Friday, May 7, 2010
Friday, April 23, 2010
Saturday, April 17, 2010
John Francis Murphy studied with George Inness. He's far lesser known but I think his paintings are just fantastic. I know that the museum in New Britain has one or two that I think are on permanent display, but it has been a nearly a year since I've been there. (It's so close to, I might just go today....anyway.) What I enjoy about the pieces of his that I have seen up close is the quality of paint, and his surfaces.
Saturday, March 6, 2010
Monday, February 8, 2010
Sunday, February 7, 2010
Glazing- transparent layer of bright color spread over the top of a lighter, opaque underpainting that is dry to the touch. Light travels through the glaze and is reflected back off of the underpainting. This causes a glowing effect similar to looking at a brightly lit white wall behind a film of colored cellophane. The thin oily layers of a glaze are easy to manipulate, facilitating the rendering of detail.
(Wiki again ;)
I want to add that glazing is also incredibly important for deepening shadows. While most people turn to glazing to achieve a “glowing” effect it is equally important in deepening shadows. Developing our shadow areas is really going to allow our brighter areas and highlights to “sing.” Viridian, Sap Green, Prussian Blue and Magenta are just a few of my favorite colors to use when I need to darken an area.
A glaze can be applied and then left “as is” to dry. Some artist even have “glaze days” where all they do is apply a few glazes and leave the piece to dry and be worked on at a later date.
Glazes can also be applied and then worked into while still wet. Experimentation and trial and error are so important as to finding what works for you. (I’ll demonstrate in class on how to “leave a glaze” and how to work into a wet glaze this Thursday.)
Working with oil glazes requires some planning ahead. Any glaze, regardless of how “bright” the color being glazed is, will bring your painting down in value. Keep this in mind while making your underpainting. Going to dark in your shadows early on will limit your use of glazes and may force you to opaquely paint over an area to brighten it up. (There’s nothing wrong with this, I do it all the time...just be conscious of this while working. Oil’s are wonderful and we can abuse them to our hearts content. Just be prepared to go back and forth adjusting values until you’ve reached your desired effect.) Paintings can be completed in two minutes or two decades, (some longer) so don’t try to rush things, and make sure you have more than one painting to work on at a time.
Questions? Comments? Feel free to add your opinion. This is a place to share and learn from each other.
Thursday, January 14, 2010
I know this is not very original of me but it's a place to start. This is Wikipedia's definition of Tonalism.
Tonalism (1880 to 1915) is an artistic style that emerged in the 1880s when American artists began to paintlandscape forms with an overall tone of colored atmosphere or mist. Dark, neutral hues, such as gray, brown or blue, would usually dominate such compositions. During the late 1890s American art critics began to use the term "tonal" to describe these works. Two of the leading painters associated with this style are George Inness and James McNeill Whistler.
Tonalism is also sometimes used to describe American landscapes derived from the French Barbizonstyle, which employs an emphasis on mood and shadow. Tonalism, in both its forms, was eclipsed by the popularity of Impressionism and European modernism.
A canvas or panel primed and "toned" 11x14- 16x20ish (we will be going over toning your canvasses tmw)
A reference to work from- this could be a photo, sketch or picture of a landscape that you would like to paint
A palette- I recommend Richeson Grey Matters Paper Palette (they have this at Blick's and maybe Jerry's)
Palette knives- a couple of sizes will be helpful as we will be painting with these
Brushes- You can never have to many brushes, I use all kinds, get a bunch of different sizes and make sure you have one that's at least an inch wide
Flake White (or similar substitute)
If you have the above colors you'll be in great shape. More colors are always welcomed but we can get a lot of mileage out of the colors listed here.
Medium- Liquin (Some people hate this stuff but I absolutely love it, if you want to stick to a more traditional medium such as linseed oil that is fine I'm just a Liquin addict.)
Your also going to need some rags, you can't paint without rags.