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Emily Carr Institute of Art and Design
Curriculum Area: Foundation
Course Title: Painting FNDT 122
Course Number: S004
Instructor: Vjeko Sager
Wednesdays: January 5, 2005 to April 13, 2005
From 8:30 to 11:30 am Room 280
PAINTING
FOUNDATION
COURSE HANDOUTS
Course calendar:
Week Class Activity Supplies Needed
Week1
January 5 Lecture/Demonstration, Supplies needed
Materials and tools, review of drawing skills
Project #1: “Contact”: research strategies
Pencils (various), paper pad, sketchbook
Week 2
January 12 Surface preparation: paper
Paint applications: brush work (ink) Bring: 4 sheets
of cartridge paper (18x24”);
black ink, brushes; plastic containers
drawing board with clips, acrylic gesso
Project #1: DEADLINE
In-class presentation & critique
Colour theory
Flexible supports and grounds:
Demonstration of canvas-stretching
with provided materials (studio technician)
Bring: staple gun/staples or hammer/tacks
Start project #2: “Transformation” (diptych)
Working with model (duotone) Bring: acrylic paints (black,
white), palette,
cartridge paper and brush(es), two clean jars,
drawing board with clips, acrylic gesso,
5 sheets of Mayfair (20x26”)Bring: palette, acrylic
paints (various),
Painting knife, brushes, glue, scissors,
drawing board with clips, acrylic gesso
5 sheets of Mayfair (20x26”)
Bring: acrylic gesso, painting knife, brushes,
glue, scissors, drawing board with clips,
Bring: palette, acrylic paints (various),
Painting knife, brushes, drawing board,
acrylic gesso, 5 sheets of Mayfair (20x26”)
Week 7
February 16
Week 8 Week 9
March 2 Stylization and transformation techniques
Working with model (duotone)
Acrylic painting techniques:
emulsions and solutions
Project production
Mid-term individual consultations Painting techniques:
mixed techniques
Working with restricted palette
Working with model
Project production Bring: Stretched canvas
palette, acrylic paints (various),
Painting knife, brushes, drawing board,
acrylic gesso, 5 sheets of Mayfair (20x26”)
Acrylic mediums: glazing, matte
Reading Week of February 21, 2005Bring: Stretched canvas
palette, acrylic paints (various),
Painting knife, brushes, drawing board,
5 sheets of Mayfair (20x26”)
Acrylic mediums: glazing, matte
Week 10
March 9
Week 11
March 16 Project #2: DEADLINE
In-class presentation & critique
Painting techniques: mixed techniques Varnishes, ingredients,
retarders
Working with modelSurface preparation: board
Under-painting & textures
Start project #3: “Reflection”
Abstract painting: principles and strategies WRITTEN
PROPOSAL FOR INDEPENDENT PAINTING (One sentence will
suffice) Due March 23 Bring: Stretched canvas
palette, acrylic paints (various),
Painting knife, brushes, drawing board,
acrylic gesso, 5 sheets of Mayfair (20x26”)
Acrylic mediums: glazing, matteBring: panel (MDF, particle
board, wood,
door skin) cut to preferred shape
2 smaller panels (for testing and experimenting)
Palette, acrylic paints (various),
Painting knife, brushes, drawing board,
acrylic gesso, sand or other texture
Week 12
March 23 Under-painting procedures
Introduction to Oil Painting
Pigments and paint standards
Thinners and solvents
Continue working on the Project Bring: palette knife,
gessoed panel,
Various brushes, alternative paint applicators
(Squeegee, roller, sponge)
Mediums and solvents
Acrylic or oil paints
2 smaller panels (for testing and experimenting)
Week 13
March 30
Painting techniques:
Applying textures
“Ala Prima” painting methods
Bring: Palette, oil or acrylic paints (various),
Painting knife, brushes, drawing board,
Acrylic gesso, sand or other texture,
Mediums and solvents
2 smaller panels (for testing and experimenting)
Week 14
April 6
Painting techniques:
Painting in layers
Colour mixing
Bring: Palette, oil or acrylic paints (various),
Painting knife, brushes, drawing board,
Acrylic gesso, sand or other texture,
Mediums and solvents
2 smaller panels (for testing and experimenting)
Week 15
April 13 Painting techniques:
Finalization of the work
Detail in composition Bring: Palette, oil or acrylic
paints (various),
Painting knife, brushes, drawing board,
Acrylic gesso, sand or other texture,
Mediums and solvents
Week 16
April 20
Painting critiques.
Last day of classes.
Review of course material
Final Project DEADLINE
Course summary
Course starts on January 5, 2005
Project # 1 “CONTACT” (collaborative work)
Mural painting (monochromatic studies) on large paper
Schedule: January 5, 12, 19, 26, 2005 & February
2, 2005 (five sessions)
Project due: February 2, 2005
Project # 2 “TRANSFORMATION” (diptych,
collaboration)
Acrylic on stretched canvas
Schedule: February 9, 16, 2005 & March 2, 9, 2005
(four sessions)Memo: Midterm consultations, Reading
Week of February 21, 2005Project due: March 9, 2005
Project # 3 “REFLECTION” (introspection/
abstract)
Mixed techniques on wooden panel
Schedule: March 16, 23, 30, 2005 & April 6, 13,
2005 (five sessions)
Project due: April 13, 2005
Course ends on April 20, 2005
MATERIALS
• 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 TYPESWATER-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 students’
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 mistakes…
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 VALUE
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
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.
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
“orange peel” 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 underpainting 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.
Warning Labeling
Some of our products contain hazardous materials such
as arsenic, lead, mercury, etc. All of these products
are clearly marked in our store 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 are 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.
Sometimes products cannot be made non-hazardous, because
they are necessary for certain creative activities.
When used in properly supervised and controlled conditions,
they can be employed with the risk of exposure to potentially
hazardous materials greatly minimized.
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.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 our 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 paints in sealed, easy to open containers,
in dry (room temperature) environment.
• Wash up after each use—clean yourself
and your tools. Keep your work area clean.
• Do not inhale dusts. Do not work near a draft
or fan that will blow pigments and other dry powders
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 be caked in materials—wash them
frequently and re-apply barrier cream. Keep hands away
from face and eyes.
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