Art 1023 Self Portrait

Art 1023 February 18, 2010

Art 1023 February 16, 2010

Adding the background was demonstrated and painted today. Brush strokes in an X design were used to provide the feeling of movement to the backgrouond. Adjustments in color were made to the tall silver canister and to the small silver sugar bowl. The instructor graded the paintings and we were each provided feedback on drawing, composition, paint application and color mixing.

Changes to the shadows on the side of the plate need to be made in my painting. Light reflecting on the inside of the bowl is missing. The table cloth behind the silver sugar bowl needs to be added. The background behind the pitcher is too spotty and needs to be adjusted.

Art 1023 February 2, 2010

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