Download - Color that Sings Day One 2018
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COLOR THAT SINGSBEGINNING/INTERMEDIATE PAINTING
Jewish Community CenterWinter 2018
Glenn Hirsch, Instructor
Paul Wonner
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SYLLABUS WEEK-BY-WEEK
Jan 24 “Light” and Abstraction – Color to create “light’ & brush to create “texture”
Jan. 31 “Light” and Realism – Still Life: warm/cool combinations to enhance the illusion of ‘form’
Feb. 7 “Style” Part I – Master Study – exact copy of a painting you love
Feb. 14 “Style” Part II – Response – a painting all your own but using the color & style of the master
Feb. 21 “Explorations” – Working in Series (Course Project: 3+ paintings investigating a style and subject)
Feb. 28: “Energy” - pattern and repetition (HW: continue series project)
March 7 “Idea” – modernism and art history (HW: continue series project)
March 14 No class (HW: continue series project)
March 21 “Critique" – Discussion of all work for semester and potluck
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TONIGHT’S LESSON
• What is color? (light)
• What makes color ‘sing?’ (the illusion of ‘light’)
• What makes the illusion of light? (contrast and variety (of color))
• What’s the procedure? (acrylic/oil technique vs. watercolor technique)
• What are all the ways to use the brush?
• What’s the difference between ‘real’ and ‘abstract?’
• Painting exercise: abstraction, brush and layers
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What is “color?”
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What’s the ‘real color’
of the house?
Color is Light
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Monet paints ‘white’ marble at different times of day
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What makes color ‘sing?’
The illusion of ‘light’ !
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Paul KleeAdam Hirsch
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Styles of light“Old Master” emphasizing shadow vs. “Impressionist” style minimizing shadow
ManetRembrandt
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Vermeer
Student work in style of Vermeer
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What makes the illusion of ‘light?’
light/dark contrast(‘value’)
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To see the ‘value’ (contrast)imagine what the painting would look like in black and white.
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imagine what the colors would look like in black and white
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Degas
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Elmer Bischoff
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A second factor which also makes the illusion of ‘light’
Variety of color(warm and cool combinations)
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‘warm’ and ‘cool’ varieties of the same color
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Monet (detail)
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Georgia O’Keefe
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What’s the Procedure?
Acrylic/Oil(use both thin & thick layers)
Watercolor (use all thin watery layers)
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Acrylic procedurestart thin, build up each layer thicker each timeUse opaque white
Watercolor procedurestart thin, build up each layer but each layer stays thin (“watery”)Create ‘white’ by reserving the white paper
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Joan Mitchell acrylic John Singer Sargent watercolor
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Watercolor: starting on a white background, then preserving the white paper where you want “white”
Acrylic/Oil: starting on a dark background, then use opaque white
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Eduoard Manet
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Vincent Van Gogh oil Emile Nolde watercolor
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Emile Nolde
Using acrylic AS IF it is watercolor
thin watery layers (also called ‘glazes’)
Let each layer dry
‘reserve the white’
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Richard Diebenkorn
Semi-opaque ‘glazing’
semi-opaque yellow is painted over a dark backgroundand you see the dark peeking through from underneath
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Helen Frankenthaler
Using acrylic AS IF it is watercolorPouring on flat paper or canvas
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Acrylic or watercolor, no matter what your procedure, painting is
done in LAYERS
Let each layer DRY before you go to the next
Georgia O’Keefe, watercolorGrove Robinson Branch, acrylic
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What is real and what is abstract?
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‘Real’ and ‘Abstract’ are relative
Robert Marosiseries, acrylic
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Manet Monet Van Gogh
‘Real’ and ‘Abstract’ depend on an artist’s style
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All ‘realism’ has abstract qualities, many artists like to emphasize both
John Singer Sargent, watercolor
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How many ways are there to use a brush?
• Wet-in-Wet• Wet-over-dry• Stamping, Rolling, Scratching• Dry Brush• Impasto• Transparent glazes
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Helen Frankenthaler
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Mark Rothko
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Fred Martin
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Fred Martin
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Abstract brush energy is a great way to paint trees
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John Singer SargentJohn Singer Sargent
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Melba Cantu