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Interpret this idea any way you like, but consider including elements of both still life and portrait in this piece. Or, treat a figurative element as a still life, or an object as a human.

In preparation for this piece, choose a painting (either art historical or contemporary) to respond to. Let it influence your work in some way through:
Composition (Set up a situation that follows the same main compositional elements such as placement, focal point, large vs. small shapes, diagonals/pyramids)
Color Scheme (Try to emulate the same color scheme with your work)
Subject Matter (Could you re-invent an idea from art history in today's context)
Painting Approach (glazes, palette knife, thick or thin, loose or tight)

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b. 1993, Zimbabwe

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Painting Approach #2: Dead Layer with Glazes of Color

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Painting Approach #2: Dead Layer with Glazes of Color

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Talk about Mediums and Glazing
Some Mediums You Might Have:
Solvent-Free Mediums:
Linseed Oil (very glossy, dries slow)
Walnut Oil
Anything called "Solvent Free Medium"
Mediums with Solvent:
50% Linseed Oil + 50% Gamsol
Oil Painting Medium
Galkyd (dries fast)
Liquin (dries fast)
Mediums that add body:
Neo Megilp
Cold Wax Medium (also makes it more matte)
Use this Palette to Glaze over your Grisaille Underpainting:
Cadmium Red
Alizarin Crimson
Lemon Yellow
Ultramarine Blue
Avoid using white! If you find you need a little to achieve the right color, or add highlights at the end, use Zinc White or Lead White (more transparent whites)
https://painting.tube/glazing-a-grisaille-underpainting-of-a-lemon-using-liquin-and-oil-paint/

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Do a value study and a thumbnail color study

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Do a value study and a thumbnail color study

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With your value study, will you use the whole Value Scale, from 1-10? Or will you limit it to 1-5 and keep you values very light?

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Before and After Velasquez, Infanta Margarita Theresa

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Do you have favorite figurative painters? Add their names to the comments.

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Do you have favorite figurative painters? Add their names to the comments.

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Check out the Instagram account @figurative_painters to see a huge selection.

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1900-1984, worked in NY

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Self-portraits in mirror

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Boats and boating--Equipment and supplies

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1922-2011

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Welcome to Oil Painting: Still Life and Portrait! 

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Welcome to Oil Painting: Still Life and Portrait! 

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On this page, you'll find all the images and examples you'll need for this class.

You can also post pictures of your work in progress in the Student Work columns to share with the class and get feedback. Please try to post at least one image during or after each class.
To Post: Click the Plus sign and take a photo of your work with a phone/tablet, or drag a picture from your desktop.

The attached document has clean up instructions as well as health and safety tips/precautions for working with oil paint in your home. We'll go over this on the first class.

Biggest Stay Healthy Rules:
Solvents are bad to breath: Use Odorless Mineral Spirits, but still ventilate your space.
If you can't ventilate, don't use the solvent. Use Baby Oil or Vegetable Oil to clean your brushes, then soap and water.
Pigments are bad to ingest or breath: Don't sand your paintings, if you do wear a respirator. If you sand your gesso, wear a respirator. If you make your own oil paint from pigments, wear a respirator. Don't accidentally eat any oil paint (wash your hands before eating).
Don't dump oily, solventy stuff down the drain: Clean your brushes with baby oil/brush cleaner before going to the sink to wash with soap. Keep your Odorless Mineral Spirits in a Silicoil, so the clean stuff rises to the top. When you have to dispose of oily, solventy stuff--it goes in the trash or toxic waste (if a large amount).
Don't scrunch up your oily rags and press them into the trash: Open them up, let them dry on your palette, then throw away.

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For the first few weeks, we'll explore different painting approaches through small studies of one object. Using the same photo reference or still life set up, we'll use different limited palettes and painting processes to explore the range of possible approaches available to us in oil painting.
You will work from either one of the photographs below or you can take your own photo of an object (with a clear light source)/ work from life.

Have 2 sheets of Yupo paper (or two canvas panels, canvas paper, primed paper, etc.). Divide both into 4 rectangles about 4 in. on the shortest side. Tape them around the edges to a board (if using Yupo or other primed paper).

4 Approaches
1. Monochromatic Value Painting: Black + Titanium White
*If you don't have black, make a mixed black from Raw Umber and Ultramarine Blue

2. Grisaille with Glazes of Color:
Raw Umber + Black + White, left to dry, glaze transparent color next classes. https://painting.tube/grisaille-palette/

3. Complementary Color Painting: Choose from...
Ultramarine Blue + Burnt Sienna or Mixed Orange
Cadmium Red + Mixed Green
Lemon Yellow and Mixed Purple

4. Planar Shapes Palette Knife Painting:
3 primaries (your choice) + white

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Temperature Color Scale Using Ultramarine Blue and Burnt Sienna

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Demo Warm_Cool Painting and Value Painting

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Continue the other Painting Approaches (#3 and 4)

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Continue the other Painting Approaches (#3 and 4)

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3. Complementary Color Painting: Choose from...
Ultramarine Blue + Burnt Sienna or Mixed Orange
Cadmium Red + Mixed Green
Lemon Yellow and Mixed Purple

4. Planar Shapes Palette Knife Painting:
3 primaries (your choice) + white
Choose different primaries from the last painting, so you see how the same image transforms through a different limited color palette.

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Set up a Still Life or Portrait Using Mostly White Objects, Clothing, Fabric, etc. [plus one Dark Black, Brown, or Grey Object.

If a white on white painting doesn't excite you, choose a different color. The goal is to compare close color and value relationships within a very limited color scheme. For example, you could try mostly all red objects plus a green or green-gray object. Your painting could also be a portrait. In that case, the choice of dress, background, and lighting play significant roles in color idea of the paining.

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https://www.youtube.com/watch?v=SV316GS7tVc

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Woman in White

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gouache

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Supports: 4 11”x 14” Canvas panels, wood panels, or stretched canvas

Oil Paints:

- Titanium White (200ml)

- Lemon Yellow or Cadmium Yellow Light

- Yellow Ochre

- Cadmium Red Light or Medium

- Alizarin Crimson

- Burnt Sienna

- Raw Umber

- Ultramarine Blue

- Cobalt Blue

- Cerulean Blue (optional)

- Green Earth or Terre Verte (optional)

Brushes: You can bring in your favorite brushes to work with. A mix of sizes, shapes, and bristle vs. synthetic brushes is best.

Yupo Paper or other oil primed paper (either a 9x12" bright white pad or 1 144Ib 26x40" sheet cut into roughly 8x10" pieces)

Palette (I recommend glass or a palette paper pad)

Trowel shaped palette knife

Scraper with blades (if using glass palette)

Absorbent rags (old t-shirts are great)

Refined Linseed Oil or Oil Painting Medium (Galkyd, Windsor and Newton, Liquin, etc for faster drying)

1 small jar with lid for medium

OMS – Odorless Mineral Spirits (Gamblin Gamsol is one brand)

Silicoil Brush Cleaning Tank (recommended)

Brush cleaning supplies (Baby Oil, Vegetable Oil, Brush Cleaner, Murphy's Oil Soap, Regular Soap )

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week 1 - yemaya

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Week 1

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Here's mine. Stacy

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palette knife painting

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"Don't bother trying to look for something new: you won't find novelty in the subject matter, but in the way you express it."
-- Camille Pissarro
Hanging against an ochre-colored wall above a horizontal band of dark brown paneling, a spoon and ladle harmonize rhythmically with the objects resting on a white tablecloth: a ceramic bowl with a ham and a knife, apples, half a loaf of bread, and a glass carafe and goblet, each partly filled with red wine.

The subject of this painting is as much the display of how it was created, as it is what is represented. Pissarro used a palette knife to apply paint boldly in smooth, flat surfaces broken with sculpted areas of impasto (thickly built up strokes of paint, from the Italian for "paste"). He also worked more delicately with the paintbrush in certain areas (see, for example, the wine glass). This deliberate juxtaposition of techniques results in a vibrant surface that conveys great visual energy and emotional power.

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Still Life - Camilie Pissarro - Google Arts & Culture

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"Don't bother trying to look for something new: you won't find novelty in the subject matter, but in the way you express it."

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palette knife painting

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We see a dark landscape dominated by a sky filled with monumental cloud formations in white, black and grey. The lower part of the painting comprises an expanse of water, and in the foreground a dark shore. In the background, on the horizon, we get a glimpse of a city. A dome rises up above the other buildings and is reflected in the water. If you look carefully, you can see that the artist applied the paint with a palette knife rather than brushes. It looks like the paint has been spread over the surface the way you might spread butter on bread.

We can hardly see this painting as a true depiction of reality, although the city on the horizon may be reminiscent of Venice or Stockholm. It almost looks as if the city is floating on the water, like a mirage. The dramatic sky, the hint of a city silhouette and the shockingly dark colour palette combine to give the impression of a fantasy or a vision. What is the painting expressing? One might see it as threatening, with its foreboding and dramatically stormy sky. The painting may also convey a sense of distance and alienation. The city - perhaps a symbol of civilisation, culture and life - is a long way off. As we look at the city, we find ourselves in an unidentified dark landscape far removed from civilised society.

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The Town - August Strindberg - Google Arts & Culture

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We see a dark landscape dominated by a sky filled with monumental cloud formations in white, black and grey. The lower part of the painting comprises an ex...

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http://www.chrisliberti.com/