Emily Carr Institute of Art and Design

Curriculum Area: Foundation

Course Title: Painting Colour + Material

Course Number: PNTG 150 S004

Instructor: Vjeko Sager

Thursdays: January 12, to April 19, 2012

From 8:30 to 11:20 am Room 268 NB

Office 117 on Thursdays from 11:30 to 12:15

PAINTING COLOUR + MATERIALS

COURSE HANDOUTS

A LISTING OF COLOR PROPERTIES AND PALETTE DIVISIONS

The following is a concise description of the specific nature of a range of colors which

gives the largest variety in mixing. The colors are divided into three major groups: the cool and cool-warms, the neutral and the warm and warm-cool colors. Each color is also then defined by its specific degree of transparency and tendency towards another hue. For example: Cadmium Lemon Yellow is a transparent cool-warm with a tendency towards green. Please note all colors discussed are oil pigments of good to superior quality (all pigments are chemically pure).

COOL & COOL WARM NEUTRAL WARM WARM-COOL

Cadmium Lemon Yellow Cobalt Yellow (Aureolin) Cadmium Yellow Light

cadmium barium-sulfide potassium cobaltinitrite c.p. cadmium sulfide

Transparent Extremely Transparent Opaque

Green Tendency Neutral Orange Tendency

Quinacridone Red (Rose) Rose Madder Genuine Cadmium Red Light

quinacridone 2-dihydroxyanthraquinone c.p. cadmium sulfo-selenide

Extremely Transparent Extremely Transparent Opaque

Violet Tendency Neutral Orange Tendency

Pthalo Blue Cobalt Blue Cerulean Blue (Genuine)

copper pthalocyannine cobalt aluminate cobalt stannate

Extremely Transparent Extremely Transparent Opaque

Green Tendency Neutral Green Tendency

Lamp Black Intense Black Mars Black

carbon form oil flame carbon from gas flame ferroso-ferric oxide

Semi-Transparent Opaque Opaque

Blue/Green Tendency Neutral Red/Violet Tendency

Titanium White Zinc White Lead (Flake) White

titanium dioxide zinc oxide lead carbonate

Extremely Opaque Transparent Opaque

Blue Tendency Neutral Tendency Pale Yellow

French Ultramarine Blue Mars Violet Mars Red (Venetian)

sodium aluminum sulfosilicate synthesized iron oxide

Very Transparent Opaque Opaque

Violet Tendency Neutral (relative) Red/Violet Tendency

COOL & COOL WARM NEUTRAL WARM WARM-COOL

Carbazole Violet Manganese Violet Cobalt

carbazole dioxazine ammonium phosphate cobalt phosphate

Transparent Very Transparent Transparent

Blue Tendency Neutral (relative) Red Tendency

Raw Umber Burnt Umber

natural earth natural earth

Semi-Transparent Semi-Opaque

Blue/Green Tendency Red/Orange Tendency

Alizarin Crimson Yellow Ochre

dihydroxyanthraquinone aluminum hydroxide natural earth

Very Transparent Opaque to Semi-Transparent

Violet Tendency Yellow/Orange Tendency

PALETTES DISTINGUISHED BY MIXING HARMONICS

Dead Palette:

Yellow Ochre (yellow), Mars Red (red), Raw Umber (green), Lamp Black (blue), White

Muted Palette:

Yellow Ochre, Mars Red, Ultramarine Blue, Raw Umber, White

Passive Palette:

Cadmium Yellow Light, Cadmium Red Light, Cobalt Blue, Raw Umber, White

Active Palette:

Cadmium Lemon Yellow, Cerulean Blue, Ultramarine Blue, Alizarin Crimson,

Raw Umber, White

Over Active Palette:

Cadmium Lemon Yellow, Quinacridone Red Rose, Pthalo Blue, Pthalo Green,

Carbazole Violet, White

HARMONIC OR CLEAR MIXING COMBINATIONS

(Secondary colours)

Examine the following combinations carefully. While doing so look up each colors properties

and note how colors with harmonic or analogous tendencies make mixed colors of greater clarity. This is a general rule to follow when you desire to get absolute clarity in a mixed color. These are only a few of the possible combinations available in your palette.

ORANGES

Cadmium Red Light + Cadmium Yellow Light = Orange (clear)

Quinacridone Red Rose + Cadmium Yellow = Orange (cool-warm vibrant)

Yellow Ochre + Iron Oxide Red = Orange (muted)

GREENS

Cerulean Blue + Cadmium Lemon Yellow = Green (clear)

Pthalo Blue + Cadmium Lemon Yellow = Green (extra cool vibrant)

Cobalt Blue + Cadmium Yellow Light = Green (muted)

VIOLETS

Ultramarine Blue + Alizarin Crimson = Violet (clear)

Pthalo Blue + Quinacridone Red = Violet (extra cool vibrant)

Cobalt Blue + Cadmium Red Light = Violet (muted)

MATERIALS + PROCESSES + TECHNIQUES + TIPS + COLOUR THEORY +

… Flat: is characterized by its long flat bristles. Used for long fluid strokes and can be used to create a sharp edge.

• Filbert: much like the flat, but with a slightly rounded edge. This brush can create softened strokes with rounded edges.
• Round: characterized by its round barrel and staggered bristle lengths. Used for long continuous lines. Makes interesting edges when rolled in the hand as the brush stroke is applied.
• Bright: characterized by its short flat bristles. For controlled detailing and can be used to create sharp edges.
• Fan: characterized by its fanned out flat bristles. Used for soft edges and subtle blending.

PALETTE KNIFE

• This versatile tool can be used for mixing paint on the palette, for scraping off paint, and for applying paint to the canvas.

PALETTE

• Is a flat piece of material that serves as a place for mixing and working with the paint before it is applied to the canvas. A pane of glass with a piece of white paper attached to the back makes a good palette. This kind of palette is versatile because it can be easily cleaned, the paper can be changed to match the colour of the painting ground (for better colour choices), and the surface will have no adverse effects on the paint. Palette pads, pieces of metal, and enamel surfaces can be used. It is important to have a surface that can be scraped with a razor knife for easy cleanup.

RAGS

• Rags can also be used for softened transitions when they are rubbed into painted surfaces.

BRUSH TYPES

WATER-BASED

PAINTS

Gouache is an opaque paint system with excellent covering power. If applied too thickly, gouache can be prone to cracking or peeling off. Gouache dries lighter than it appears when wet; this makes colour matching difficult when reworking an area. Gouache films are less vulnerable than those of transparent watercolour because they are thicker, but paintings should still be protected through proper storage and curation (drying process). The brilliance and luminosity which are characteristic of gouache come from the surface of the paint film and not, as with transparent watercolours, from the white paper below. Recommended painting surfaces include hot-pressed watercolour paper, cold-pressed illustration boards, Museum Board and good quality papers with a slight tooth. Gouache is very effective on coloured papers and toned grounds.

Acrylic paint is made from synthetic materials that are water-soluble while wet but once they have dried and cured become tough and flexible. The positive characteristics of acrylic paint include little or no fumes, quick drying time, excellent adhesiveness, water cleanup and pigment colorfastness. Acrylics work well for studentsí quality painting, as it is easily washable and resistant to short-term cracking or environmental damage. The negative side of acrylics is their longevity: acrylic paint should not be used for museum quality works because of their limited durability (up to 50 years). Acrylics cannot be mixed with oil paints.

Ink

Paper choice depends on your pen selection and whether you are using washes. Many pens work well on sketchbook paper, but I find that the fine nib tends to catch on its rough surface - sometimes a fun effect, but to avoid spatters, I use a lightweight (185 gsm), hot-pressed (smooth) watercolor paper. Watercolor paper also takes a wash well.

Tips

• Put enough ink to load the nib in the bottom of a small jar for dipping - that way you will not have a penholder dripping ink everywhere.
• Try doing some small, thumbnail images first.
• Keep washes simple - two or three layers, light, medium, dark.

Let the texture match the subject - spiky grass, curly leaves.

OIL-BASED PAINTS

Oil paints are generally slow drying, a quality appreciated in a different way from painters. It can take anywhere from 24 to 96 hours or even longer for paint to dry, depending on the colour, the thickness of the paint, the time of year, and the humidity level. When properly applied, oil paintings may last for centuries. The negative side of oil colours is the environmental damage caused by mineral solvents and spirits used for paint thinning. It is important to prepare canvas with natural gesso when painting with oils, because acrylic gesso has (previously mentioned) characteristics of the acrylic colours.

Oil paints are compatible with alkyds, encaustics (wax-based painting), and egg tempera techniques.

HOW TO STRETCH A CANVAS

To stretch a canvas for painting you should have the following: Stretcher Bars-wooden slats that are made to fit together. Each stretcher bar is one side of the canvas. Pre-made stretcher bars are available or you can make your own. Fasteners-staples or thumbtacks can be used to hold the canvas into place. Brass upholstery tacks were commonly used because they do not corrode. Staples are easy to put in place and easy to remove later. Canvas-either cotton duck or linen makes best surfaces. Strong material is needed because the fabric is under great tension.

		1. Slide edges of four stretcher bars together. Make sure that you have two of each size stretcher bar. Check square by measuring corner to corner, then repeat for the other two corners. Adjust frame until both measurements are the same distance. Staple into place on both sides of stretcher frame. Do not glue or use other adhesives, unless your stretcher bars have no slots, because they can cause discoloration of the canvas and stretchers can be reused.
2. Cut canvas so that it is at least 3" longer on all sides. This will allow you to wrap the canvas around to the back obscuring your staples.
		3. Pull tightly and staple canvas at four opposite points in the middle of each stretcher bar. Hold as tightly as possible for good tension. Canvas pliers can be used to help gain a strong grip. Work outward from each of these centres. Stretch evenly by moving from side to side and from top to bottom in an even pace. Only add a staple or two on the left and on the right of centre for each, working toward the corners.
4. When you reach the corners, staple and tighten until the ripples are all gone from front of the canvas. If not, repeat process making sure to work evenly out from each centre while moving around the canvas. When corners are tight take remaining canvas, crease it, fold it back, and staple tightly in back. Cleanly secure rest of canvas. Now you are ready for the surface preparation.

The preparation of a painting ground will differ depending on the medium. If oil paint comes in direct contact with a canvas or board it will cause some deterioration. So it is best to follow a few basic steps.

TRADITIONAL Painting Ground (Gesso): Traditionally, gesso was used as the painting ground for tempera (egg tempera) and oil paintings. Rabbit skin glue is most recommended: prepare solution of approximately 2 ounces of rabbit skin glue to one liter of cold water. Place in pan and heat until glue is dissolved. NEVER BOIL GLUE. Allow the glue to cool to room temperature. If it takes on the appearance of jelly, then you are ready to apply it. Heat again until it dissolves and add chalk dust (calcium carbonate) or whiting (zinc white).

• Once the sizing has cooled, we may begin to brush on gesso. Use broad regular strokes in one direction. Allow drying completely. The drying will vary, but it will probably take a day. When dry, sand surface lightly to take off fabric burs. Repeat the process, but brush across the directional strokes used in the first layer. Once dry, it will be ready for paint, although one can continue the sand and paint process to create smoother grounds.

ACRYLIC Gesso: Acrylic gesso can be used as a ground without any sizing or other surface preparation. Paint will adhere to surfaces that have been coated with acrylic, but acrylic paint will not adhere to oil surfaces. It is possible to use this ground for any painting technique, but be reminded: this surface has time-limited durability (up to 50 years), which affects all additionally painted layers.

• Brush gesso directly onto raw canvas or panel using long regular strokes in one direction. Once dry the surface can be sanded. Then apply another coat of gesso (the first one will soak into the canvas or panel and act as its own sizing) using long regular strokes across the first. Once dry, the surface can be painted or one can repeat sand/gesso process.

COLOUR (terminology)

The Colour Wheel describes the relationships between colors. It is laid out so that any two PRIMARY COLORS (red, yellow, blue) are separated by the SECONDARY COLORS (orange, violet, and green).

PRIMARY Colors are basic and cannot be mixed from other elements. They are to color what prime numbers are to mathematics. One can mix two primaries to get a Secondary Color. You will notice that each Secondary Color on the Color Wheel is bounded by two primaries. Color COMPLEMENTS are color opposites (these colors contrast each other in the extreme). They also help to make each other more active. Color Complements are on opposite sides of the Color Wheel.

VALUE is the darkness or lightness of a particular color. We can divide these value changes into SHADES and TINTS. Shades are the relative darkness of a color and Tints are the relative lightness of a color. PURE HUE is the base color at its full INTENSITY.

It is important to note Intensity of a color here because a value of, lets say, red can be the same as a medium TONE of that same color. A Tone can be the same value, but can be grayed in such a way that it is not at the highest degree of Intensity. The Pure Hue has the highest SATURATION of color. This is illustrated in the middle ring of the Color Wheel. The outer ring of TINTS illustrates what happens to a Pure Hue when white is added. The center section of SHADES shows the effect of black on the Pure Hue.

Color and Palette: After one has drawn the image it is important to evaluate the color that will be used. Create limitations on color. Choose a specific "palette" of colors to use on your palette. For example if you are painting some foliage, you may want to stick with blues, yellows and greens of varying intensity and perhaps use a red as an accent. Since red is a complementary color to green it helps to activate it. By setting aside some color, like browns or oranges, you can focus the color so that your color information is more specific. Avoid trying to use all the colors in one painting and do not underestimate the power of neutral colors in a composition.

Mixing colour is a matter of proportion.

How much of each colour that goes into the mix determines the outcome. Always start your mix with the lightest of the pigments you are using, and add the others to it. Some pigments are much more "powerful" (that is, they have greater tinting strength), and it will only take a very small amount of them to change another colour.

Finally, colors will look different if you mix them on your paper rather than in your palette.

Some artists like to only mix their colors on the paper, not completely blending them together. Others like the control of color that mixing in the palette gives. Experienced artists will mix their colors directly on canvas. Experiment with these methods to find the way that suits you. Whichever way you go, do not OVERMIX your pigments. Let them retain a bit of their individuality...even in mixtures.

TIP: The little sample on a separate peace of paper/canvas could help you in avoiding big mistakesÖ

Color TEMPERATURE (warm to cool) will move us from one side of the painting to the other, and from the warm reflected light from the ground to the cooler reflected light from the sky. It also important to understand how using neutralized colors (in the building, shadows and ground) can set off purer, brighter colors (the red flowers and bright green bushes).

TONAL PAINTING

Chiaroscuro is a method for applying value to a two-dimensional piece of artwork to create the illusion of a three-dimensional solid form. This way of working was devised during the Italian Renaissance and was used by artists such as Leonardo da Vinci and Raphael. In this system, if light is coming in from one predetermined direction then light and shadow will conform to a set of rules.

GRAYSCALE AND TONAL VALUES

As light hits a plane it creates a value. This is the relative degree of light or shadow on the form. Value changes as a plane is in less or more direct influence of the light source. So, a plane that is turned at a 45-degree angle to the light source receives less light than one that is at a 90-degree angle and, consequently, is lighter because it receives more direct light.

Value changes often occur gradually. If you look at the object in the lower left corner of the diagram, you will notice that the relative percentages of black increase as the plane gets further from the light. These changes occur on any object. Even if we are looking at a white object, it will have a number of subtle value changes and would be drawn with only a small amount of pure white. This would occur only at the points most directly hit by the light.

Hint: The background colour and any plane adjacent to the object being drawn will influence the value of the form being rendered. It is important to consider the background value with the object being

drawn because it will directly influence decisions in the drawing.

A highlight will mark the point where the light is being reflected most directly. This is most often bright white. As one's eye moves away from this highlight, light hits the object less directly and therefore registers a darker value of grey. Here there is a more sudden transition to darker values because no light is hitting that side. Some indirect light is available because the dark side does not turn solid black. This is the result of reflected and refracted light that naturally occurs. As you look at the extreme edge of the form, you will notice that it is markedly lighter than the shadowed area of the object. Light in the environment is illuminating the back edge. The cast shadows are usually divided up into separate values as well. The area closest to the object is usually the darkest area that is being portrayed. Then, as light becomes more available, the same cast shadow lightens in increments until it reaches the shadow's edge. Hint: Often drawing does not have this exact transition of grays. One can control and manipulate this formula to create interesting moods and character in a piece of work. A High Key drawing is one that has mostly light values, probably with no value of more than 60% at the darkest points. A Low Key drawing would be one that has mostly dark values. In both Low and High Key pieces this system of chiaroscuro can be used to create the illusion of three-dimensional space in a drawing. DRAWING METHODS (reminder) CHIAROSCURO The Drawing or Cartoon: When we decide to produce a painting, the first thing we they have to do is to transfer that idea to the canvas. This is usually done in the form of a freehand drawing sometimes called the cartoon. One can translate a drawing with great accuracy by using a grid which has been drawn over the original, then creating a larger grid on the canvas. The use of overhead projectors is also quite common practice. Because of the transparency of many pigments, it is advisable to do this drawing with a thin wash of a neutral colour like raw umber or yellow ochre using a brush.

DRAWING PROCESS: Always start a drawing by sitting quietly and studying your object, waiting to draw until you are relaxed and prepared. Allow your eyes to receive the information, rather than pursue it. You are trying to feel the solidity and volume of the form. Start in the "centre" of the form by pressing the crayon slowly and lightly in a relaxed, circular motion, as though you were building the object with clay. Continue to "build" the form in outward circles, gradually reaching the outer edges of the form. Work on the whole figure first, before you go back to refine your drawing. Do not worry about proportions or edges – you are only thinking of the mass of the form. When you have the whole form roughed in, go back over it, slowly increasing the pressure in the bulkier areas of the form, where the weight is.

BASIC PAINT APPLICATION TECHNIQUES

Painting with acrylic and gouache can be free flowing. With oils, there can be a sense of plasticity of pushing paint. Do not expect this effects from the water-based paint.
It is common for beginners, once they have tempered (mixed) their paint, to work directly with that mixture, dense and thick as it may be. Once the pigment is properly tempered, you can add as much or as little water as you like. It is advised that you apply your dilute paint thinly. The best method is to build up the surface with many, many layers. Never apply impasto (in thick layers) there is the sure likelihood that it will crack and peel off.

For applying the paint, load up the brush and then squeeze out excess paint between forefinger and thumb. The idea is to produce a brush stroke without leaving the puddle or blob at the end of the stroke. When applying the paint, lay down the brush strokes quickly and precisely but do not go over the same stroke in rapid succession; allow the previous stroke to dry.

Crosshatching Cross-hatching is the traditional method of applying paint. In this illustration, strokes have been used and laid one on top of another.

The application of paint is not restricted to traditional methods. But then what are traditional methods? Evidence is apparent that pre Renaissance times, gouache/tempera paint was applied in a number of methods including spattering. Through the 're-invention' of water-based paints in the last two centuries the use/experimentation with various applicators widened the range of techniques and methods.

The Use of a Sponge A sponge is a useful implement with which to apply the paint. It can be used to quickly build up large areas of color. As with application by brush, the sponge is loaded with color then squeezed out. Application is by a dabbing motion over the panel. Again, allow the previous layer to dry before applying the second layer. Sufficient layers will produce a flat uniform surface. Care must be taken in respect of bubbles that get into the paint surface; these should be knocked back before the paint is dry. Failure to do so will result in an ìorange peelî effect. The sponge can also be used to create textural effects. Different types of sponges produce different effects.

Splattering Splattering paint is both fun and effective. A toothbrush is a useful tool with which to splatter fine dots of paint and even glazes. The toothbrush is dipped into the paint; excess shaken off and then the bristles are pulled back and then released. Various effects can be obtained in the way the bristles are released. Difficult to explain but fun to practice! Once experienced, glazes can be flooded on with no danger of disturbing the underlying layers. To an extent, wet in wet effects can be achieved. When using this technique mask out the surrounding areas with either tracing paper or low tack masking film. (Be prepared to do some repair work if and when the paint under-runs.)

		Palette or Painting Knife Another fun method is to 'squige' paint with a palette knife. The important thing to remember is to keep the layer thin! Dip the palette knife into the paint and then squige it on the panel making sure that thick build up of paint is substantially reduced. If you work quickly, you can squige another color into the still wet paint. This method is useful for under-painting textural effects (stone). GLAZING is a term for painting with a transparent medium. In other words, whatever is on the surface beneath the glaze will still be apparent after the glaze has been applied. The glaze will merely change the color cast of the surface. This is a technique that has been used for centuries in fine art. Either oil-based or water-based materials may be used for glazing, depending upon the desired effect. Water-based glazes are sometimes thinned with glycerin or another wetting agent to extend the working time. In general, water glazes are best suited to rougher textures where overlaps of color are acceptable. BRUSHWORK In order to achieve the most out of brush, it is important to use this tool the most effectively. The rule may be expressed as: the less is more.
	Alternative paint APPLICATORS Squeegee, various rollers, spray (can, airbrush), spatula, etc It is important to experiment and test different modes and effects of paint applications. Remember: these effects are just tools, not a destination. Hints for Evaluating a Painting: Turn the painting upside down. If the composition is still interesting then it is successful. Good composition works from all angles. Squint to evaluate value. Colour can sometimes confuse and squinting helps to limit colour so that light or dark value can be seen. Check to see if the corners and edges seem incomplete. If they are not well painted, it will impact on the entire painting. Make every inch of a painting just as important as the one next to it. Find a particular colour and see if it exists in more than one place. Colour can create or confuse a composition. By repeating a colour in several places throughout the painting, one can create a more cohesive composition. This is called Repetition of an Element and can be done with line, form, or colour.

CAUTION

Handling Pigments and Other Artists' Materials

Making your own paints can be a rewarding experience. You must remember, however, that you are dealing with materials that may be harmful if not handled with care. It must not be assumed that the absence of a health warning indicates that a material is safe. All dusts can be harmful if inhaled and persistent exposure to them will at least cause irritation and possible harm to you. There is an increasing amount of information available as to the dangers of powdered pigments, but the safest way is to treat all materials as potentially harmful.

Do not let these warnings, however, deter you from making your own paints and mediums, since the minimum care needed for most materials is no more than good sound studio practice. Here are some recommendations:

Storing Pigments

Pack bulk quantities of pigments in plastic bags to simplify handling and to prevent breakage and spillage during shipment. Small quantities of pigments are packaged in plastic jars with screw top caps and PVC liners. Before using pigments, it is recommended that you transfer your pigments into plastic jars with screw top caps. Please follow these safe handling procedures:

1. Always wear a NIOSH-approved dust mask and gloves. Work on a smooth surface.

2. Pick up the bag by one of its corners and shake it to collect the pigment into the opposite corner.

3. Using a pair of scissors cut off about 3/4 of an inch of the corner you have been holding.

4. Slowly pour the pigment into the jar. Close the lid.

5. Wipe up any spilled pigment with a damp disposable towel. Properly dispose of the towel and empty bag.

6. Label the jar with the product description and contents accordingly.

7. Always keep out of children's reach.

Safely Handling Artists' Materials

Always read the label. When transferring art materials to other containers, transfer the label from the original packaging onto the new container.

Keep products out of reach of children.

Never use products for skin painting, food preparation or other uses they were not intended for.

Do not eat, drink or smoke while using art materials.

If possible, work with pigments that you have first wetted into a paste or liquid.

Store pigments in sealed, easy to open containers. Bags of pigment when purchased should be cut open and decanted into storage jars (see above).

Wash up after each use—clean yourself and your tools. Keep your work area clean. Wet mop to pick up dust.

Do not inhale dusts. Do not work near a draft or fan that will blow pigments and other dry powders about, but keep your work area well ventilated. Wear a NIOSH-approved dust mask while handling pigments.

Wear dedicated work clothing with long sleeves.

Protect hands and skin from exposure. Wear gloves, especially if you have cuts or abrasions. Use a barrier cream which should be applied about 30 minutes before you start working. Do not allow your hands to get caked in materials—wash them frequently and re-apply barrier cream. Keep hands away from face and eyes.

Warning Labeling

Sometimes products cannot be made non-hazardous, because they are necessary for certain creative activities. Some products contain hazardous materials such as arsenic, lead, mercury, etc. All of these products are clearly marked and carry special warning labels on the packaging. When precautions are taken, such as wearing gloves and NIOSH-approved dust masks, the risk of exposure to these potentially hazardous materials is greatly minimized.

Products carrying warning labels and cautions for safe use can be used safely by individuals who are able to read, understand and follow suggested precautions for handling those materials. When used in properly supervised and controlled conditions, they can be employed with the risk of exposure to potentially hazardous materials greatly minimized.

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