Art 1023 January 26, 2010

The dry brush and thick application of paint were two methods that we were told should be apparent in our paintings at this point in time. We were also reminded to hold the brush on the side and not like a pencil as we began to work today. Using the side of a big brush and shadow white paint, we sketched in the bowl design and the inside of the bowl. Mixing a lighter color we then painted the brightest areas of the design and top edge of the bowl.

The dark areas of the grey canister were painted using the side of the brush. Reflective objects seen on the canister were then painted. The rule for painting reflective objects is to never add the color you see to your painting. Instead you mix the color into the pool paint you are using for the object. Sharp edges are smoothed and softened by dragging the brush over the area where the two shades of color meet. Wiping the edges with a dry brush they then bleed into each other. The background around the canister and drawing lines were also painted.

Art 1023 January 21, 2010

Step 5
We continued adding paint to our work using the darkest to lightest technique learned in earlier classes. Although one object at a time is not usually painted, Ms. Aycock demonstrated techniques on the pitcher. She reminded us We were encouraged to step back from our paintings to check the composition and shape of objects. We used our cloths to wipe off strokes of wrong color holding the cloth in one hand and our brush in the other.
First we needed to wet the paint on our canvas where we would be working today. Mixing white, both colors of blue, and a little orange to match the grey color used to paint the shadows on the pitcher. Using a smaller number 6 brush the shadows areas were made wet again. White paint is never applied without adding another color to it. Using a large amount of white paint we mixed in a small amount of yellow to create the white on the pitcher. From this pool of paint we pulled off smaller pools mixing in colors to create the colors needed for the lighter and brighter areas of the pitcher. The light (color of paint) on the shadow side cannot be as light as the light side of the object. We were encouraged to paint with different brushes rather than continually cleaning the same brush as different hues of white were used to fill in the pitcher.
Ms. Aycock demonstrated different painting strokes one of which was to make x's with the side of the brush, alternating the angle of the brush, and crossing the strokes as you moved over an area. The brush was held on the side and not like a pencil. She also demonstrated how to hold and move the brush to soften stokes and to blend areas of different shades of color. Applying the paint with the brush flat allows the paint underneath to show through. Another strategy she demonstrated and reminded us to use was squinting when we looked at the still life objects and to not think about what we were painting.
Ms. Aycock provided the names of a number of art organizations and upcoming art shows for students to consider. One of these was the Oklahoma Visual Arts Coalition.

Art 1023 January 19, 2010

Still Life Painting Journal #2

STEP 4 Blocking-In
Oil painting is a process of applying layer upon layer of paint on the canvas over a period of time. Dark colors of paint are applied first followed by lighter colors. Blocking-in is the application of a base coat of paint over the entire canvas. The process begins with the mixing of an anchor color. The anchor color is a medium tone that is applied to everything in the painting. Begin with silver colored objects to create the anchor color. For this painting the silver object is the tall canister. Dark blue, light blue, orange and white paints are mixed to match the silver object in the painting. Then using this color over and over while varying the amounts of paint on the objects, the entire painting is covered with the anchor color. Complimentary colors are mixed together to create the shade of color needed for the anchor color. After mixing the paint the color of paint created was compared to the silver canister to check the accuracy of the color. Holding the largest brush down the handle and on its side and with the skinny side of the brush, paint is quickly applied in the shadow spaces. Adding white paint, yellow, or red to the mix the rest of the painting is then blocked-in. To remedy color that is too bright the opposite color on the color wheel or white is added to the paint mix. Shadows are painted first using the side of the brush and the darkest hue of the anchor color. White is added to the anchor color to fill-in lighter areas and objects in the painting. Then the edges are softened where the shadows met the lighter part of the objects. A cloth rag can be used to wipe off areas of the painting where too much paint has been applied.

Carla Goble

Art 1023 January 14, 2010

Still Life Painting Journal

Today in class we began our first painting. Ms. Aycock had arranged a still life consisting of a white pitcher, tall silver container, a bowl with designs around it, a saucer with 2 garlic bulbs, a bowl shaped silver container with a lid and handles, a large white onion, and a large single garlic bulb all sitting on a cart with a white cloth draped over cardboard screen to form a backdrop.

We applied Gesso to the canvas before beginning to paint. We wrapped butcher paper around pieces of cardboard and used these for pallets. We each put a dab brown sienna paint onto our cardboard pallets. Ms. Aycock showed us how to pour the mineral spirits from a jar into smalls cans for individual use. The rule is to pour all of the mineral spirits from the jar without tipping it up thus the paint sediment in the bottom of the jar will not be dislodged. We each received a view finder in the form of two L-shaped pieces of cardboard.

STEP 1 Using the largest brush and lots of mineral spirits I applied the underpainting to the canvas. I think that I used too much paint and not enough mineral spirits which I plan to remedy on the next canvas. I had applied too much Gesso and my canvas did not dry completely before I began to paint resulting in several sticky areas.

Ms Aycock demonstrated how to hold the paint brush at the back and how the brush should be flat against the canvas. She reminded us that unevenness of the paint made a nice background. She also said that the under painting would show through, giving the painting a warm glow.

STEP 2 using our view finders we each began to experiment with composition and had to make a decision about whether to use portrait or landscape shape for our paintings. It took me a while to decide on the composition and focal point of my attempt. Ms. Aycock stated that we were to have at least one reflective object in our composition and that three of the objects should "leave" the canvas. To demonstrate how to determine focal points, Ms. Aycock drew a rectangle on the white board and divided it into 9 equal parts. She drew a circle where each of the vertical and horizontal lines met stating that these were the focal points of a painting and to use this trick to plan the painting.

STEP 3 After Ms. Aycock demonstrated the technique; I raised my canvas to eye level and began to make an abstract drawing of the objects. Holding the view finder up to the still life display I began to roughly mark the objects on my canvas. Ms. Aycock demonstrated the "connect the dots" strategy for checking the balance of objects. I tried this and it helped me correct the shape of the bowl which was too round at first.

STEP 4 The last thing we did today was the line drawing. Using my smallest paint brush and I drew the outside lines of the objects. Ms. Aycock demonstrated how to measure openings in objects, as well as height and width by holding a paint brush or pencil at arm’s length. This technique was helpful in checking for mistakes in object shapes. She recommended that we back away from our paintings and by looking at them from afar we would be able to distinguish problems.


Ms. Aycock checked our work after each step. She provided suggestions for how to improve the shape of the bowl on my canvas showing me how to measure where the two parts of the bowl top met. I applied the technique, made the changes, and could immediately see the improvement.

Carla Goble