Screen Shot 2019-08-29 at 10.39.31 AM.png

SUBJECTIVE COLOR COMPOSITIONS

Goal: Develop a feeling for the paint and brushes while creating a painting using your favorite personal hues.
Painting 1: Use any colors you wish. Use flat brushes only. The painting should be based on gestures appropriate for the brush. No representation allowed. Only abstract movements of the brush.
Painting 2: Use any colors you wish. Use round brushes only. The painting should be based on organic forms using gestures appropriate for the brush. No representation allowed. Only abstract movements of the brush.
Painting 3: Extracts the colors you used in the organic composition and use them in composition based on a grid. You may represent simple shapes and objects if you wish as long as you stick with the same palette of colors.
Dimensions of the grid: Your grid should be 8 rows x 10 columns with each cell being 1" square. An 8x10 inch canvas will give you 80 cells.
Materials: Canvas board 8"×10″, oil paints, flat, round brushes, palette, rags, Gamsol

Color-Value_Scales1.jpg

CHROMATIC VALUE SCALE

Goal: Develop a feeling for the two elements of color: value and hue.
Instructions: Create a unified chromatic gray scale consisting of 10 steps. The chromatic scale of primaries and secondaries should align with the values of the grayscale.
Limits: You may only use Cadmium red, Cadmium yellow, and Cobalt blue to make all the hues in the scale. Mix secondary colors (purple, green and orange) from the primaries. Use Titanium white and Ivory black to create tints and shades. Refer to your color wheel for an example of a gray scale.
Terms: Value, grayscale, chroma, hue, primary colors, secondary colors, tints, shades, high key colors, low key colors, warm and cool colors
Materials: Pencil, ruler,canvas board, oil paints, flat brushes, palette, rags, Gamsol

Student example

 

Zedist painting by Jim Yuransky based on a saturation palette.

Paper airplane executed with a high key palette

Skull painted using chiaroscuro style.

Portrait painting based on underpainting.

SATURATION SCALE/ZEDIST PAINTING USING COMPLEMENTARY PALETTE

Goal: You will explore the tonal range of two hues, understand the interaction of complimentary colors and express form through the illusion of a third-dimensions along the z-axis.
Challenge: How can colors be combined to create the illusion of figural forms projecting from the surface of the canvas towards the viewer?
Limits: Restrict your palette to complimentary colors and black and white
Concepts: Zedism, cubism, complimentary palette, neutral colors, z-axis, de-saturated hues, geometric abstraction
Materials: Pencils, canvas board 18×24″, oil paints, flat and round brushes, palette, rags, Gamsol, linseed oil
Evaluation: You will be evaluated on your ability to build a strong, dynamic composition. I will also be checking to see if you have created a broad range of hues and neutrals

Saturation scale
Zedism slide show
http://zedism.com/

 

 

PAPER AIRPLANE PAINTING USING WARM AND COOL/HIGH KEY PALETTE

Goal: Distinguish the balance of warm and cool zones in a planar object while developing an eye for the interplay of overlapping light and shadow.
Problem: Create a painting of a paper airplane that captures the decay of light across its planar surface.
Limits: You may only use mid to high key hues i.e. hues with a value that falls in the 4-10 value scale range. In other words, avoid using dark hues in favor of distinctly cool ones.
Concepts: Warm and cool contrast, shadow, highlight, planar gradients
Materials: Pencils, canvas board 11×14″, oil paints, flat brushes, palette, rags, Gamsol, linseed oil
Inspiration: High Key Palette.ppt

 

CHIAROSCURO PAINTING

Goal: Distinguish the balance of light and dark/warm and cool in a still life object while developing an eye for the interplay of overlapping shadows.
Challenge: Create an imprimatura underpainting of a still life object that solves all of the problems of light, shadow and form.  On top of your imprimatura add a second layer of paint that solves all the problems of warm and cool lighting effects. Glaze your colors by using linseed oil to capture transparency and light.
Limits: For the underpainting you may only use two colors: burnt sienna and titanium white.
Concepts: The imprimatur is a thinly applied (diluted with Gamsol), tonal painting of the subject matter. You can be as tight or as loose as you would like. The imprimatura creates the tonal unity that is particularly characteristic of Renaissance painting. Often, the imprimatura is allowed to show through as a way of creating warm middle tones.
Concepts: Glazing, overpainting, chiaroscuro, figure ground contrast, warm and cool shadows
Materials: Pencils, canvas board 18×24″, oil paints, flat and round brushes, palette, rags, Gamsol, linseed oil
Evaluation: You will be evaluated on your ability to build a strong, detailed underpainting using good brush work, the ability to capture shadows and highlights, the ability to create transparent, luminous glazes using linseed oil, achieve an overall tonal consistency.

PORTRAIT PAINTING

Goal: To learn sound, portrait painting techniques based on the use of traditional color palette and color glazing methods.
Challenge: Create an imprimatura under-painting of your subject that solves all of the problems of light, shadow and form
Limits: You may only use two colors: burnt sienna and titanium white. On top of your imprimatura add a second layer of paint that solves all the problems of warm and cool lighting effects. Apply your colors with linseed oil to create thin glazes and capture transparency and light. You may use a broader palette for the over painting. Apply skin tones in order. A typical ordering of hues for flesh would be: Burnt sienna, cadmium red, cadmium yellow, Naples yellow and titanium white. You may also want to experiment with Italian earth, venetian red and alizaron crimson for a slightly different tonality.
Concepts: The imprimatur is a thinly applied (diluted with Gamsol), tonal painting of the subject matter. You can be as tight or as loose as you would like. The imprimatura creates the tonal unity that is particularly characteristic of Renaissance painting. Often, the imprimatura is allowed to show through as a way of creating warm middle tones.
Concepts: Glazing, over-painting, chiaroscuro, figure ground contrast, warm and cool shadows
Materials: Pencils, canvas board 18×24″, oil paints, flat and round brushes, palette, rags, Gamsol, linseed oil
Evaluation: You will be evaluated on your ability to build a strong, detailed under-painting using good brush work, the ability to capture shadows and highlights, the ability to create transparent, luminous glazes using linseed oil, achieve an overall tonal consistency.
Inspiration: Marlene Dumas, Gerhard Richter, Francis Bacon, Lucien Freud