, furniture etc. can have their unforseen effects. In this section I shall concentrate on those principles of framing that confine themselves to the picture and the frame. The principles of modern framing are the same as principles of the past but often with more of a bold fashion statement. Floating a painting: This is the relatively modern approach of physically separating the painting or print from the frame and/or the wall by the use of neutral or semi-neutral barriers such as mounts, slips or other such devices. The general rule here is to continually vary the widths of the divices and the distances between them.

Texture echos: ( also above)This is the repetition of a texture from painting to mount or frame.

http://www.geocities.com/~jlhagan/lessons/frames3.htm (1 of 2)1/13/2004 3:47:02 AM

How to frame your painting - 3

Hue echo or tonal framing: (above) This is the name I give the practice of balancing hue values between painting, mounts, slips and frame. Borders, lines and bevels: a strong border or dark line is not always mecessary as the example below demonstrates.

Size of frame & minimalisim: sometimes the simplest is the most effective. Here the print as well as the frame combine to give a three dimensional feel. GO TO ... making money from painting ............or back to main lesson list

http://www.geocities.com/~jlhagan/lessons/frames3.htm (2 of 2)1/13/2004 3:47:02 AM

Art lessons - learn how to paint pictorial and ambiguous light

4-3 HOW LIGHT WORKS ITS MAGIC

3. FRONT, PICTORIAL AND AMBIGUOUS LIGHT 1. Front Light - the favorite of photographers, two dimensional artists, children and colorists where emphasis is on color and texture over form and value. Front light can eliminate the need for shading and shadows (which is a pity for they are a great joy and keep many artists from wandering aimlessly about the streets in the dead of night). Front light is also excellent for use in portraits of unremarkable people. Holbein's front light portrait of a Dutch princess eventually caused the schism that resulted in the formation of the Church of England. Like good putty front light can cover-up many faults. USING THE JMW TURNER FRONTLIGHT PAINTING TECHNIQUE: (From my 'Arrive Timor' (60" by 36") painting from the Bounty series) 1. On a prepared canvas begin with a thin glaze (stand oil/spirit medium) of yellow with touches of red and blue. (blue suggesting the distance, yellow the middle ground and red the foreground). These thin 'washes' serve as a beginning - the overal plan for solving the problems the subject presents. 2. After drying make light compositional drawing with chalk. 3. Lay in the large masses boldly with impasto white/color mixtures and allow to dry. 4. Draw/paint in the forms in greater detail with a light brown (burnt sienna).

5. Begin to add colour using glazes and scumbles. Do not fear adding white to the glazes as this can create a broken light effect. Build thin layers of colour on top of each other maintaining a luminous transparency to the canvas and the textured white below. (note - can be wiped) 6. Apply accents and details including dark local colours as well as impasto white highlights strategically placed to give the effect of glimmering light. 7. Finish the painting in the frame touching up with fresh varnish and using thin brushes to drive paint into

http://www.geocities.com/~jlhagan/lessons/light3.htm (1 of 2)1/13/2004 3:48:21 AM

Art lessons - learn how to paint pictorial and ambiguous light

the cracks etc and other areas. THEORY : In fact this method of painting I used copys Turner but most likely had its beginnings with Rembrant. It gains its effect by glazing over dried impasto to other textures. Rembrant devised a method employing two whites; one for impasto and one for smoother passages. The impasto white was faster drying, probably made so by the addition of egg and ground glass, into the formulation. It was very lean, and consisted mostly of white lead with a minimum of binder ( a variation on Step 1 above). He began applying it more and more heavily (Step 3 above) as the first stage of a two (or more) stage operation which was finished with transparent glazes and wiping, to create fantastic special effects, the most extreme example of which is the man's glowing, golden sleeve in the painting referred to as "The Jewish Bride," in the Rijksmuseum in Amsterdam. The brilliance of this effect cannot be gotten in any other way. By wiping the glazes off as soon as they were applied, Rembrandt and later JMW Turner were able to create a bas relief effect of remarkable three dimensionality as the glaze remained in the nooks and crannies (Step 5-6 above). By glazing again, this time with transparent yellows and/or browns, instead of Ivory Black gave the textures a rich, golden glow (Step 7 above). STUDENT ACTIVITY: Look up some paint manufacturers or go to your art supplier and find answers to these questions. Name three oils that can be used in oil paint manufacture. What is stand oil? How is sundried oil made? Name a non-drying oil. What is a varnish? What is a resin? What is a medium? Which is the most transparent white of those commercially available today? What medium is used for acrylic paints?

APPLIED PICTORIAL AND AMBIGUOUS LIGHT In the painting above 'Allegory for a time capsule - (detail)' I constructed a sky spanning morning, noon and night. The possibilities of broken light on the ground are immense, but still, within in their particular areas, the scenes must be light consistent. The transition areas, as always, pose the greatest difficulty. Here I used the frame divisions to create artificial boundaries but the changes of pallet (colors) and angled light made the true difference. Note the pyramids are lit from the right, the Venetian castle from above and the skyscrapers from the left. GO TO ... Cascading light ......or back to main lesson list

http://www.geocities.com/~jlhagan/lessons/light3.htm (2 of 2)1/13/2004 3:48:21 AM

How to make money out of painting history

OK, now you have learnt your craft and you want to paint paintings that you can sell either the original, or the copyright. This may help you buy your round of drinks at the local tavern and perhaps, at last, put a roof over the heads of your nearest and dearest. You might even have dreams of becoming a responsible member of the community, regain the respect of those outlaws and in-laws who have long since given up on you. How do you do this? Below are some of the methods I have employed that won't leave you feeling like an absolute 'quack'. ● ● ● ● ● ●

FILLING THE GAPS OF HISTORY MAKING ORDINARY THINGS EXTRAORDINARY ILLUSTRATING FABLES AND LEGENDS RECONSTRUCTING LANDSCAPES OF TIMES PAST PAINTING PORTRAITS AND COMMISSIONS PAINTING FOR DECORATION

1. Filling the gaps of history Don't let anyone tell you this is not a legitimate endeavor for a painter. Someone once spoke thus to me... 'How could you paint Shakespeare or Fletcher Christian,' they scoffed indignantly, 'did you ever meet them or see them? You can't just go around doing that! Anyway, they died hundreds of years ago.' I replied, 'I don't expect Leonardo met the Virgin Mary, nor to my knowledge did Carraviggo meet John the Baptist, or was Michaelangelo ushered into the presence of God for painting purposes...! I also expect neither Rembrant nor Rubens was present when Jesus was lowered from the cross'. And all these things happened over one thousand four hundred years before they were painted.' In fact it is the artists duty and obligation to do exactly these type of paintings and make them believable. Thus will we enrich history for those coming after us.

First of all let's look at portraits of those folks who were not captured by photography or painters of their time. Perhaps most became notorious well after the event. Anyway here are two examples that have been used on book covers, magazines and in television documentaries from which I gained financially by my agent selling a limited copyright. The originals, of course, I usually retain and will will to my children.

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How to make money out of painting history

William Shakespeare who was never painted in his lifetime

Alexander and the Gordian Knot

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Fletcher Christian

How to make money out of painting history

These paintings have been copyrighted and used more than once in publications and documentaries and book covers. It shows that any artist still has great scope should he or she wish to properly research and produce a painting that is definitive in its portrayal of some event of person who presently lacks any adequate representation. What other 'gaps' might the 'journeyman' painter tackle? Here is a list off the top of my head: Milton of paradise lost fame The philosopher 'Gothe" Chaucer A real flesh portrait of Julius Caesar Sir Francis Drake John Paul Jones Christopher Columbus Sir Francis Drake Stanley meeting Livingstone Plato OK, so you can now see the possibilities should you want to research the subject matter, and have the technical skills to produce a painting that has both feeling, drama and definition. In my atelier my primary duty is usually to give students the skill so they can paint whatever style or method that might suit the period - or otherwise, should they determine something else is required. That is up to them and their reasoning. In this sort of work it is important for future copyright use that the artist refrain too much from 'stamping their personal style' on the work; instead making the painting identify with the time and place or the person and particular event. This sometimes needs much research - but the rewards are great should your portrait or work become the definitive one, as did my Fletcher Christian. You see it was well researched had the benefit of not looking like Mel Gibson, Marlon Brando or Erol Flynn! Beware that, like the novelist or actor, you might become so attached to some period or person it could almost become obsessional - as I nearly did with my late 18 century era of sail and romanticism. Finally you need to put these images where folk who need them can see them and this means originally on the web, and perhaps giving them away free (within defined parameters) to educational and other non-profit organizations that require them from time to time. GO TO ... Ordinary things OR ... back to lesson list

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How to make money out of painting deocrative pictures

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FILLING THE GAPS OF HISTORY MAKING ORDINARY THINGS EXTRAORDINARY ILLUSTRATING FABLES AND LEGENDS RECONSTRUCTING LANDSCAPES OF TIMES PAST PAINTING PORTRAITS AND COMMISSIONS PAINTING FOR DECORATION

6. Painting Decorative paintings When everything else fails... So how do you do formula paintings, and what are the formulas that always sell? In the business we call these 'potboilers' and the problem is not in painting them it is disguising them sufficiently so they seem fresh and new, one off originals instead of formula paintings. There are of course certain things that have universal appeal and I will show you two variations of them in this lesson. Understand however, this universality needs to be tweaked and adapted depending on the country or other demographics, like your target audience. It is a fact, for instance, that folk in the US and Europe will appreciate more colorful paintings than those living in South Africa or Australia who, no doubt due to an abundance of color and light and the absence of winter grays, appreciate that which they don't get to see a lot ... the more subdued hues. Here is our first example ... a girl frolicking in a surf on a hot summers day and pelican investigates. A universal desire.

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How to make money out of painting deocrative pictures

The secret of selling this type of painting is to make it decorative. In other words a fashion item as well as the remembrance of some pleasing experience. To do this I have deliberately made it a 'high key' painting. In other words it has mostly light airy colors - though I do make sure the areas of contrast are there and catch the eye. So the secret here is mostly presentation. A decent frame matched to the painting in a decorative and unassuming manner (that way it will fit most homes). The painting is not designed to stop people in their tracks, but to create an atmosphere wherein folk are comfortable and relaxed.

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How to make money out of painting deocrative pictures

To produce this type of painting (above) you will need a basic understanding of the elements of waves and reflections and atmosphere, but it is fairly rudimentary and is well addressed in the lessons so far. Then you will need a camera or sketch pad and a few summer days to sit around the beach ... of course that's the tough part! Another formula that seems to have a universal appeal is the one with wrought iron fences, balustrades etc. and flowers. In my variation it is best if the wrought iron is painted white and the flowers are climbing roses or suchlike. An abundance of vegetation is also helpful. Again summer and high tones are well placed but make sure there are areas of deep contrast that draw the eye. If you add small children and romantic remembrances of childhood then extra appeal can be added and the clientele and focus groups will not doubt appreciate the effort. And so in this scenario I have utilized in my 'beauty and the beast' work that you see below. I deliberately evoked the summer Mediterranean feel so as to counterpoint the horrible 'beast'. This of course would prevent otherwise good sales, but then again - is fame and fortune worth all that? In the marketplace this is a dollar each way painting. There could be someone our there who might like both elements. Well, these paintings are but two variations on good and tested formulas that may make you a fortune if you need one. I have maybe ten other tried and successful 'themes'.

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How to make money out of painting deocrative pictures

Seriously though folks, if you want to paint for fame and fortune, forget it. I have no personal fortune but I am usually welcomed wherever I go and I get countless invitations to address folk, talk and demonstrate my wares. I can never retire, my financial stability relies not on what I saved but what I may be capable of doing tomorrow. Otherwise I am quite happy with the paintings above. I am not raising the bar so you might be dissuaded from even trying some painting formula, rather you MUST do it to learn the basics. I am only warning you against complacency, repetition and false success. So I no longer paint for the lowest common denominator, though when I was stuck in Brussels, with no money ...

GO TO ... Advanced lessons OR ... back to lesson list Subscribe to cowdisley technical forum enter email address

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How to make money out of painting commissions

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FILLING THE GAPS OF HISTORY MAKING ORDINARY THINGS EXTRAORDINARY ILLUSTRATING FABLES AND LEGENDS RECONSTRUCTING LANDSCAPES OF TIMES PAST PAINTING PORTRAITS AND COMMISSIONS PAINTING FOR DECORATION

5. Commissions Due to 50 years of the press showing works of 'art' being made by elephants with brushes held in their trunks, monkeys, guys riding over canvas with bikes, kindergarten children and anyone else with no talent and no training; it is increasingly difficult for any member of the public to believe a professional painter should receive a per hour renumeration that might be similar to what a plumber or an electician might recieve should they spend an equivalent time at a contracted task or job. This has become the sad lot of painters so the point must be made forcefully and prima facie before any work is undertaken that you expect to be paid on a scale commensurate to your study, skill and experience; at least at a tradesman's hourly rates. Here I will discuss just a few basic rules for graduated painters who intend to make a career out of commissions. ● ●

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Be professional. Make the client aware that your hourly rate should be adequate. Define the work: Make sure the size of the canvas, paint, the mounting and frame are all costed and defined. In a lot of instances it is appropriate for the client to agree to pay separately for the frame. This does not preclude a caveat by the artist on the type of frame to be used. I find it useful to make this provision at this stage. Take a deposit - at least 10%. More if you are including the frame and mention the cost of artist quality paints, particularly if you intend using any seriously expensive colors such a cobalt blue etc. Settle on a completion date with + or - variations for unforeseen circumstance. It it is a portrait this time should run concurrently with the sitting times and the sitters availability. Agree on the scene/portrait - general colors and style and if a portrait the mood and props. Don't rush this as it is most important. You should value a happy customer for it is from them you will get a plethora of new clients. Be careful the client understands that you will exercise your skills to the fullest but not all paintings turn out to the clients perfect satisfaction. In fact the client should be made aware there are certain risks involved that are separate to actual performance. If possible get your signature and your clients on a piece of paper! And never, ever, take on more commissions than you can handle. Portraits particularly, can become very demanding whereas commissioned landscapes are usually a joy - particularly in summer. Be professional.

GO TO ... decorative paintings OR ... back to lesson list

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How to make money out of painting commissions

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How to make money out of painting landscapes

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FILLING THE GAPS OF HISTORY MAKING ORDINARY THINGS EXTRAORDINARY ILLUSTRATING FABLES AND LEGENDS RECONSTRUCTING LANDSCAPES OF TIMES PAST PAINTING PORTRAITS AND COMMISSIONS PAINTING FOR DECORATION

4. Reconstructing Historical Landscapes There is a growing opportunity for painters to make a living by painting historical landscapes using old postcards or photographs as reference material. I recently experimented with this by taking three old faded, black and white postcards and reconstructing the landscape. They were subsequently scanned and printed and sold in the area they were painted. This could be done in any location should you possess the skill of an adequate landscape painter and a modicum of flair for color and drama.

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How to make money out of painting landscapes

This painting (24"x36")depicts a flood in a main street of a seaside town in 1892 Taken from the postcard immediately above.

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How to make money out of painting landscapes

This depicts a dry dock in the same town 1895. I applied a Turneresque look to the scene.

These paintings were also made into postcards and small prints for which I receive a small income.

Again, the painter should not be so elitist as to spurn such work. Society has, and always will, treasure such efforts should they be atmospheric and definitive. With the right training a painter could always make a good living traveling up and down the coast, or around the country just producing such pieces of work. You might find the local Historical Societies are also interested in commissioning such work - they surely have a wealth of http://www.geocities.com/~jlhagan/lessons/formulascapes.htm (3 of 4)1/13/2004 3:49:26 AM

How to make money out of painting landscapes

material you could use! GO TO ... Other Commissions OR ... back to lesson list

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How to make money out of painting landscapes

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FILLING THE GAPS OF HISTORY MAKING ORDINARY THINGS EXTRAORDINARY ILLUSTRATING FABLES AND LEGENDS RECONSTRUCTING LANDSCAPES OF TIMES PAST PAINTING PORTRAITS AND COMMISSIONS PAINTING FOR DECORATION

2. Making ordinary things extraordinary The idea here is to take something entirely common and paint it in such a way that viewers are forced to look or 'see' the thing in some other way. Just this morning I purchased a packet of beautiful chopsticks. My aim it to one day paint them in in conjunction with a fork or other eating implements. This might just question the process of getting food from dish to mouth. Anyway painting simple things is also a major obligation of any artist for it promotes lateral thinking and wonder. Such things might include: ● ● ● ● ● ●

A footprint in the sand. A small wave on the beach with a shell. Cooked pasta. A map of the world. A mailbox. Beans and toast.

Look around, walk in the park, go to the seaside, there are thousands of suitable items. Below are a few examples of mine I have found that made successful and saleable paintings.

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How to make money out of painting landscapes

Pasta (36"x24")

Beans and toast (36"x24")

'Landscape'(100"x50") - I intend to follow up this 'world landscape' with another having the map reversed as if looking from inside out; out into the universe. The shapes thus should be vaguely familiar but the 'views' unusual.

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How to make money out of painting landscapes

GO TO ... Fables and legends OR ... back to lesson list

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How to make money out of painting legends

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FILLING THE GAPS OF HISTORY MAKING ORDINARY THINGS EXTRAORDINARY ILLUSTRATING FABLES AND LEGENDS RECONSTRUCTING LANDSCAPES OF TIMES PAST PAINTING PORTRAITS AND COMMISSIONS PAINTING FOR DECORATION

3. Illustrating Fables and Legends Painters have been doing this for ever - from cave painters to artists at the end of the 20th Century. Sadly there is little of it today but... this gives the versatile and patient painter an excellent chance to fill the gap!

To understand the importance of such paintings as Gerome's 'Police Verso', shown above, one only needs to understand that the whole visual feel and detail of the very successful 'Gladiators' movie was, according to the director Ridley Scott, based entirely around such 1890's work. It is a shame Gerome is not around to claim his legacy. Someone who was however is H R Giger whose paintings and drawings were the inspiration for Scott's 'Alien' movies. These works in turn related back to Goya and Blake's 19th century gothic works. Others might include: ● ● ● ● ●

Any Shakespearean theme St. George and the Dragon The Pied Piper The Homeric Epics The Old Man and the Sea.

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How to make money out of painting legends ●

Any of the Myths of the Gods.

You should look toward your imagination and try and paint such paintings or perhaps marrying such legends (St. George) to modern events as allegories as I have done with 'Perils of a Chemical Life' below. It is good practice to be working on one or two of such paintings in the background to your usual commissioned or current work.

Beauty and the Beast (48"x48")

Thor God of Thunder (48"x48")

'Perils of a Chemical Life'(48"x48") - This is a modern day allegory based on the St.George theme where the knight attempts to rescue the heroin stricken maiden who appears as both the serpent and the girl.

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How to make money out of painting legends

Even though this type of painting appears, a first glance, attractive to only a small market the painter should always remember the first rule of selling a painting: that is to produce a painting for the one person who cannot live without and not to paint for that 99 out of 100 people who will think it is OK. This happens regularly as galleries are often seduced to hang bland, mediocre works always attractive for the widest possible range of people. Serious collectors however always favor the definitive, unique work that has obvious craft and value. Should you need to appeal to wider audience this should be done with smaller works with affordable prices rather than quicker large paintings. Remember your small purchaser today will become your collector of tomorrow, so always have some smaller works priced accordingly at any showing. GO TO ... Landscapes OR ... back to lesson list

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Art appreciation and some definitions of 'fine art'

6-1 DEFINITIONS

Before you start painting you must decide on your object in learning to paint. There are many styles and methods of applying paint to a surface but there are three main reasons for doing so. After you have looked at these reasons and the examples I have provided you should be able to follow your purpose and utilize the tools of drawing, color, texture and design to your best advantage. The categories are not definitive as many paintings encompass more than a single element - nor is any objective better or worse than any other. None should ever gain from a painting any dividend in excess of what the artist invests - and if he or she does it is a fool's profit. Sadly so many twentieth century artists hold their public in the same regard a con man would a victim. Even Picasso and Dali made some unfortunate comments in this regard. If we train our senses sufficiently they can evolve to the extent they are able to discern great subtlety. Just as a wine taster or gourmet train theirs so can a visual artist and it is truly a joy.' ... Th e ca t e gor ie s a r e :

Fig 2

Fig 3

1. Decoration - I want to paint because I love to decorate. Fig 1.(above) Here color and proportion are made pleasing to the senses. Fig 2 Impressionist decoration. Fig 3 The use of an accent (bright red in a sea of grey) for an eye catching wall decoration I would have you paint decoration for the appreciation of decoration, paint subtlety for the appreciation of subtlety and paint messages for those looking to pictures for meaning. Why deny people their decoration, why deny the high church their subtlety, why deny the communicators their messages? There is no good reason—still, I would have the artist be all, at the same time. But if you find you cannot, just rejoice in the diversity and do not judge one better than the other.

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Art appreciation and some definitions of 'fine art'

Fig 4

Fig 5

Fig 6

2. Fine Art - I want to paint to understand and enjoy visual ideas. Here I will quote a respected food and wine judge, 'In summary less is more. The flavours and fragrances we most enjoy are the ones we only just perceive. More than that, they make us sick. Rose scent is a good example.' Fig 4 One of the greatest paintings of all time - sublimely subtle. The viewer knows exactly how the artist felt towards the subject. (note the lips slightly apart - a rarity in northern renaissance portraiture) Fig 5 The mystery, subtlety and the innovation in this painting makes your hair stand on end. Fig 6 The use of light and landscape in an allegory about painting.

Fig 7

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Fig 8

Art appreciation and some definitions of 'fine art'

3. Message - I want to paint because I have a message to communicate. Fig 7. (above) Never has design, contrast and color been so forcefully used in the cause of humanity. A rare feat: no action photograph could ever compete. Fig 8 There is little decoration or subtlety in this painting titled "Executions at Portsmouth'. The examples are selected to best illustrate their category by single-mindedly ignoring the other two(ie. in the decorative category the artist has made no attempt at description nor is there any message to be had. In the second category decoration and message are absent whereas the message in the third category swamps everything else.) To show I am unbiased the last example in each category is one of my own paintings. STUDENT ACTIVITY: Make you own list of five paintings nominating their categories. Note - some might have more than one category and if so you must name them. GO TO ... analysis of a vermeer .... or lesson list

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Art lessons - learn painting analysis

6-2 ANALYSIS OF 'GIRL WITH A PEARL EARING'

What is realism? The real world, you say? Now that is novel. Perhaps unique. Why would an artist be interested in reality? Of what use is that to the galleries and museums? People don't want an exhibition of the truth. They don't want to see the intestines of a cow nailed to a wall. They never do, and they never did. They want magic and illusion. Magic to make them wonder, and illusion to transport them elsewhere. They want to see pictures that make them laugh and cry they want to see good and evil narratives of honour, and of misfortune, cunning, grand landscapes of history or intimate portraits of seamstresses and blacksmiths. They want the artist to use all the skill, all the tricks, the smoke the mirrors, all the alchemy and all the the magic of painting to make them believe. They would sweep realism from the wall and stamp it beneath their feet like a cockroach. Realism has an ugly face, you see. No you don’t want realism and neither do they. Realism is a poisoned dagger in a dead hand, it is the stuff of body fluids and blackened lungs. No folk want beauty, they want the spectral magic of an angels wings - or to see the dragon twist at the end of St George's lance - and they want to believe! However the painter's job is not easy. It has a long and ancient apprenticeship and it requires courage and skill. It is to provide the stuff of illusion, the ideals realized. Payment is usually small in coin but large substance when we see the wonder on the face of the child ... or some adult who makes mentions of the image made that dwells in that special place in the mind where people live. COLOR

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Art lessons - learn painting analysis

Note the extremely limited pallet.- a light red, a cobalt blue and a yellow ochre. The rest are gradations and mixtures. Also note the values on the grey scale range from 1-10 PATTERN AND REPETITION

DESIGN

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Art lessons - learn painting analysis

Some of the most effective designs are the simplest. The head is centrally positioned. The horizontal line of the eyes is 'golden' approx 3:5 up the canvas. The two vertical straight lines provide the 'discord' to the circular patterns. TEXTURE The hard edges of the pearl (which I think is really a silver ball) eyes, and face make them all equally smooth and spherical. Here again we encounter repetition. The eyes and the pearl, because they are more reflective, have sharper and more defined highlights. The 'pearl' also shows an extra luminosity by its secondary reflection of the white of girls collar (Fig 3)

TURNING POINT (Fig 1 and Fig 2) The transition area from light to shadow is the key to this picture. The transition color between the flesh tones is the background color (Fig 1). The transition values from left to right in Fig 2 are 8-6-4-2-4. The background value ranges between 1-2 EXAGGERATIONS The reflection of the collar on the girl's jaw shows the artist's skill but does it really exist to the extent shown here? What is the color inside the girl's mouth? Here it is highlighted for effect. These elements show the artist's deliberate and personal touch.

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Art lessons - learn painting analysis

STUDENT ACTIVITY: Pick a painting you like and analyise it by design, texture, pallet and repitition.

GO TO ... depth of field ....or back to main lesson list

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A study of the effects of depth of field

6-3 DEPTH OF FIELD

The human eye, like the camera, has a limited depth of field. In other words we focus on one level and the objects in front or behind are often blurred. When Deigo Velazquez painted Las Meninas he, along with many artists (pre-photography), painted everything in focus. This was part of the magic of painting as the viewers perception was thereby expanded - rather like a hologram. Today wide angle lens may produce something similar but unless you intend to spend hours in a darkroom it is an all or nothing solution. There are good lessons to be learned here and this painting by Deigo Velazquez will serve us well as it has a defined foreground, middle ground and background. Let's experiment then ...

First I will separate the fore, middle and back grounds then utilise three focal depths and observe the results. The essential question I ask is one of choice - what do you like most?

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A study of the effects of depth of field

The foreground in focus.

The background in focus (the artist's preferred model?)

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A study of the effects of depth of field

The middle ground in focus.- note the exciting change of emphasis.

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A study of the effects of depth of field

Ahh... you say - and why not! But don't you find the blurring unsettling? The artist would have. This particular painting is huge and designed as a feast or as a complete visual experience. I am merely toying with the work and I hereby apologise to the master for doing so. Today we may find no magic in multi-focused paintings but the lessons in design and emphasis are worth considering. The example in the abstract lesson is essentially a similar manipulation. Note: the artist painted so well that the dwarfed figure in the foreground has recently been diagnosed as a victim of congenital syphilis. STUDENT ACTIVITY: There is a painting to be made by focusing on the girl directly behind the dog as her head and body in this composition is located on a diagonal and in a premier design position. Find a copy of this painting and try it (see lesson on design and proportion for hints). GO TO ... abstract ...or back to main lesson list

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Art lesson - abstract and texture painting

6-4 ABSTRACT AND TEXTURE PAINTING

Many confuse abstract painting with modern painting or modern 'art'and wars and battles rage in the 'art' world over definitions of what is 'art'. We are concerned here only with painting.

In truth, an abstract design is one that has no pattern and an abstract painting is one that has no form. The painting above is not a photograph but its realism is undeniable. It has form but no pattern (repitition).

In a previous lesson I stated 'the human mind does not like to be overloaded with detail, particularly in a painting. It revels in its ability to complete the picture itself. And it must be allowed the latitude (hazy bits) to do this. The degree you allow this will say something about your estimation of your proposed audience. My rule is to always assume they are smarter than you, in other words leave plenty of for the imagination.' This idea of involving the imagination was the genesis of most post 1850 art movements and experimentations. In the more extreme any cognisant feature became a disadvantage.

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Art lesson - abstract and texture painting

When contemplating painting an abstract picture or one with symbolic meaning try and recall no one will gain a dividend from the finished work in excess of your input. So no cheap shots for, to rob your audience is to rob yourself. Sharpness and smudge the layered effect.

Here I have taken a section from an action painting and blurred it before overlaying it with thin, sharp-edged black and white lines and shapes. This 'depth of field' photographic effect is relatively modern as (excepting Vermeer and a few others) the artists of the past insisted on bringing everything into focus. It must be said their clients often demanded this.

TEXTURE PAINTING The worth of an artist was once determined by his or her ability to disguise brushstrokes and produce 'magic' surfaces and textures. A few - Rembrant and Titian in their later years - decided paint had a tactile quality itself and sometimes layered the paint to produce a separate effect. Rather like Rodin often left parts of his marble sculptures 'in the rough' to emphasise their other qualities. Mostly they used white as that pigment was the cheapest .It was also the slowest to dry and could be safely applied over the successive layers of dry thin darks.

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Art lesson - abstract and texture painting

This use of excessive body in paint took off with the development of cheap mass produced paint in the early and mid-eighteen hundreds. One of the first exponents of this 'impasto' method was Turner and his use of white. Turner would often sculpt some landscape element in heavy impasto, wait for it to dry then coat and wipe with successive transparent galzes. The depressions and cracks would fill and the highlights would realise their sculptured effect. Also the galze over the white would make it glow - even more so if even more galze and white was later applied. STUDENT ACTIVITY: The ultimate weapon in this texture effect is the pallet knife. If you would like to experiment with this you will get remarkable effects by treating your canvas like a mud heap and shovelling paint around with the knife. Create loose forms if you like. Stop just before the colors completely disappear into a mass of grey mud. Now take some pure color and with the knife gently fold it into the mixture - blending in some areas and in others leaving a few of the edges sharp. Be liberal with your paint but just use a small surface ... Allow 40min. Then there is the dragged dry brush or scumble effect, mainly in the distant sky (dry the oil out of the paint on blotting paper if you need to).

Or the slick oily in the bottom half of my rose painting (adding more oil or medium to your paint).

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Art lesson - abstract and texture painting

Experimenting with paint and texture will provide wonderful moments but try not to make this and end in itself. Great paintings have a magic that transcend the sum total of their parts.

GO TO ... order and chaos ....or back to main lesson list

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Art lessons - learn about relationships chaos and disorder in oil painting

6-5 RELATIONSHIPS, CHAOS AND DISORDER

Relationships We don't just paint 'things' we construct visusl relationships. Now approach a topic of which, in art (relationships) I have some knowledge. Obviously in life it is otherwise - single and thrice divorced. Back to safer ground and painting; every element in a painting can only be considered in its relationship with the other parts. Below in my portrait of Fletcher Christian the parts that draw the eye are usually the areas of maximum contrast.

This portrait has three competing areas of contrast, the forehead the background and the hands. They create a triangle and their relationship is crucial. I am still unsure as to whether the distant light is too bright in relation to the other highlights. Should I dim it and draw the eye more to Christian's face? These are judgements of relationships. Above I have used three computer devices to analyse the design.

. .. AND USING CHAOS

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Art lessons - learn about relationships chaos and disorder in oil painting

I view it like this: Let us imagine our life as a room and the room has a partition. On one side of the partition is a continually moving, changing world of disorder and chaos. It is populated by all the creatures of the imagination - and more than a few not invited. It is a world of the surreal, of dreams and nightmares, of anti-logic and senselessness. On the other side of our partition we have order, logic and regular forms. The world of the pyramids, spheres and cubes - the world of habit, pattern and order. Some people are not comfortable until the partition is forced almost completely to one end of the room (90% order 10% chaos) while others can live in a 50/50 situation. Some will rejoice in the high chaos while others believe it is a factor of age, gender, right and left brain, or potty-training. Some even go so far as to refer to it as the Jeckle and Hyde, Don Quixote or madness syndrome. I believe we must live with both sides of our existence and recognize the importance of each. We need chaos to think laterally, to be inventive, to associate disparate ideas and concepts. That is the life blood of the creative idea. This is not to underestimate the value of pattern, order and habit. They are the very tools that allow meaning to be drawn from disorder - the foundation blocks of moral and civilized thought and the flame that draws the fluttering moth.

You will note how, up till now, my lessons have dwelt in the rules and order side of the room in an attempt to understand the chaos all about us. For some this may have moved the partition a little to the side of order. Never mind! Just think of what you have learnt so far as your small toolbox with which you can use to disassemble, reassemble and to analyse whatever your imagination demands. And remember, chaos need not be feared, used properly it can be used to pick the problem lock. Experiments in color, design, form and texture are the basis of most of the art movements in the last 150 years. Whether they were abstract expressionism, impressionism, surrealism or post-modernism they are all attempts at dissembling and re-assembling, of moving into chaos to hopefully discover some new meaning. We should all similarly experiment especially when we find order stifling creativity ... or the present art administration becoming institutionalized and self-absorbed. A study of fractals is useful when allowing the mind passage between order and chaos. GO TO ... practical painting - paint in oils ......or back to main lesson list

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Art lessons - learn about relationships chaos and disorder in oil painting

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Basic oil paints - why oil?

6-6 BASIC OIL PAINTING

Painting in oils - what you need to know about the paint. You can liken making paintings with oil paints as making mud pies with different color mud or plaster Why? Oil paint usually has ‘thickness’ so it can be shovelled, spread, pushed, trowelled, brushed and scraped - just like plaster or mud. It can be flattened or piled up ... and much more. It has all these qualities if mixed correctly. Furthermore it can be made to be spread as thin as gossamer or as thick as clay. All this depends on just two things: a) The thinness or thickness of the paint, called its viscosity b) The implement you decide to use to push it around - knife, brush, stick, trowel. So what sort of mud or paint will we make, how dry or how runny?

Oil paint is made up of three main elements. 1. Pigment a powder made from ground rock or earth or root anything dry that is intense in color. 2. Oil (medium) 3. A drier of some sort as oil sometimes takes too long (a thinner)

You can try this: Go to the kitchen and get a little powdered saffron, powdered red food or cocoa and add a little oil (sunflower, poppy, walnut, safflower, it dosen't really matter which) and mix it up with a knife or spoon. You have now produced a genuine oil paint ( and unlike many others, one you could eat it without harm). Find some zinc cream (used as a sunscreen) in the bathroom cabinet and now you have a white oil paint - now some black boot polish and you have a decent black oil paint. If it is a little thick or hard to mix you may add a little turpentine, thinners or petrol which will obviously cause it to mix easier and dry faster.

Note: it is usually the chemical pigment or the thinners that causes the extremely poisonous nature of most commercial oil paints (lead, cadmium and arsenic are old culprits). If the powder you use is unusually strong you might be tempted to add a filler to bolster up the mixture. This could be chalk or ground marble or some other neutral powder. Student oil paints usually have more filler than Artists' brands. Filler is cheaper than pigment so you get what you pay for!

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Basic oil paints - why oil?

OK, so now what do we do with our mixture? If we had two lumps of ‘mixture’ (paint) say a red and a yellow and made them very oily and put them side by side on a flat surface they would gradually spread out and merge and take ages to get dry. So more oil will help paint to blend and merge as oil is also the lubricant for the pigment and helps it slide around on the canvas.

How can we reverse this and stiffen up the paint? We could add more pigment or filler, or we could get rid of some of that excess oil. How do we remove the oil? By putting the mixture on blotting or absorbent paper and waiting. The paper will absorb the oil and a little of the pigment. Obviously to make it more runny we could add more oil and to dry faster and spread thinner we could add turpentine, thinners or petrol. Get the general idea!

One more thing - we can also add other things that are mixable with oil like certain resins and varnishes which will make the mixture sticky and shine and maybe dry in a layer like a clear plastic sheet. This might allow what is underneath to shine through. And when we add a little strong pigment to this sheet we can maybe make what is called a ‘glaze’. Then again we could add some egg yolk for a 'matt' type finish.

What now? Like a potter you have now made you clay, only in your case it is called paint. Instead of water you have added oil and some pigment and, instead of a wheel, you will be putting your mixture on a flat vertical surface, although you will mix it on a bench or pallet. There is no rush with your paint though - it is oil based and will mostly take a long time to dry and this you know you can control adding oil or white spirits. One main point before you apply your paint; if you first apply a thick layer of paint to your canvas it will take ages to dry because the oil will have to dry out. If you have ever watched oil dry out you could probably also hear you own hair growing. When thick paint dries it shrinks and sometimes cracks. So if your first layer of paint is very thick and you add a thin layers on top of it before it is totally dry it will crack all the layers applied thereafter - and as it continues to dry the cracks will get bigger - especially if the color on top is darker. Painters prevent this by painting the thick slow drying layers last and usually begin with thin fast drying paint as their background. 'Thick over thin and light over dark' is an old painters saying. If we don’t want to wait we can paint what is called 'wet in wet'. That means putting wet layers of paint on other wet layers all in the one session (or over the total time it takes the paint to dry). There can still be hours or days until a ‘skin’ forms. This is an important point as many painters would like to finish their painting quickly and are thereby forced to paint 'wet in wet'. STUDENT ACTIVITY: See next lesson. Using someof the pigments, and oils I have mentioned make up a pallet of colors and paint a small picture. Allow 40min.

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Basic oil paints - why oil?

GO TO ... OILS CONTINUED ... or lesson menu

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Basic oil paints - demonstraition

6-6 BASIC OIL PAINTING CONT.

This lesson is a summation of the practical demonstration I sometimes give to further explain some of the points made in the previous lesson. My purpose is to use common household materials to make an oil painting while my method of teaching this is similar to those cooking shows you see on TV. My desire is to familiarize the students with what 'might' have happened during the 'invention' of oil painting back in the sixteenth century and thus remove some of the hesitation from trying the method themselves. The first thing I do is to search the kitchen and laundry for the materials I need. It is best if this is done without alerting other members of the household as they often don't appreciate your dedication to such an elevated cause.

I describe this lesson as the ultimate alchemy since we are literally going to turn base materials into gold. Of course the 'gold' we paint is sometimes even more valuable than the gold in the ring on you finger which you would discover if you tried to purchase Rembrant's 'Man with the Golden Helmet'. It would certainly cost more today than the helmet itself. The main ingredients I will use for this recipe are a linen table napkin, artificial saffron, white zinc cream (prevents sunburn), white shoe polish, black shoe polish, a stick of blue chalk, some sunflower cooking or salad oil, a pack of drinking cocoa and an egg yolk. I will also use the mortar and pestle from the kitchen though a glass bottle would do just as well.

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Basic oil paints - demonstraition

First I find an old frame and stretch the table napkin across the back and staple it in place. Remember to stretch from the center outwards and not from the corners in. Next I separate the egg keeping the yolk and mix that with some of the saffron. I paint this mixture on to the stretched napkin. This seals the surface and gives a nice quick drying yellow surface. Those who have made mayonnaise will also realize that egg yolk will mix with oil if carefully added and it was most likely this transition that originally led to the development of oil painting anyway. Next we can grind the colors with our pestle and mortar and mix the powder with the cooking oil making a thick paste. You might like to experiment here with your shoe polish and zinc cream to get variations of the colors you need. You will find that mixing the saffron with the white will quickly give you a rather powerful yellow.

Next I selected a small silver bowl from the china cabinet (as my household is bereft to anything gold) and placed it where I might paint it ... in the meanwhile changing the silver to gold. Below you will observe my efforts. This whole demonstration should only take you an hour at most from making your paints to the finished article while the student can take as long as they like.

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Basic oil paints - demonstraition

You will find the brush a little more difficult to handle as the pigments are much coarser than the commercial alternative. Still persevere and you might manage to amaze your friends if not your own household. After the painting dries you might find it becoming a little dull and lifeless. This is easily fixed with the application of some ordinary furniture polish or wax ... as has been done with oil paintings for centuries! The palette When I started painting my palette was - red (light red), yellow (yellow ochre), blue (cobalt) and white. Next I needed some bulk earth colors and purchased burnt and raw sienna and similar umbers. Later I added some cadmium reds and yellows, a crimson, cerulean and ultramarine blue. Finally I purchased some transparent colors like alizarin, Italian pink and thalo blue. I stupidly have many colors I never use. Surface preparation I will usually paint on anything that will hold paint but it must be dry, flat, rigid and have a little tooth (roughness). Canvas will also do but it must be laid flat or glued on a board later, otherwise cracking will occur. I like to underpaint the surface with a couple of coats of gesso. I usually use a flat, thick, water based white paint with whiting or some other compatable filler to add body. If it is too thin I will sometimes add PVA glue to bind. If I intend to paint with glazes in the smooth finish traditional manner I will lightly sandpaper the surface. Make sure the surface is completely dry before using oil paints (two or three days). Underpainting Called the 'imprimatura' or base coat. Use the cheaper opaque ground colors, umbers ochres and siennas are ideal, and apply thinly with turpentine. Glazing Glazes allow light to penetrate the layers and enhance color. They also permit the artist to construct the painting in stages. I use a glaze 'medium' (the liquid to add to the paint) of oil (stand/linseed or the like) varnish (resin/alkyd) and sometimes a little white spirit (turpentine). Modern alkyd lacquers dry rather quickly and may be retarded with more oil or speeded up with the white spirit. Student Activity: Make a list of other common products you think might be oil based and therefore compatible with oil. Also nominate those common oil based products that are slow drying and those that dry quickly. The student should also place some small pools of various oily substances on a sheet of glass http://www.geocities.com/~jlhagan/lessons/how_to_paint_in_oils2.htm (3 of 4)1/13/2004 3:52:33 AM

Basic oil paints - demonstraition

outside and over a number of days observe the different drying times.

GO TO ....PAINTING WITH OILS CONTINUED ... or lesson menu

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Wet-in-wet: painting terminology

6-7 BRUSHES AND KNIVES AND WET IN WET

Here is a simple little (12"x 14") painting that anyone can do if they have a favourite figure they can plonk on a beach somewhere. I will show you how it is done then you will be able to see what happens when you paint thin over thick. 1. You will note a pinkish underpainting peeking through the waves. This is because I pre-painted the canvas with a mixture of light red and alizarin red with a little white to lift it up. At the time I painted this it was my usual background for seaside studies and I would prepare many such backgrounds all at once. When it was dry I went to step 2.

2. I squeezed out some Cobalt blue/flake white on the top half of the canvas and some yellow ochre on the bottom and using the flat of the pallet knife I sawed the paint back and forward across the canvas. Here and there I added more dollops of white to lighten them but just kept sawing back and forth with the knife. The secret is to blend, blend and when you think you have blended enough ... blend some more.

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Wet-in-wet: painting terminology

Obviously in some places where I mixed them a lot I made the green you can see, in other places the yellow dominated. I did this fairly haphazardly only lightening the effect towards the center of the painting. Where it gets thin the background comes through and gives us a beautiful mauve tint.

3. At this stage everything was fairly bland but I could begin to see shallow water and deeper water, sandbanks and dry sand,.and a shore line. I just needed to define them. Up till now the paint was fairly thick in places an the only painting implement I had used was a knife. Next I loaded up the edge of the knife with white/tint of yellow ochre and dragged it across the canvas tilting it slightly and letting the white be dragged off to form the waves. (See below) Note: I placed the waves just above the sandbanks and shallow water. Why? Because waves are formed as deep water meets shallow water. Where the sand meets the water it gets a little darker. Observing things like that is what painting is all about. I have probably spent a little too much time observing little things like that instead of ..... http://www.geocities.com/~jlhagan/lessons/wet_in_wet.htm (2 of 4)1/13/2004 3:52:48 AM

Wet-in-wet: painting terminology

3. For some strange reason I sustained an interruption at this stage of this painting and it was a few days before I returned to it and plonked in the little girl and the seagulls. For this I used a brush and the darker colors you see. So what happened when the paint began to dry? (Below) Well the thin brushed on darks of the girl dried faster than the thicker lights of the background paint. The cracks thus formed allowed the whiter underpainting of the background to show through.

A few artistic points: Note how I painted a cool shadow but warmed up its center to give it a little vibrancy. You can do this with larger shadows. Also the costume colors and stripes I added purely for effect. The cadmium red needed to offset the greens in the water and the cool and warm whites for sparkle. I have kept this picture to remind me of my stupidity in ignoring a basic principle. It also reminds me of the days I painted many similar paintings using this particular technique. Strangely enough they were quite popular in the colder climes. STUDENT ACTIVITY: Copy the painting above replacing the figure with one of your choice if you like. Allow 40min.

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Wet-in-wet: painting terminology

GO TO ....LIKE A SCUMBLE Lesson list

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Likely to Scumble

6-8 LIKELY TO SCUMBLE

As the judge remarked about my life. ‘Its like paint ... parts are opaque, parts transparent, and parts somewhere in between, according to how much light is able to pass through the tiny particles of your credibility.’ But he was right about the paint. It can be opaque, transparent, and somewhere in between, according to how much light is able to pass throught the tiny particles of pigment. Transparent pigments are like tiny colored crystals, whereas opaque pigments are like little colored (or white) rocks through which light does not pass. Example... Broken china or coal.(opaque) rubies, crushed colored glass.(transparent) Opaque paint reflects light directly from the surface; transparent paint allows light to penetrate beneath the surface, Opaque paints (siennas, umbers, whites, ochres, and most earth colors generally) give a more convincing illusion of distance, especially when juxtaposed with a foreground which includes transparent passages for the darker darks.

The student might think that in this painting (ABOVE) I used transparent paint for the sky and opaque paint for the foreground... the sea. The reverse is the case. I built up many passages of transparent glazes to create the depth of the foreground waves. The sky is done in s few earth color scumbles (great word - sounds like something left after a very high tide or an epithet used to describe the neighbour’s chidren) anyway the 'scumbles' created the milky distance look I desired in the sky. With this understanding, it becomes apparent that transparent paint allows for the deepest darks, because the light does not bounce off the surface, but penetrates deeper before being reflected out to our eyes. A scumble is a thin application of a paint whose basic nature is to be opaque but which is rendered http://www.geocities.com/~jlhagan/lessons/scumble.htm (1 of 5)1/13/2004 3:53:00 AM

Likely to Scumble

semiopaque by the physical thinness of the application (scumble) or by the addition of a transparent medium. Its thinness allows the background paint to contribute to the painting. The optical effect of transparent paints or glazes is to retain clarity. The optical effect of opaque paints or glazes is to lose clarity. Scumbling is the method of applying thin layers of opaque paint.

How is it done? In the example right I had all but finished the painting but I wanted to put in some beams of sunlight. I used a dry bristle brush with very little paint and dragged it across a surface that was itself dry. The idea is not to mix (wet in wet) with the underlying paint but to separate the particles of pigment as if they were floating in the sky. This is scumbling.

White, thinned with a little medium is painted over a grey of mid-value to create the pallid blue unhealthy look I wanted in the woman's body here (see below).

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Likely to Scumble

So the uses of scumbling are: To indicate atmospheric haze. To give an illusion of greater textural softness in fabric. To create the soft complexions of young women or children in portraiture.

For the the gauze cuffs and http://www.geocities.com/~jlhagan/lessons/scumble.htm (3 of 5)1/13/2004 3:53:00 AM

Likely to Scumble

shirtfront in this portrait I used extra thin glazes of opaque white over darker passages underneath - until I got the value I wanted. I used a bristle brush as I wanted a cotton gauze; if I desired a silk then I would have most likely finished with a sable.

The effect on the illusion of atmospheric perspective (below). Transparent passages exhibit greater clarity, an optical sensation peculiar to nearby planes where the least amount of atmosphere is present between our eyes and the plane in question. More distant planes are viewed through more atmosphere, the density of which alters the colors and values to a greater extent the greater the distance involved, reducing clarity.

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Likely to Scumble

Example .... the boat we used in our lesson on aerial perspective. Here we could use either of three methods to apply the opaque over-paint. We could charge up a large brush and work from the horizon outwards, the mixture thinning as we neared the top or bottom. Alternatively we could just apply it in thin controlled layers waiting for the underneath one to completely dry, trap it with a glaze and then apply the next scumble etc. The third method involves mixing the paint with a fast drying medium that would thin out the pigment particles and apply successive coats.

GO TO ... Inspiration .....or back to main lesson list

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Inspiration

6-9 INSPIRATION OR HOW TO GET STARTED

Are you in and artistic Slump? There are two problems here depending on whether you earn you living as an artist or you do it for enjoyment or other purposes. In the first instance hunger and finding shelter are great motivational tools. In the second you need to be obsessional, like knowing you hid a bottle of Jack Daniels around the house but can't remember exactly where ... and it's 3am ... if only you knew where to start to look? I suffer both so I find I must plan ahead; 1. Always carry a pair of scissors and be prepared to mutilate any newspaper, magazine or publication that comes within cutting range, and if none do, you must actively give yourself time to seek them out (10 min per day minimum). Be a serial cutter and cut out anything that startles, frightens, causes you to pause, gives you a tightness in the loins or a warm wet feeling, sinks or raises your spirits or any other strong response. It could well be a line or a drawing a pattern or merely a color scheme. Caution ... don't be selective in what you look at- and try not to be distracted by reading any of the articles. Many excellent artists have some difficulty with reading anyway so that is rarely a big professional problem. 2. Put all these cut-outs in a folder. 3. When the folder holds 20 or 30 start a new one. Don't be distracted by trying to catalogue anything ... if you do, then you are probably a better accountant than an artist. 4. Try and forget about the pictures you have kept - but every now and then, as you relax at the bar, open a folder and look again. Not only will this make you incredibly popular it will enhance you artistic reputation.

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Inspiration

Gradually certain pictures will begin to echo in your mind. They will haunt your existence like bad colesterol counts and you will know you must do something about them. Then, your artistic slump will vanish, just in time for your real torment to begin. Now it becomes what, how, which combination, what is the essence of the feeling and how do I paint (describe) it, how do I start? I had a folder here with great color schemes somewhere ... now which one was that....? How can I encapsulate the feeling, yet be subtle and convincing? What forms/ lines/textures/ patterns/color/ can I apply? But, just think; when it is all over - and if it all works out brilliantly, you can wildly celebrate, wake up hungover and start all over again. Now where did I put that red folder with the picture of Englishman on safari in the pith helmet, the Las Vegas showgirl and that picture of the Florida swamp ... and the tree monkey ... actually this is the picture I am painting at the moment.

I reversed the explorer ...

My show girl needed a new face another headress and longer legs

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Inspiration

OK, so now I have combined all the elements including a few others hidden in various places Plus a monkey and an duck ... when you are on a roll don't even hesitate!

Press for full view. Now for the fun part ... a name! (but I always had someting in mind, you see, for one of my favourite paintings was Giorgione's 'The Tempest' - he died and neglected to name it, and for 400 years art historians http://www.geocities.com/~jlhagan/lessons/inspiration.htm (3 of 4)1/13/2004 3:53:20 AM

Inspiration

have specualted as to the relationship between the two principal players!) I toyed with 'Dr Livingstone decides to stay put and continue his African studies' or 'A sporting woman encounters a sporting man and looks away '... but then, like Giorgione, I thought it best not to be too deep. STUDENT ACTIVITY: Make up and label three folders using your own headings then spend some time trying to fill them.

GO TO ....Painting glow and light ... or menu

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Painting glow and light

6-10 PAINTING GLOW AND LIGHT

Glow is essentially a factor of value rather than color. How is this achieved? Paint a black canvas and let it dry. On your finger place a little white and with small circular smudging motion apply it somewhere to the canvas. It should now look like a milky smudge. Next take a pinpoint of paint on the end of your finger and touch it once in the middle of the smudge. The result is the essence of glow, total value differential as well as the milky area being a transmission area that will discomfort the eye sufficiently to avoid looking to the point of the light. That is the why we don't want to look directly at the sun. It is discomforting. For great glow or luminosity you must set out to discomfort the eye, that is the secret. To do that the transition (the halo) is the key.

Fig 1.Here are a series of milky smudges

Fig 2. When we combine them we create our glow. Note how I have deliberately offset to white center in an effort to further disturb the eye.

Fig 3. Now I add a little color (any will do) some dark shapes between the spectator and the light and a halo. The halo and spike here are artificial - like the ones made by a camera lens reflection - it is not the same type of halo in the example below.

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Painting glow and light

What discomforts the eye in painting is similar to what discomforts the ear in music. Music is a 'transition' experience in which time is a fixed element (beat). But the eye roves the painted surface in a manner hopefully controlled by the painter. The painter may cleverly force a discomfort in much the same manner a jazz musician will use a discordant note to lay emphasis on a beautiful (intoxicating) chord. What discomforts the eye can be many things, adjacent compliments, illogical form, concave mirrors or, what I mentioned above, unfocused edges. (Rothko used fuzzy rectangles to try and induce a extra translucent brilliance to his plain color areas - it is an old formula). Why a discomfort? Because the eye naturally avoids looking at bright objects so to paint one the discomfort must be artificially induced. Painting suns and moons was usually referred to as a 'brave exercise' and avoided by all but the most accomplished landscape artists (Turner was accomplished while VanGough experimented). We can never paint surfaces as light as natural light so we must use device and illusion to convince the eye what it is seeing is a light as it should be... that is the fun of illusion! Painting glow without showing the light source. Here the principles are the same with the darks superimposed over the lights.

Detail of morning glow from another painting I did for the 'Bounty' series. STUDENT ACTIVITY: Do the exercise proposed at the start of this lesson. Allow 20min.

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Painting glow and light

GO TO ... Pearly luminosity Lesson Menu

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Painting a pearly luminosity

6-11 PEARLY LUMINOSITY

There are two factors to consider here if your aim is to achieve that luminous pearly look that dominate certain landscapes and seascapes. First we must create the 'pearly' look then give it presence and dominance within a framework (painting). It is the nature of that presence that will make it look luminous.

So what makes a mother of pearl shell look pearly? If you look closely it is merely a high value grey-white infused with red, blue and yellow or 'rainbow hues' of equal and similar values (above). To apply this to a painting as I have done below to a sky by Gerome you will see what I mean by a pearly sky. Obviously its use here is unsatisfactory but the principle was one destined to be developed further by the impressionists.

The impressionists did this exercise using short brushstrokes laden with impasto paint which produced a shimmering effect from a distance. You will often notice when people view many impressionistic works in galleries their main concern is their viewing distance - they will usually move back and forth until comfortable. I find it good policy to wear stout shoes when visiting such galleries.

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Painting a pearly luminosity

This painting by Monet is an excellent example of an artist employing equivalent value hues, dramatic contrasts, and uncomfortable undefined edges to achiever that shimmering light the impressionists so loved. It is important to differentiate the values in the foreground from the background. While the figure of the woman may seem to almost merge into the sky in fact she is considerably darker. Squint your eyes to better understand the contrast. Luminosity is achieved by merely pushing the contrasts until the light dominates everything (below). Many artists spend their life trying to make their paintings glow ... mine probably glow most when I throw them on the fire...

... but I never quite give up! Anyway glow isn't everything. STUDENT ACTIVITY: Collect at least 5 examples of pictures you consider to have 'that glowing quality' and add them to your folder you created in the lesson titled 'Inspiration'. Allow 40min.

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Painting a pearly luminosity

GO TO ... painting portraits ............or back to main lesson list

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How to paint portraits - some practical advice.

6-12 PRACTICAL PORTRAITURE

A PAGE OF THEORY BEFORE THE PRACTICE Painting a portrait is quite a personal thing. It demands that the artist make some sort of estimation or judgement. The painting opposite a 'detail' from my portrait of John Morgan. After deciding on the client (if not the sitter), why the work is commissioned and what scope is the artist allowed - you then ask yourself: 1. What is the essential character of the sitter? 2. How does the sitter view his or her own presence in the world? 3. Is there a pose that seems natural and expressive of the sitter's personality. 4. Are there clothes, uniform, jewellery, favourite pet, room or setting that may contribute? 5. If asked to draw a caricature of the subject what features would best define the sitter? 6. Does the client have any favourite photographs of the sitter (this can be an excellent clue as to expectations - and also to eliminate the unwanted!)? 7. Next you must discuss size. Life size? Head and shoulders with or without hands? Threequarter or full length? Vertical, semi-reclining or reclining? After answering all these questions and getting some clear idea into your mind I usually ask if there us any role the sitter might like to play? What historic figure does he or she admire the most? The prospect of painting a man in a plain suit and tie or a woman in a business suit apalls me. Where is the joy in that? Portraiture can have elements of narrative, tools of trade, costume etc. Anything is possible. Painting a portrait of a carpenter (workshop, tools, apron), airline pilot(plane, sky, uniform) or architect(building, drawing board, blueprints) is obvious, but think of the possibilities for an insurance salesman, banker, used car dealer or school teacher. There lies the greater challenge - and the greater rewards. This is where portraiture can, and should, and does transcend photography. The sitter must also be encouraged to imagine ... and believe. History teaches us a masterpiece makes the sitter famous. We refer to the Mona Lisa, Mrs Siddons or the bust of Madame Houdon often before we nominate the artist. Who were these people? Who was the Mona Lisa and what was her life? Make this point to your sitter or client as it is to future generations that the work will be presented, and it is to them the spirit and life and history of the sitter must be addressed. Practical considerations:

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How to paint portraits - some practical advice.

Physical likeness - for me this is probably the most enjoyable - if you follow some simple rules and ask yourself and others the questions the cartoonist asks himself every day. Silently ask yourself (in the presence of the sitter) what are the most distinguishing characteristics. Then ask yourself the same question later in with the sitter absent. Try and remember some aspect of the person like thick eyebrows, wavy hair, big ears etc.. Also try and remember a mannerism like, a pose, smile or use of hands; finally return to the sitter and experiment with some sketches. If nothing happens don't despair just keep trying and make some more simple sketches to help you. If all this doesn't work start your painting regardless! The eyes - I make it a point of detailing the eyes (above in the portrait of Fletcher Christian as a young man). The eyes are the gateway to the visual world both for the viewer and the sitter. They must be as fine and detailed as you can achieve (unless the sitter is shy and for some reason seems to avoid looking directly). A few hints: widen the iris to give a more open and generous face. Add some flesh color to the whites and paint them as if they were pearls. They must appear round. Be subtle with the highlights. One eye is not the exact replica of the other. Make them a little different. The hair - the hair usually separates the head from the background and should not be overworked. Only some small area showing some individual hair will suffice for an overal hairy effect. The mouth - if the eyes are the visual gateway, the mouth could be said to be the emotional one - the enigmatic smile for instance. If the mouth does not obviously describe the sitters emotional disposition then the viewer is forced to look to the eyes. It is the trick of the Mona Lisa. Leonardo will not allow the viewers eye to settle. He keeps asking the question. Be careful with the little angles at the corners of the mouth - 45 degrees is the default.

The hands - adding the third element to the 'non-description' of the Mona Lisa are the hands - also in repose. No clue there either.

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How to paint portraits - some practical advice.

Note how, in creating substance, Leonardo does not define many edges - neither on the hands or the face. The costume - sometimes I paint the costume before the hands, face and anything else. Then I save up my joy for later when detailing the folds, jewellery adornments etc. That part is relaxing and doesn't require the absolute concentration needed for flesh. The background - here you can tell your story or make your narrative. For best practical results try and echo all the colors you have used for the flesh tones and costume in the background - just echoes in hue not value. Use value to make the narrative. See lesson on turning points. A cautionary tale for the discerning student about two Dutch artists and what was fashion!

Two brilliant dutch artists born 300 years apart - one whose work was appreciated and the other shunned, one who lived in luxury and the courts of kings while the other lived in poverty, one whose art provided happiness http://www.geocities.com/~jlhagan/lessons/portraiture.htm (3 of 4)1/13/2004 3:54:00 AM

How to paint portraits - some practical advice.

and security while the others' sent him mad. Who would say one was a better artist? Here I have combined two famous portraits to make the one. I wonder, had they changed places, how then would they have painted?

DRAWING WITH PAINT AND THE INSIDE OUT AND OUTSIDE IN TECHNIQUES

Inside out: When painting a head and shoulders portrait I usually establish the rough proportions of the sitter by way of freehand line. I plan the future positions of the areas of maximum contrast and interest. Next I paint the eyes mouth and nose. In other words I work from inside the overal shapes. As I reach the boundaries I find they often suggest themselves. Some I might like to edge or define while others I let fade away. In general it is appropiate to paint inside out if the figure inhabits more than 50% of the canvas and outside in if it is less. Outside in - in painting a 'genre' picture or mural (small figures in a large painting) I carefully draw the shapes and figures and fill them in rather like (cartooning) painting an ancient fresco. My drawing in such circumstances must establish a rhythm and place (reality).

STUDENT ACTIVITY: As I used the Mona Lisa to discuss the relationship between hands, mouth and eyes the student should find another example and do the same. Also find the derivation of the word 'cartoon'. Allow 40min. GO TO ... Painting hair .....or back to main lesson list

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Painting hair.

7-1 PRACTICAL APPLICATION - PAINTING HAIR

Subject: Driving me hairy John, Was writing the other day about women's hair. This one (attached) is giving me problems trying to make realistic ... thanks. My reply; You are not having trouble with hair, you are just overdoing its rendering. In a painting hair is not drawn, it is colored! First decide the general color (try and add a repeat of some deep facial coloring) then block it in as if it were just another part of the face. Add a few individual hairs (not too many) as they fall across the forehead, or as the light highlights them. Let the rest suggest themselves. The mind of a sentient needs only the minimum of clues as too many becomes boring. Any study of Rembrant (in particular his self-portrait 1629) will sufficiently demonstrate the proper balance. The facial moulding in the picture you sent me is excellent! Block in the hair as if it were part of the face - not hair! In general try and create a dark side and a light side of the face with a definite turning point (see lesson on analysis - Vemeer), and don't be afraid to alter things to create a feeling in the finished product.

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Painting hair.

This problem goes to the heart of painting and is better discussed with reference to the lesson called 'The Pearl'. We all know what hair feels like, its texture, its color, its breaking strain, and its usefulness in keeping the sun off our head. We can love it or hate it. We spit it out with disgust when it invades our mouth and admire it lustre and beauty when it cascades the bare shoulders of a beautiful woman. All this has everything, and nothing, to do with painting hair. As I keep pointing out the concept of something must be married with its scientific reality before you can truly paint it. Before we open our tool box of painting techniques and deal with the problem of the hair let us recall the pearl as it provides us with an example that explains the rules a painter uses to render convincing existence. Are the pearls real?

Things only exist as they relate to other things. Without light (place the pearl in a dark room) the pearls will cease to exist. The question is - without light does everything cease to exist? Does an ant need to be a mathematician to know it walks on six legs? If it can only count to five does it mean it must walk with a limp? For the painter the answer is yes. Like Einstein's famous equation light is everything to the artist, the great unifying constant. In the lesson on the pearl, by beginning with the room, the window, the table, and the observer I first created an environment (for variation I selected objects with both curves and straight lines). It is always useful to create the environment first. - either in the imagination or by physical positioning. Since it is semi-reflective the manner the pearl interacts with this environment becomes the 'reality' of the pearl. The painter lives his or her life by investigating relationships between objects under the influence of light. The painter's job is the discovery of the general rules and their employment in creating an imagined reality - that is the joy for the boundries are endless. But the mortal truth you ask? Who wants the truth? Let us sweep that off the table and crush it like a bug! Dangerous stuff eh? No wonder artists sometimes lose their grip in reality! Mmm ... so to paint the hair we must create its environment? There are really only four elements in this picture. The face, hair, background and the light. Unfortunately the face is front lit which restricts any opportunity for secondary light effects or a nicely modulated turning point. First I will slightly smooth the facial contours as they will otherwise compete to much with the hair and background.

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Painting hair.

Next I create a background echoing all the colors in the face and the darks in the hair. Now you can see the problem. As soon as the background was applied (Fig 4) the hair, although nicely rendered, becomes a foreign object ... and excessively light.

It is not major problem however. Let us separate the hair and apply a screen tint of a warm dark. Say value 2 at 50% for the more mechanically minded. With paint I would simply use a alizarin - raw umber glaze. Note how the texture is not lost. Saves work later. Next is the favourite part - soften the edges and lose some of the texture.

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Painting hair.

Explanation: the human mind does not like to be overloaded with too much detail, particularly in painting. It revels in its ability to complete the picture without help, and it must be allowed the (hazy bits) to do this. The degree you allow this says something about your estimation of your proposed audience. My rule is to always assume they are smarter than you, in other words leave plenty of for the imagination.

Fade in fade out... STUDENT ACTIVITY: Find two examples of paintings where detail is overdone and two more where it is insufficient - in your opinion! Allow 40min. GO TO ... skin colors ......or back to main lesson list

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Art lessons - learn about skin-coloring in portrait painting

7-2 SKIN COLORS OR FLESH TONES

I wrote this lesson in response to a number of letters - to quote but one; 'Some people have difficulty mixing what are called "skin colours." I have seen portraits where no flesh tones were used at all (somewhat like the dutch painter example in your lesson). How do you actually decide what values and hues you will use for a certain person's skin tones? Do you think "cool" and "warm" colours? Do you decide the hue based on the shadowed colours or the colours in the light, or perhaps you use some other method?' My Reply; The meat of a cooked crab is a delicacy but the environment of the crab itself, and its food, are quite too revolting to contemplate ... which brings me to the skin color or flesh tones of the pale-skinned European and the pallet most suitable for their rendition. My guide is this: 'find the nearest color matches to the bodily fluids, add the hues of arterial and congealed blood, and the blue of a good deep bruise, line them up carefully and you will have a pallet suitable for the finest of skins'. Without being too specific yellow ochre, raw and burnt umber, light red, rose madder, cobalt blue and white seem to work well enough. Sometimes a transparent yellow and naples yellow can also be useful. Strangely, this pallet also seems sufficient for African and Asian skin colors. Painting skin color, throughout history, has been more an exercise in fashion rather than anything else. Today the brown suntanned flesh is attractive to the northern races while the pallid sun-shy color seems desirable among darker skinned people. This may derive as much from envy or our fashion industry as from anything else. For sexual allure the rounded shapes that denote health and vitality are probably far more powerful than the hue - and if they come in pairs even more so.

I learned a lot by trying to paint people of various races, and by discerning the similarities as well as the differences. The first thing I learned was that there is no such thing as a formula for skin color. Skin has texture and this can alter if it is wet or dry, male or female, old or young. Skin, glistening under an oily sweat - as say with a 'black' body-builder - could create a totally different look than the skin of a 'white' Scottish damsel reclining under an umbrella in a summer country garden. How do we discriminate? Texture is a product of edge definition and sharpness of the reflected light (see lesson on texture). Whereas the body-builder may create forms like polished ebony the skin on the damsel may well be bone http://www.geocities.com/~jlhagan/lessons/skin_color.htm (1 of 4)1/13/2004 3:54:31 AM

Art lessons - learn about skin-coloring in portrait painting

colored - but we know they both have the same flesh; the same muscle and tissue structure underneath! We often use warm and cool tones when painting flesh. The artist's general rule is warm light - cool shadows and cool light - warm shadows. This is an artificial rule often used by professionals to give vibrancy to a painting. Note the cool bluish greys in the facial shadows below.

Goya OK, let's get specific for the anglo-saxon or white european. Forgetting the light source rose madder was the color the masters used for the cheeks of their feminine subjects. Yellow ochre, the siennas and the umbers were the base and ultramarine was usually the blue. The rest is just modulated tone. These were all mostly all inexpensive pigments. Today rose madder is often repalced by a colorfast alternative. This same formula can be applied to the darker skinned - but with the absence of most of the red hues - a little blue added to the highlights will also assist. Blood is red. Hold your hand before a powerful light and what do you see? You see a deep glowing cadmium red. A bruise is blue. It is the rupture of blood vessels that turn the captured un-oxygenated blood blue. Both effects are beneath the epidermis which in pale skin is more transparent in the European than in the African. Technically the red 'blush' of the cheeks or elsewhere is the red of oxygenated blood under a semi-transparent layer of skin (epidermis). Very rarely does the artist have an opportunity to use this effect. I did once. I painted a picture where the hand of the subject was directly in the way of the sun. I made the outline white, the secondary outline a bright red and quietly darkened the center (much like a sunset). It created a powerful effect and became the focal point of the painting. So much so I was enticed to forget about everything else. Dear oh dear! One for me and not the client. I must admit the client liked it also and kept it - and I agreed! Professional stupidity in many ways but at the time I needed the money.

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Art lessons - learn about skin-coloring in portrait painting

The blue of the bruise should not be so powerful as to denote the bruise but rather the shadow shadow of flesh. The same blue you might use for the jaw of a close-shaved jaw. This is the warm and cold. With an alabaster skin tone the hint of the grey-blue is sufficient to make the shadow. See Boucher and other French artists of the 1700's.

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Art lessons - learn about skin-coloring in portrait painting

Above is an example of my deliberate abandonment of any warm flesh tints. The addicted girl is raised from the mire .... As a student I was once given white, payne's grey, raw umber and burnt sienna and told to paint a cup and saucer on a white table cloth. Since then flesh colors became less of a problem. Anyone familiar with makeup (scumbling for artists) should have no problems. STUDENT ACTIVITY: Television has come to make most people believe flesh color is more red/orange that it really is. Why is that? Explain in 200 words. GO TO ... painting John Morgan and Grandson ....or back to main lesson list

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How to paint portraits - some practical advice - 4.

6-12 PRACTICAL PORTRAITURE 4

THE PORTRAIT OF JOHN MORGAN AND GRANDSON

John Morgan and his wife Robyn own and operate a large earthmoving and road-making company. John has always been a 'hands on' manager and is often happiest working alongside his men and is attired accordingly. His grandson Sam takes after his Grandfather, whom he follows around whenever he can. He tries to do all those things his grandfather does and is a born mimic in this regard. So much so John bought Sam a battery and gear operated little four-wheeled vehicle of his own. The three-year-old Sam is remarkable in his ability to maneuver his little vehicle 'just like his grandfather'. Needless to say a firm bond exists between the two. After assembling all my sketches, color notes and photographs of the subjects I set about thinking of how exactly I was going to fit both into the one painting. I finally decided on an arrangement that would combine them by their similar facial expressions that leave no doubt as to their closeness. They are posed to look out of the picture as if challenging the world to view them in their space as they would view the world.

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How to paint portraits - some practical advice - 4.

You will note the huge difference in skin-tone between the weather-beaten and tanned John, and the milky fairness of Sam. His skin is very pale, his eyes blue and hair fair. Nevertheless I used the same palette for both. I began the painting with an imprimatura of raw umber which I allowed to dry. I then drew in my figures using charcoal. Next I worked the deepest shadows with a thin mix of raw umber and cobalt blue with a little light red where I wanted a little temperature variation. Working up with a slightly thicker mixture I started blocking-in the semi-tones. This is the stage that should take the longest and the painter taking great care to get all the values correct. Keep working them towards the light by adding a higher value color as well as introducing as many interesting tonal variations you can. Now I can work and blend my shadow planes with a thicker mix of light red, naples yellow and raw sienna being careful not to bring the highlights up too soon. As I am doing all this I will usually wipe excess paint from my brush on the canvas around the figures. When I am satisfied with my shapes and planes I will begin to detail some of the features, mouth, eyes, nose and hair with a small brush and a 'long' easy flowing mixture of paint. Now I will add the highlights to the face glasses and hair. John lost an eye in his 20's therefore the slight difference in the eyes.

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How to paint portraits - some practical advice - 4.

Finally I add the simplest of all backgrounds, an atmospheric mix of light and darks composed entirely of all the colors I have already used. This also generally cleans up my palette nicely. STUDENT ACTIVITY: Print out a copy of the painting and nominate all the shifts in value by placing a number from 1 to 10 on the specific areas. Refer back to the lesson on colors if you are in doubt as to what is meant by color 'values'. GO TO ... Classical portraiture ....or back to main lesson list

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Learn to paint pearls - a basic lesson in looking

FIRST THE PEARL - A LESSON IN HOW TO LOOK AT THINGS

An apprentice painter might learn how to hold a brush, mix colors or how to use a palette knife, but it matters nothing if the same person does not learn how to 'look' at things, and to look with the eye of someone who wants to explain the world in terms of paint. After many years of learning to 'look' we come to understand the nature of things and how they relate to each other. This first lesson is an entertaining introduction to give you some idea of what I mean by 'looking'. Don't be too worried if the world I now introduce seems alien at first, because as you progress with the lessons, you will begin to understand that the real joy of painting is not so much occupying your hands, as truly understanding the laws, the lights and shades, and the memories of all the things around you.

OK, I think I remember what a pearl looks like. Ah, its been so long between pearls. I will try to construct one from memory, first principles and logic. To begin, let us imagine the largest pearl in the world sits on a red table in a room with a blue ceiling. I am the viewer and I view the perl from the front while behind me is a window. Outside it is a fine bright sunny day. Now if the pearl was someone elses 'eye' we must imagine what it would see!!.

It would see me, basic and a little crude - but that dosen't matter at this stage?

The window in the same condition.

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Learn to paint pearls - a basic lesson in looking

Together ...

Add a blue ceiling, some walls and a red table (this is roughly what the pearl would see if it could see). Next we squeeze it into a round shape (with a computer this is easy, in a painting you would work backward.) I am a little disappointed at this stage as it looks rather raw and nothing like a pearl. But, staring failure in the eye, we must proceed (forever faithful to our logic).

So lets us rid ourselves of the black edges. Then, since a pearl is not a perfect mirror, I will blur everything ...

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Learn to paint pearls - a basic lesson in looking

Now we can and add a little milky screen (I somehow remember pearls are a little milky, aren't they?)

Still too much saturated color and dark values - so maybe another yellowish screen (glaze) ...

OK ; Now let's cut it out and give it a hard edge ... as it is not made of fur! (later we will look at a lesson on how edge effects texture) ...

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Learn to paint pearls - a basic lesson in looking

That's looks better. Now for the suggested table and ceiling

But can't I have a string, seeing I made it myself?

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Learn to paint pearls - a basic lesson in looking

Why, I'm virtually rich! So why can't a pauper have a millionaire's imagination? I expect any artist can always be rich beyond the dreams of mere mortals, the difficulty becomes one of keeping reality in plain view. PS. I am concerned you may think I am confusing computer graphics with oil painting. I am not as this is a lesson about 'looking'. In either case we must still learn the essence or nature of things before we can make them - using paint or computers. With our 'pearls,' as with the world, that is the starting point, and remember, everything exists in relationship to light and other things nearby. The rest is simple logic - either with a brush or computer. OK, lets look some more into the world of the painter. STUDENT ACTIVITY: Draw and color your own string of pearls using oil pastels or crayons. Hint ... use a toned paper for background. Allow 40min.

GO TO ... looking into a deeper, deeper world .....or back to lesson list

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