painting firsthalf

Workshop in Painting Methods & Materials

Class #1: Course & materials review, safety discussion, introductions - see resume

Course Description: "Studio Painting Methods & Techniques is a comprehensive program in teaching techniques, methods and theoretical aspects of painting. There is a strong emphasis on the nature of observation and the way it is used and registered in painting & drawing. The course will draw upon a wide range of historical and contemporary sources helping students to develop a critical awareness of their developing skills, technical proficiency and ideas. The subject will include practical painting methods & techniques essential to the handling of oil and paints. Introduced will be characteristics and use of opaque and transparent pigments, painting mediums, glazing, colour mixing and colour selection, uses and types of brushes, preparation of painting surfaces (canvas, stretchers and alternative material), various approaches to paint application, including blending, glazing, scumbling, wet in wet, encaustic (wax), impasto, etc. Students will learn techniques and methods of painting representational images, composition and scale, how to use and handle paint competently and generally discover the manipulations used to effect realism and the different degrees of abstracted realism".

Assignment #1: Read supply list and locate neccessary materials

Class #2: Oil Paint on resist surface. Using a prepared surface students are introduced to the peculiar handling characteristics of oil paint using a variety of tools

student example: Simon

historical reference: Rembrandt, unfinished canvas

contemporary artist: Mark Tansey, Forward Retreat, oil on canvas, 94" x 116", 1986

Assignment #2: Amir, self portrait, Anna, copy of old master

student example: Rachel, self-portrait

historical reference: Rembrandt, self-portrait

contemporary artist: Rick Amor, self-portrait, Winter, 2002

Class # 3 : Paint grinding demonstrated and discussed. Colour charts prepared in class with tape on canvas paper

grinding paint

colour chart

Assignment #3: Creating spheres using raw umber and white, preferably Winsor & Newton underpainting white

student example: Julie

historical reference: 19th C. Ingres copy of Odalisque

contemporary artist: Domingo Barreres mixed media on canvas

Class #4: Acrylic paint demonstration - strengths and weaknesses. Glazing of opaque underpainting using transparent pigments. Fundamentals of the appearance of light falling on an object discussed.

student example: Julie

historical reference: Ingres, La Grand Odalisque, 1814

contemporary artist: Su Baker, Stretch, oil & digital print on canvas, 2002

Assignment #4: Complete glazing of spheres and begin a new series on which to practice

student example: Julie

acrylic reference: Al Held, Apeture #IV, acrylic on canvas, 2000

acrylic reference: Linda Bessemer, Fold, acrylic paint

Class #5: alla prima painting & stretching linen demonstrated

class materials:

historical reference: Jan Steen

contemporary method:

Assignment #5:

student example:

historical reference: Carel Fabritius, The Goldfinch, 33.5 x 22.8cm, panel, 1654

contemporary artist:

Class #6: Create frozen draperies in class work, on painting from drapery in class

student example: Nancy

historical reference: Rembrandt, The Jewish Bride

contemporary artist: Ron Muecke, Untitled, mixed media, 2000

Assignment #6: Paint frozen drapery in under strong lighting conditions for next class, glaze if appropriate

student example: Rachel

historical reference: Carducius Ream, Still Life of Hanging Grapes, oil on board, 12 x 7 inches

contemporary artist: William Bailey

Class #7:

student example:

historical reference:

contemporary artist: William Bailey

Assignment #7:

student example:

historical reference: Titian

contemporary artist: Wayne Thiebaud

Class # 8: Observing green apples under three of four different light sources; flourescent, incandescent, natural, candle or coloured light

examples by Elizabeth

student example: Rachel

historical reference: Zurburan, still-life with lemons, oranges and a rose, 62 x 109 cm, oil on canvas, 1633

contemporary artist:

Assignment #8 : Continue working on green apples under three different light sources

student example:

historical example: Juan Sánchez Cotán, Quince, Cabbage, melon, and cucumber, 1602

contemporary artist: Janet Fish, still-life with green tea cup, oil on canvas, 1999

Class # 9 : Emulating reflective objects by observing Christmas balls

student example: Heather

historical reference: Hieronymous Bosch

contemporary artist: M.C.Escher

Homework: Paint reflective object at home: toaster, teapot, mug. Acquire a landscape image as source material for encaustic painting

student example: Mischa

historical reference: Michelangelo Caravaggio, Boy being bitten by a lizard, oil on canvas, c. 1600

contemporary artist: Lucien Freud, Queen, 22 x 15cm

(second half of classes)