Mondays (Portrait and figure drawing)
12 hour pose with charcoal pencil
Tuesdays (Color study)
Light allows us to see. Color on two different objects is more similar between the lit sides of the objects than an object’s lit side compared to its own shadow. The darkest light should always be lighter than the lightest shadow.
You can’t copy nature, but you can manipulate color and value relationships to mimic the visual experience. Go after the EFFECT of the light.
In choosing a composition, pick a well lit object with clear dark and light sides, not a set up that is mostly in raking light.
Have a goal when doing your color studies! If you know you struggle with painting a cool object in warm light, purposefully set up your still life to reflect your learning objectives.
Start with the easiest color to see that is in the light and the color you think would be easiest to mix. Calibrate to the colors in the light first. Go for the lightest value if possible so you know the upper limit of the palette.
PAY ATTENTION to what you are doing! Observe the process. Observe the result.
Color palette:
Burnt Sienna, Alizarine Crimson, Permanent Rose, Perylene Red, Cadmium Red Deep, Cadmium Red, Cadmium Scarlet, Cadmium Orange, Indian Yellow, Raw Sienna, Cadmium Yellow, Cadmium Yellow Pale, Cadmium Green Pale, Cadmium Green, Viridian, Phthalo Green, Phthalo Turquoise, Cerulean Blue, Cobalt Blue, Ultramarine Blue, Dioxazine Purple, Quinacridone Violet, Titanium White
Instructor demo (JaFang Lu):
My work:
Wednesdays (Structural drawing and painting)
Instructor demo (Dan Thompson):
My work:
Thursdays and Fridays (Figure painting)
Instructor demo (Darren Kingsley):
My work:
Each 1 hour poses. We are learning to calibrate values relative to one another.
Start by laying in basic values, then adjust relative to each other on the canvas. These studies are concerned about relativity and effect. Start with shadow relationships first.
3 hour poses
Fridays (Cast painting)
Instructor demo (Darren Kingsley):
First draw the cast as accurately and life size as possible with straight lines delineating the light from the shadow. When it is ready to be transferred, trace the line drawing onto tracing paper or acetate with a fine point marker. Then sandwich the canvas, transfer paper, and traced drawing. Redraw over the tracing until it is transferred onto the canvas. Paint a thin first layer with burnt umber, mars black 1:2 mixture and titanium white. Use 2-3 values for the shadows and 2-3 values for the light areas. This is just an underpainting, so the values are preliminary and will be corrected as the painting progresses.
My work:
