Painting Module

CONTENTS A b o u t t h e A u t h o r. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

What is so great about Art?.......................................................5

Why should I use this Guide?...................................................6-7

What you will need................................................................8-9

Chapter 1: Building a Canvas...............................................10-27

Chapter 2: Developing the Composition..................................28-41

C h a p t e r 3 : U s i n g C o l o r. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 2 - 4 7

C h a p t e r 4 : P a i n t i n g Te c h n i q u e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 8 - 5 7

A n s w e r K e y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 8 - 6 1

The End................................................................................62

2

acknowledgements

First of all, I would like to thank God for making me unique and un-

usual. I would like thank my wife for encouraging me to pursue graduate school, my mother and father for also helping me through the years, my son for inspiring me and my three very special grandmothers for influencing me to pursue higher education.

My brothers Frank, Mark and Lenny

and Larry Spencer and my sisters Sarah, Lindsay and Laura for teaching me how to be a better person.

Also, I would like to thank Andy Gillham,

S u e P a l m i s a n o , D r. B o b S w e e n e y a n d D r. J a m e s N e s t o r f o r h e l p i n g m e understand art, graphic design and my potential.

I w o u l d l i k e t o t h a n k D r.

Dennis Ausel, of the Indiana University of Pennsylvania, for helping me get this project started!

3

ABOUT THE AUTHOR

It is true, Thad Dachille has an interest in non-conformity and it has

led him into what appears to be an interesting journey of self-discovery in the visual arts and into the formation of a career in community based education.

He has taken some different opportunities to reformat how he thinks, how he discovers and how he relates to other people.

Thad now feels that educa-

tion, innovation and the visual arts are very much interconnected in a symbiotic relationship, all attached to the larger wheel of communication.

C u r r e n t l y, T h a d i s w o r k i n g t o w a r d s a m a s t e r ’ s

degree in Adult and Community Education with a focus in Communications Te c h n o l o g y a t t h e I n d i a n a U n i v e r s i t y o f P e n n s y l v a n i a .

Thad said this about

advancing his formal education: “this program is specifically targeting the development of contemporary instructional materials and thus strengthening my foundation in concurrent media.”

4

Introduction w h at s s o g r e at a b o u t a r t ?

Learning about art is more introspective, psycho-

logical and culturally meaningful than most people think.

For example, there is an element of historical narrative found

in visual art that documented the human condition and way of life long before written word was established. p o w e r i n i m a g e r y s t i l l t o d a y.

Like cave paintings from long ago, there is Paintings can be used to express the diversity

of human emotion, the complexity of our feelings, used to color our mood, explain who we are and the very nature of our existence.

In this module, I hope to re-calibrate the common negative opinion that

the arts of carry; that the arts are non-relational to other aspects of learning.

H o w e v e r, i t i s w e l l d o c u m e n t e d t h a t p e o p l e a l l l e a r n d i ff e r e n t l y a n d n o o n e procedure can provide the premier learning model.

Upon completion of this module, it is my goal that you have a more

dimensional view and appreciation of two dimensional pieces of artwork and feel compelled to take a journey of self-exploration.

why should i use this guide?

Have you ever tried to start your car but it wouldn’t start because you

had a dead battery? If so, you probably needed to dig out your jumper cables and get to work on spicing up your car ’s juices.

There are times

as creative individuals that we a need a metaphorical jump start.

L i k e j u m p s t a r t i n g a c a r, j u m p s t a r t i n g

your mind is a process and this manual will walk you through it step by step.

To g e t y o u r m i n d c h a r g e d , t h i n k o f a n e v e n t i n y o u r l i f e t h a t w a s e x -

t r a o r d i n a r y, b e i t h a p p y, s a d , h o r r i f i c o r f a n t a s t i c a n d l e t t h o s e e m o t i o n s f l o o d y o u r s o u l l i k e t h e e v e n t h a p p e n e d y e s t e r d a y. y o u c h a r g e d u p , a n g r y, h a p p y o r e m b a r r a s s e d ?

How do you feel?

Identify those emotions and

b o t t l e t h e m i n y o u r b a t t e r y, s o w e c a n g e t t h i s j o y r i d e g o i n g .

6

Are

Introduction

The Smashing Pumpkins portray this idea of a joy ride well in the nar-

rative of the greatest day video.

The group talks about how art is a joy ride,

a time when creative personalities can be overwhelmed by the intrinsic beauty of a space.

Now that you have some understanding of how to locate your person-

ally charged pocket of space, the place where feeling and a need to express yourself overwhelms you, your artistic expression will be rejuvenated, and we can begin to portray your emotions through latex.

Creating, identifying and

harnessing this part of your mind is an integral part of the process of jump s t a r t i n g y o u r c r e a t i v i t y a n d u n l o c k i n g y o u r c r e a t i v e i n d i v i d u a l i t y.

W H AT Y O U W I L L N E E D

The palate knife this

tHE BETTER TO BRUSH WITH

is one of your most frequently used tools.

Yo u w i l l n e e d

tool to mix your colors and to apply thick globs of paint to your canvas, This

technique is known as Impasto painting and we will cover this topic more in chapt e r f o u r.

Yo u w i l l n e e d a

large synthetic brush

for applying paint to large areas of canvas, preparing your canvas and completing the finishing treatment to your canvas. This will we be covered more in chapter one.

A

large flat angle synthetic brush,

another frequently used tool. majority of your painting.

8

that is roughly an inch wide is

It is very durable and a great tool to use for the

Introduction

A

medium sized synthetic blending brush

can be used to drybrush,

blend and create smaller detailed areas on the surface of your canvas.

The

small detail brush

is a great way to illuminate tiny areas, such as the

highlighting on an eyeball or the sliver of light defining the tip of a nose.

Remember that it is very important to vary your brushes when you are painting, as you never want to use only one brush.

s pa r k yo u r m i n d I f y o u h e a r a v o i c e w i t h i n y o u s ay ' y o u c a n n o t p a i n t , ' t h e n b y a l l m e a n s p a i n t , a n d t h at v o i c e w i l l b e s i l e n c e d .

- V i n c e n t Va n G o g h R ea d m o r e: h tt p://www.b r a i n yqu ot e.c o m/qu ot es/to p i cs/to p i c_a rt5.h t m l#i xzz1 dA3ZzYu T

chapter one

Chapter Overview:

Building a canvas is a very easy process.

In order to save time and develop a more precise canvas, it really is best to

use power tools.

I s u g g e s t t h a t y o u u t i l i z e a n e l e c t r i c c h o p s a w, a h a n d h e l d

power drill and work with an assistant for safety precautions.

10

chapter one

origi nal

hand crafted canvases are an obvi-

ous determining factors that separates serious visual artists from the paint-by-number hobbyists.

T h e R o t h k o C h a p e l i n H u s t o n Te x a s i s o n e o f t h e m o s t b r e a t h t a k ing artistic spaces in the United States, and the canvases are huge!

As a

v i e w e r, y o u a r e i n f e c t e d b y t h e i n f u s i o n o f e m o t i o n a n d s c a l e ( t h e s i z e o f the painting).

When standing in front of a thirty foot tall canvas the size

and the construction forces the viewer to feel something, and in any case that is what art is about! .

Please spend adequate time reviewing and familiarizing yourself with the general safety procedures that pertain to your make and model of your power tools before you continue with this section.

Never operate power tools alone because you

m a y n e e d s o m e o n e t o c a l l 9 11 .

s pa r k yo u r m i n d A r t t o m e i s a n a n e c d o t e o f t h e s p i r i t , a n d t h e o n ly m e a n s o f m a k i n g c o n c r e t e t h e p u r p o s e o f i t s va r i e d q u i c k n e s s and stillness.

-M a r k Rot h ko

12

r e a d m o r e at h t t p : / / w w w . b r a i n y q u o t e . c o m / q u o t e s / a u t h o r s / m / m a r k _ r o t h k o . h t m l

chapter

one

THE FIVE RULES

o f p o w e r t o o l O P P E R AT i o n

1 2 3 4 5

Keep your work area free from derbis and utilize proper lighting.

Derbis is a tripping hazard

Never operate power tools near children or alone and eliminate all distractions beforehand.

Distractions can be fatal.

We a r p r o p e r p r o t e c t i v e e y e w e a r.

Yo u r e y e s a r e v e r y i m p o r t a n t , e s p e c i a l l y t o v i s u a l a r t i s t s .

Never use power tools while wearing loose fitting clothing or open toed shoes.

R e s t r a i n o r r e m o v e l o o s e j e w e l r y, p u l l b a c k l o n g h a i r, r o l l u p l o n g s l e e v e s a n d tuck in baggy shirts to avoid a potentially fatal accident.

Be alert; never operate power tools while under the influence of any drugs or alcohol.

let us

review ds can you find the wor d search inside the safety wor

never

14

operate

power

tools

near

children.

chapter

one

ds can you find the wor d search inside the safety wor

1

2

3

4 5 Across 4. if you are a lady you should always remove this before you operate power tools 5. don't grow back Down 1. you should always wear proper 2. if you are a gentleman, than you should always remove this before you operate power tools 3. you should always keep your work space

15

W H AT Y O U W I L L N E E D t o b u i l d y o u r c a n va s Three 2” x 4” planks of wood.

I advise the use of any kind of non-pressure treated standard issue 2” x 4” plank.

Yo u w i l l w a n t t o u s e a c h o p saw and a screw gun.

I sug-

gest that you buy quality tools, if you need to, as you get what y o u p a y f o r.

Roll of canvas, I use

16

Fredrix canvas.

chapter

one

Several 2�wood screws, a matching driver and some drill bits.

Any kind of industrial staple gun with lots of long industrial staples.

Wood glue.

I prefer Elmers brand wood glue

because it is a good quality product and costs less than any other brand.

One pair of heavy duty scissors.

Yo u w i l l

want to invest in a nice pair of metal scissors that can handle cutting your heavy canvas.

17

STOP and find someone else to help you.

REMEMBER: you should be wearing protective eyewear when you operate power tools. also advised.

18

Hearing protection is

chapter

one

B U I L D I N G Y O U R C A N VA S

The canvas that we are going to build togeth-

er is going to be pretty big, so get excited because you are going to have a wonderful feeling of accomplishment when you are done with this project!

Get you supplies together and let’s get to business.

Now that you have your three standard issue 2 x 4’s you will

need to cut one board in half.

Half can easily be located on the

board by measuring the whole length of the board, dividing that number by two, and then marking the board in the middle. along your marked measurement.

L a s t l y, c u t

Again, be careful when you are op-

erating your chop saw and remember to follow all of the safety steps d i s c u s s e d e a r l i e r i n t h i s c h a p t e r.

19

Now you should have four boards.

O b v i o u s l y, 2 b o a r d s a r e

longer and 2 boards are shorter in length. up on a flat, level surface.

Stand all of the boards

Make sure that all the boards

are positioned with the 2� wide side touching the ground and so that the whole frame measures 4� tall. boards.

20

Put a generous amount of glue on each end of your shortest

chapter

one

Have your assistant hold the boards in a way that holds them flush against one another in

the glued areas.

Make sure that your hands are at least 12� away from the

edges of the boards. Drill pilot holes into the exterior edges of the longer boards, like shown in the picture.

21

REMEMBER: you should be wearing protective eyewear when you operate power tools.

Hearing protection is

also advised.

Now that you have your pre-drilled holes, we are going to go ahead and fasten our frame

together using our 2“ wood screws. So go ahead and attach your Phillips head mount into your screw gun.

Remember to change the settings on your drill so that the

speed is much slower or else you may hurt yourself! Also, you will need an extra pair of hands for this part of the project.

22

screw your frame together!

Now, go ahead and

chapter

one

At this point you should have your frame for your canvas

completely assembled (with screws and glue) and now you can roll out your canvas on the floor and set your frame on top of your canvas.

Yo u w i l l w a n t t o h a v e y o u r p a i r o f s c i s s o r s r e a d y !

Eye-

ball the canvas on the floor and leave yourself about a foot of extra cloth for each side of the canvas frame.

23

s t r e t c h i n g t h e c a n va s

R e m e m b e r, w h e n a t t a c h i n g y o u r c a n v a s p u l l f r o m t h e

middle and work outwards in opposite directions!

This will

allow you to equalize the tension; it is a lot like making a large drum!

So, start with any side and staple the canvas to the back of the

canvas frame. Put in about three staples, approximately two inches apart. When y o u a r e a b e g i n n e r, y o u ' l l p r o b a b l y p u t i n m o r e s t a p l e s t h a n y o u n e e d ( b u t r e m e m ber that this really doesn’t matter because no one will be looking at the backside)!.

Move to the opposite side, pull the canvas as tight as you can and staple the middle in place. Repeat with the other two edges.

Pull the canvas as tight as you can – having someone there to help you is ex-

tremely useful! Then do the same to the opposite side, work diagonally opposite stapling one side then work on the exact other side stapling it. Continue like this until all the edges are in place. Because we are stretching a larger canvas, don't staple a l l t h e w a y t o t h e c o r n e r a l l a t o n c e . Yo u ' l l w i l l h a v e b e t t e r t e n s i o n i f y o u w o r k i n sections at a time.

24

Once you get to the corners, fold the edges of the canvas neatly and staple

o n e o n t o p o f t h e o t h e r. staples and start again.

If you find your tension isn't good, you can remove the

chapter

Also, remember when you are stretching your canvas that

one

an ex-

tra pair of hands will improve the quality and efficiency of your project. do the exact opposite side. to staple the opposite side!

Also, remember to staple one side then

Yo u d o n ’ t w a n t t o w o r k c i r c u l a r l y, r e m e m b e r

25

f i n n i s h i n g t h e c a n va s

with gesso

Now that you have finished assembling the canvas you should begin to think

about finishing your project, so that the work is archival.

Archival means

that the quality of the work will remain through the duration of time.

If you want your work to last for generations you will want to consider

using finishing treatments on all of your projects.

W H AT Y O U W I L L N E E D t o b u i l d y o u r c a n va s Gesso

is an acrylic substance that is used for

priming a canvas for painting.

Modern “acrylic

gesso� is a mixture of chemicals that will ensure a longer archival life for your paintings.

Yo u w i l l w a n t t o u s e

thetic brush.

a large syn-

Yo u c a n b u y y o u r

brush at any home improvement store

26

because a house painting brush will do the trick!

chapter

let us

one

review

s d r o w e h t d in f u o y can h inside the word patc

Gesso, canvas, chop saw, screw gun, industrial staples

27

28

chapter two

IT

seems that everywhere we go and everything we do there is some set of rules attached.

Art is no exception; even in art there are a

set of rules that help to establish order and provide structure.

When you are developing your image you should be considering seven

characteristics.

These seven characteristics will help you not only gener-

ate a better image, but help you to think like the artists that have really carved out a career in the field of visual art and made a lasting impression on our global society:

Line-

a visual path that enables the eye to move with the picture

ShapeColor-

areas defined by edges within the picture hues with their various values and intensities

Te x t u r e FormVa l u e Space-

surface qualities which translate into tactile illusions

directional forms that depict, length, width and depth Shading generally used to emphasize form made up of (positive) or in between (negative) objects

from the

g a l l e r y wa l l s

This painting by Basquiat shows off his tremendous creativity and

creative use of texture,

be-

cause he used unusual materials and assembled them into large colorful pictures like this one.

In fact, he

would often paint with household paints, rather than purchasing expensive colors at a specialty art store.

Kiefer uses large canvases and assembles

straw and

other organic or found objects

to the surfaces, he

displays a great knowledge of texture.

His assemblages cre-

ate added meanings that help

30

his work to convey more feeling and depth.

chapter

TWO

This painting by Francisco Goya is an example of a

social commentary and compo-

sition.

Goya skillfully directs the viewer's

eye into the focal point using line.

Can you see

how the guns in the painting really lead your eye?

This is an excellent example of the agility of the medium of painting, to create

wonder-

fully cleaver social commentary.

3131

from the

g a l l e r y wa l l s

Using negative

space

really makes this painting more dramatic.

Negative space, is

the blank area of brown color

32

at the top of the painting.

BMW makes more than just great cars, they also make great paintings. This painting is an example of some very expensive and fast, paint brushes.

chapter

TWO

This photograph is also a non-example of painting.

This photograph is a non-example of painting. But, it is quite odd and fascinating at the same time.

The overhead

photo displays a creative use of space.

This photo shows how color

can be empha-

sized by using one bold color and then substituting all other colors with subordinate neutral colors.

3333

from the

g a l l e r y wa l l s

As you can see, this example is a

horizontal composition.

Horizontal compositions are really used best when you are going to generate a pastoral scene.

Can you feel the moodiness created by the colors that Kiefer used?

This Renaissance image captures the essence of the triangular

composition.

Triangular compositions are a great way to ac-

centuate human emotion and a hallmark element of Renaissance imagery.

34

chapter

This image by Kieth Haring uses symmetrical

TWO

balance,

which is the placing of identical forms on either side of the central axis of an image. This central axis helps to stabilize the image visually and generally works well with iconic imagery, like Kieth Haring’s work.

More commonly, artists use Asymmetrical

balance

which is the placement of non-identical forms to either side of a balancing point. Asymmetrical balance helps imagery to become more balanced because the two opposite sides seem to be of equal visual weight.

35

let us

review

Match the corresponding items in column A with the items in column B.

1.

The foreground is the ________________ part of a picture.

2.

______________is defined by edges within the picture.

3.

Form is ___________three directional forms that depict, length, width, or

depth.

4.

When you are developing your image you should be considering

_____________characteristics.

5.

Color

Hues Shape Modeling Front most Seven

36

is ______________ with their various values and intensities.

chapter

TWO

bac kg ro u n d

middleground

foreground

As you can see, in our picture we are using a foreground, background and middle ground.

The foreground is the front most section of your image, the middle ground

makes up the middle horizon line of your picture and the background would gene r a l l y b e t h e s k y.

Yo u w i l l n o t i c e t h a t t h e s e d i f f e r e n t a r e a s o f a p a i n t i n g h e l p

to generate a more elegant and interesting image.

Also, notice how the arrows

are going from end to end in the composition, this creates more visual rhythm.

37

test yourself cut out the arrows

cut out these arrows and

glue them on the next page.

This practice will make you great at seeing compositional elements!

38

chapter

TWO

a n d pas t e t h e a r r o ws

in there.

39

q u i c k d r aw

S k e t c h i n g i s d o n e b e s t w h e n t h e a r t i s t d r a w s v e r y l o o s e l y, a r t -

ists call this gestural drawing.

Gestural means that the artist is not

concerned with the overall look (accuracy of the drawing). the artist is more interested in creating many lines. try to take in the whole image in one sitting.

Instead,

To p r a c t i c e t h i s ,

In your example we

would like you to try to capture the essence of something but try to do i t q u i c k l y a n d v e r y l o o s e l y.

40

chapter

TWO

t ry yo u r c o m p o s i t i o n i n s i d e t h e b o x . W e s ta r t e d i t f o r y o u can you complete it?

41

This is a really exemplary example of how to use color. See how the warm highlighted areas pull forward and the gray background along with other darker areas push away into the background.

42

chapter three

COLOR

is a highly researched topic because color is ex-

tremely psychological in nature as well as scientific.

For the purpose of

this manual, we are not going to fully dive into all of the different elements o f c o l o r. image.

But, remember that the proper use of color can make or break an It is important to note that warm colors such as yellow come for-

ward and cool colors recede, such as dark blue.

Yo u s h o u l d a l r e a d y k n o w t h e c o l o r s t h a t a r e c o m p l i m e n t a r y, i n o t h e r

w o r d s t h e y a r e t h e c o l o r s t h a t l o o k g o o d n e x t t o e a c h o t h e r.

But, in case

you have forgotten them, here they are:

•

red and green

•

blue and orange

•

yellow and violet

43

YELLOW

RED

GREEN

DARK BLUE

BLUE

NAPLES YELLOW

The colors above are the most important colors that you will need. But, remember that you will need to mix these colors!

Using “right out of the tube� colors shows bad form and a lack of creativity. So try and mix your colors as much as possible. Also, remember to limit the use of Naples Yellow (it is important to note that Naples

Yellow is substituted

for white paint in the diagram above).

44

If you avoid using white paint

on your canvas I assure you that your paintings will be more colorfully assembled and color after all is a key factor in the creation of a successful painting!

chapter

three

your

e t a l a p R O L O C

For your palate I suggest you purchase some wax paper. Wax paper is cost effective and easily disposable.

In the image above, you will notice that I spread my colors out evenly so that I have the proper room to mix them.

Having a large color palate is crucial when working with a larger scale,

like on the canvas we have made. Also, remember that acrylic paint dries quickly so you will need to work as fast as you can!

45

b l a n k c a n va s i s a m y t h

Having a blank canvas is a myth.

In this manual, I suggest that you start with a bright background color. A bright background color is a great way to start your painting because it will allow you to start your painting with a unified quality. Unity is a very important idea in art because it helps to create a feeling of completeness, by using repeated elements of art in your painting.

It is a good idea to use your largest brush to paint in your background color.

46

chapter

three

After you have toned the entire surface of your painting with a bright color,

Use your large angle synthetic brush to sketch out your composition. It is you will want to begin to draw your composition in place.

a good idea to have a couple of sketches on hand and post a couple of art images that you like from artists that you appreciate. You want to have as many examples available as possible so that you can draw ideas from both your images and from other artists that you like!

Use a nice heavy graphite pencil to sketch in your composition, like an HB pencil but, you have to

Here is something else that works for sketching in your composition.

wait until the paint is dry. Sometimes I use a hair dryer to make the drying process go a little quicker!

At any rate, good luck to you painter and you are off to a good start!

47

In this image I used several Photoshop layers along with some different

painting techniques in the original painting. That’s right, this image is an example

48

of multimedia and digital imagery!

chapter four

AS

y o u m a y a l r e a d y k n o w, m a n y o f t h e a r t i s t s t h a t f i l l a r t h i s tory text books and

art museums push the ele-

ments of visual art far beyond routine or mundane imagery; they capture beauty.

Henri Matisse once

said, "Drawing is like making an expressive gesture with the advantage of permanence."

so by extension, painting is a hyper expressive medium

because of its multifaceted nature.

As we begin to look at painting tech-

niques, remember that Color invigorates people; it always has and it always will.

Painting is a way that you can capture some of your expressiveness

and creativity and put it on a material.

As we talk about painting techniques remember that these examples

are only guides.

E s s e n t i a l l y, t h e r e i s n o r i g h t o r w r o n g w a y t o p a i n t , a s

long as you meaningfully explore different materials and colors.

As we saw

e a r l i e r, i n c h a p t e r t w o y o u c a n e v e n p a i n t a l a r g e s u r f a c e w i t h a s p o r t s c a r.

Chapter Overview: In this chapter we are going to learn about some great techniques used in modern art! Because there are so many great painting techniques we simply can’t include them all, but here are some examples we are going to talk about in this chapter including: visual texture created by reactionary imagery, dry brushing, watercolor effects, multimedia, digital imagery and many others!

Image as reactionary texture, as an artist you should be

aware that certain images increase emotional output from your viewers. In this example, does this image anger you or does this imagery stimulate your interest?

ing.

I do apologize

this is actually a non-example of paint-

This is image was created exclusively using photography and digital

technology. But, I ask you, where does the boundary between painting and other mediums start and finish? Imagine if this image where silk-screened on a large canvas like Warhol’s artwork, would it then be painting because it uses paint? Is silk-screen artwork painting or photography, or could it be rather simply

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defined as ART?

chapter

The story behind the art.

four

I am driving along in my car thinking about how great it would be

to document all of this locational murder, because it’s yet another deer season in western Pennsylvania. That’s where I live, anyhow, I spot this dead deer in a field and just keep on driving past it thinking I will see something more interesting momentarily. Then about fifteen yards down the road I pull around thinking, “Ah, I have got to snap a couple of photos of this deer, it may be the only one I see today.” So I pull my car around, park, and start heading into the field. I take a few pictures of this animal, including the image to the left.

Then this big blue truck pulls up. This younger man gets out of his truck and he says in this huge

boisterous, obnoxious voice, “Can

I help you, Boss!”

I said, “I wanted to take some photos of the

dead deer in your field, for an art book I am making.” I was assuming that it was his field because he was so un-polite to me. He said back to me, “It is hunting season and you are on private land.” But his voice cracked a little bit as he said that, so I knew he wasn’t going to shoot me.

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Newspaper

is a great texture to affix

to a surface that you are going to paint on!

Lots of artists use newspaper as a background element, because after you complete a background collage you have a great under painting to start adding color to!

Impasto Gough.

p a i n t i n g i s a t e c h n i q u e t h a t w a s c o m m o n l y u s e d b y V i n c e n t Va n

This technique is a great way to enhance your imagery because it adds a

literal, dimensional element to your paintings.

Much like using dry brush, where you only want to use a small amount of

water to many parts of pigment (color), you will want to use mostly pigment and

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apply the paint with your palate knife in large chunks.

chapter

four

As you can see, I like to use charcoal to

add more layers and texture to my paintings.

Don’t be afraid of drawing all over your paintings.

Smudging and making mistakes are interesting,

the field of art is what you make

of it and you don’t have to be mathematical with your imagery!

Here is another example of texture.

In this painting I

used three parts of water to one part of pigment (color). u s i n g t h a t m u c h w a t e r, w e c a n

effect.

By

c r e a t e a n i c e WA S H

This WASH effect creates some very loose and wa-

tercolor looking elements adding a nice textural element that I implore you to explore!

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tastes Something that comes to mind when I look at Anslem Kiefer ’s work is

T. A . S . T. E . S Te x t u r e s - K i e f e r u s e s a l o t o f a c t u a l s t r a w i n h i s w o r k s o y o u f e e l h i s l a n d scapes and I think that it makes you feel more emotionally attached to his work.

Angles- Generated by his use of sharp strong lines.

Scale- Made by his huge, impresive paintings.

Theme- Much like emotional response, the theme is the vibe that you get from the work.

A strong theme leaves you thinking about the imagery that you just

f e l t a n d i n p a r t t h i s l e a v e s y o u w a n t i n g t o r e - c r e a t e s a i d i m a g e r y.

Emotional Response- Much like theme, very dramatic work.

Similarities- Using visual rhythm makes visual art like a catchy song, if you

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use repeated elements in visual art you will generate some great sounding imagery!

chapter

AWESO M E

four

This is artwork that was created by a former student of

mine, at a community college.

This

is one of my favorite examples of creative intelligence!

Notice just how colorful and

creative this example really is, because she not only used diverse materials, but she pushed outside the mundane (notice how the painting surface is perforated).

She pushed

the boundaries of her fellow students!

Kudos to you, painter!

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tt he s tey o lu r a s t self c u t o u t t h e t o o l s t h at y o u w i l l n e e d

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chapter

four

a n d pas t e

in there.

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let us

review

ANSWER KEY

Chapter One Quiz 1

Quiz

2

ACROSS 4. JEWELRY - if you a lady you should always remove this before you operate power tools 5. FINGERS - don't grow back DOWN 1. You should always wear proper... EYEWEAR 2. If you are a gentleman, than you should always remove this before you operate power tools...TIE

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3. You should always keep your work space...CLEAN

answer key

quiz 3

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let us

review

ANSWER KEY

C h a p t e r Tw o

Quiz One

1.

The foreground is the foremost part of a picture.

2.

Shape defined by edges within the picture.

3.

Form is Modeling three directional forms that depict, length, width, or depth

4.

When you are developing your image you should be considering seven characteristics.

5.

Color

is hues with their various values and intensities

Q u i z Tw o

This EXAMPLE wasn’t really a quiz but rather a depiction of how to explore

different compositional elements.

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ENJOY!

THE END.

Chapter Four

Quiz One

tell me what you thought . email me at xbhl@iup.edu and thanks for reading this book.

I hope you have new ideas.

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