Notes on Oil Painting 6.2009

Burning the Midnight Oil

Notes on Oil Painting with Tonal Composition and Colour Composition

by

Terry Clare Northern Promontory Promontory Plein Plein Air Painters Painters 1

2 Northern Promontory Promontory Plein Air Painters

Burning the Midnight Oil

Notes on Oil Painting with

Tonal Composition and

Colour Composition Traditional Australian Impressionist Impressionist Academic Realist Wet in wet Painting techniques

Northern Promontory Promontory Plein Plein Air Painters Painters 3

With the arrival of acrylics and other paint paint technologies the traditional technique for oil paint is being over looked.

ISBN. 978-0-646-48170-8 copyright Published and printed by Terry Clare Thornleigh, 2120. Sydney N.S.W. Australia phone.612 . 9945 1445 [email protected]

Copyright May be used for non profit lessons or private learning.

2006 4 Northern Promontory Promontory Plein Air Painters

CONTENTS

7

Introduction

8

To begin painting

10

Gear Palletes and Brushes

11

Basic Painting Technique

13

To start a painting

14

Palette Layout

15

Extra Points to make easier

17

The layers of a painting

18

Analogous Colour mixing

19

Complimentary Complimentary Colour mixing

20

Basic Tones and Compositions Compositions

21

Colour Wheel and Colour Compositions

24

Puddle mixing

26

Ebauche pallete

28

Mix browns and greys

30

Just in passing

31

Closing notes

34

Outdoor Check list

35

Pigments & Hazardous Materials

36

Gesso groun ground d for fo r canva canvass

37

Subject Matter to paint

38

Steps for Antique or Sculptural Drawing

39

Guide for Pricing Oil Paintings


Inside the Breakwater Brooklyn

Into the Wharf Clifton Gardens


by Terry Clare

by Terry erry Clar Clare e

Introduction It was while I was an Office Machine Mechanic in 1950 repairing rebuilding and servicing office duplicators that I developed a liking for pulling things to pieces and putting them back together to see how they worked. It also entailed wandering around the city streets giving rise to many opportunities to visit many of the little galleries and art shops dotted around Sydney town at that time. Along with surfing and football, I persued an interest in psychology philosophy and the art of painting and over the years I have come to admire admire all those great painters who could juggle all the multiple aspects aspects of art work and and paintin painting g to create create a master masterpiece piece.. There were were and still are many who do this, juggling colour, composition, composition, drawing, drawing, and all the aspects and disciplines neccesary to bring them all together creating a work of value and attractive beauty. The belief arose amongst many progressive artists that once you learnt the rules and techniques of master artists, you were not emotionally or spiritually able to enjoy it your work and it is was not entirely free, resulting in a stilted approach and everyone producing similar pictures. picture s. Another group of artists believes that one should serve a long apprenticeship to understand all the many aspects of arts disciplines, then to use these skills, enjoying and creating a free and skilled beautiful work of art. art. There is again again a large large group group somewhere somewhere in betwee between. n. There will always be those who can with great simplicity throw a bucket of paint or draw a swashbuckling line with great artistic expression and theatrical result . Those who do it successfully successfully have usually usually completed completed a lengthy apprenticeship somewhere. Japanese art is a good example and has been a source of inspiration for impressionists and many other successful artists, but one cannot realistically expect to execute such a discipline without proper full full understanding understanding of of the technique and training involved.


Aspiring to be an Artist Then begin a painting When deciding to begin painting, you may accept change or reject any advice given in this publication, or by anyone for that matter, as it is the perogative of any thinking individual or artist to develop their own style gathering bits from everywhere. On starting an imminent masterpiece, decisions have to be been made on the painting you want, and are about to create, assuming you are in the pursuit of truth, beauty, justice, the Australian way, aesthetics, eloquence and colour permanence. Considering this you will now select: 1. The subjec subjectt 2. Size of the canvass 3. Texture of canvass, canvass, rough, medium or smooth 4. Medium i.e. oils acrylics watercolour tempera casein glue or combination in artist quality. 5. Technique of glazes glazes wet in wet impasto or or combination 6. Composition of the painting. 7. You may even consider the type of frame you think appropriate at this stage. stage. The above points also include colour balance, tonal balance, movement flow or direction, rhythm of the shapes, centre of attention, proportion or drawing, underlying structure, form or modelling, perspective, direction of light, quality colour of light, planes, shadow areas, shape of negative areas, linea recession, tonal recession, colour recession, simplicity or unity and how to keep it, and are best worked out beforehand. Usually in a study or during your initial wash in. Consider next that your composition is turpsed or drawn in, your colours are laid out and you go to pick up your brush to to start, these decisions start start to enter your mind. 1.

Do I need a clean palette

2.

What size brush 1-12

3.

Textu exture re or what what type type brus brush, h, hog hog sab sable le synt synthe heti tic c pal palet ette te knif knife, e, finger or sharpened brush handle

4.

What What shap shape e bru brush sh squa square re filb filber ertt rou round nd fan fan lon long g sho short rt or cut cut bru brush sh

5.

Which edge of th the brush will I us use

6.

What What colo colour urs s do do I lay lay out out on my pale palett tte e

7.

What What col colou ourr or hue hue or whic which h pig pigme ment nts s make make up up the the colo colour ur

8.

What What are are inten intensit sity y of of the the pigme pigment nt colo colours urs so I can mix the right right amou amounts nts

8.

Is it tran transp spar aren entt or or op opaque aque colo colour ur

10. Tone one is is itit ligh lightt or or dark dark eno enoug ugh h 11.

Value alue is it hot hot or cold cold enou enough gh

12. Am I mixin mixing g this this colou colourr on the the canva canvass ss or or pale palette tte 8 Northern Promontory Promontory Plein Air Painters

13. Stiffn tiffnes ess s does does itit need need a medi medium um.. or, if a colour is already there will it go over the remaining paint 14. Which Which medium medium will will I use, use, oil oil turp turps s or or liquin liquin.. i.e. i.e. Is this an under colour intermediate or final layer

15. How much much colour colour to to mix to to finish finish the the passage passage and neede needed d left left over over 16. How much much pain paintt need needed ed on the the brus brush h 17. Do I need need to clean clean the the brush brush before before during during or af after the the stroke stroke or strokes strokes 18. Broken Broken colour colour will I pick pick up two two colours colours at once once or paint paint two two next next to, to, or on top of each other 19. Will I use use a firm or or light pressu pressure re i.e. scumble scumble glaze glaze or direct direct passa passage ge i.e. (coup de grace) 20. How How muc much h wil willl I angl angle e the the brus brush h 21.

Fast Fast or slow slow spee speed d str strok oke e

22. Long or short short stroke strokes s or combinati combination on of spots spots or lines or stabs stabs considering the drawing 23. Thicknes Thickness s and colour colour of the the stroke stroke consid considering ering perspecti perspective ve and and drawing drawing 24. Direction Direction and colour colour of the the stroke stroke consid considering ering going around around or along along form form and overall stroke pattern and attitude of line 25. Numbe Numberr of pat pats s to flat flatte ten n or smoot smooth h a strok stroke e 26. Shar Sharp p edg edge e or or lost lost edge edge stro stroke ke 27. How do do I hold hold the the brush brush will will I use use overarm overarm pencil pencil or thumb thumb up grip grip 28. Will Will I need need a mahl mahl stick stick to to suppo support rt the the brus brush h or just with two hands or now wait till the wind stops blowing These decisions can be simplified or put in sequence using a combination of speed painting and impressionist technique used in varying degrees and fashions. Now! Lets see if we can get rid of any confusion by organizing this into steps steps or a simple technique we can follow.


Gear Palettes and Brushes

Use good quality brushes when painting and clean them in a tin of pure turps every so often, specially when they get muddy. muddy. Wipe clean on a Toilet Roll Flat Hog Bristle brushes.

No. 12, 10, 8, 6, 4, 2, & 1. Flat Hog Filbert Hog Bristle

No.6, 2, 1.(for getting in round areas)

Round sables

1 each

No. 3, & 1. (for fine lines & finishing)

Avoid Stude Student nt colours colours.. Use Artist Artist quality quality.. They go more than twice as far and are neccesary to make intense intense and dark dark colour colour.. They produc produce e a rich full full glossy paint surface. Even now they are not all that reliable these days. Students Students colour looks flat, pale pale & chalky. See a full list or everything on Page 34 You can get by with a simple paint box and easel until you can afford a French Easel which is really a basic paint tool for outdoor work. brush Use a brush holder holder of some sort sort when Painting. Painting. It will h o l d e r help you organize everything and keep your hands Made from clean. Clean hands means you may may live longer. longer. Use plastic a hand cleaner or drain gloves. Oil paints are pipe toxic. We don’t use Flake White any more (pu (pure le lead) Too ma many casualties.

PAINT STORAGE The tray slides into a box. Put it in the freezer in 2 plastic bags. Will keep indefinitely. indefini tely. Fits into a folding pallete which fits in a French easel. Or can be transported in its own carrier box.

A PICTURE OF A ROLLING EASEL Monet used a wheelbarrow. wheelbarrow. I’m sure ease and mobility are important. It takes a white umbrella that can be secured with thin tent ropes if windy. 10 Northern Promontory Promontory Plein Air Painters

First a Basic Painting Technique

Wet in wet impasto

Several points to start with

These are basics to start painting. painting. Please vary to suit personal preferences The idea of wet in wet painting is to finish a painting in one sitting while the paint is wet. Use a well gessoed canvass to absorb your turps drawn composition. 2-4 coats

Pure turps turps from from a hardware hardware store store is OK. OK. Add a very very small small amount amount of Masti Mastic c varnish varnish to assist adhesion or use Pure Turps from the art shop. Paint your composition in tonally with a turps wash and earth colour, covering the whole canvass adding local dark colours and shadow colouring to the earth colour . Don’t leave any white areas. Unless using a tinted canvas. Local colour is the colour of something in a normal light. Use a turpsy cloth to make corrections until drawing and suggested tone and compos compositi ition on are are what what you want. want. Turp Turps will will even even corre correct ct a pencil pencil draw draw in. in. Let the turps dry for a while The centre of interest should lie somewhere in the central one third portion of the canvas Everything else should diminish as it moves away from the centre of interest. Tone, colour, colour, light and definition of of drawing. This is the most most important important part of starting starting a painting. Paintings ranging in the two thirds tonally dark are considered more attractive based on the theory that you can’t have light without dark i.e. you get more contrast. Some impressionists ignore this as old fashioned and use bright shadows. Choose your subject to paint. Have an idea of the composition - colour - emotive aspect. BASICS You may follow a favourite artist’s painting as a guide FAT FA T (medium) over LEAN (turps) thick layer over thin as long as you change the subject. Copies are opaque over transparent light over dark unacceptable in exhibitions. Most artists have a sharp edges over soft favourite master or two. 3. small brush - light tones thin consistency

-

thick size layer

Three Steps. After Steps. After the turpsed in image showing 2. medium size brush - mid tones med. consistency - med. size thickness layer composition drawing tone colour suggestions and large brush - dark tones centre of interest. Parts of this can show through the 1. thick consistency - thin size layer finished fini shed work and become become part part of the painting. painting. 3 1. First coat. Prepare a suitable dark mix considering the

subject’s local colour, colour, it’s distance and quality (add blue 2 1 for distance) plus (colour of sunset, morning, canvas maybe tinted - turps wash spring spring or storm storm for for quali quality ty)) Add Add a bit of turp turps s ......................... ............. ........................ ........................ .............. .. and Liquin or Gel Medium. Using a relatively large brush, broad strokes, block in all the dark tones, shadows of local colour to cover the whole canvass. Use turps in small amounts. “Smooth Gel Medium Archival” is OK. At this stage Vary the dark tones for form (show roundness) as well as the shadows. Warm in the foreground and distance is cooler. The lightest colour has a shadow, like grass or water or flat planes in sunlight. Usually a darker colour of the subject. Don’t use any sharp edges at this stage. Northern Promontory Promontory Plein Air Painters 11

Try to imagine the whole painting and each stroke at every stage

(Looking at the working technique of an artists work you admire may assist.) This first layer is Thick in consistency Thin in the amount of paint layer Use just a bit of turps if necessary (no oil) Some Smooth Gel or Liquin is OK Oil in the first layer causes cracking later due to shrinking after the top layer dries (fat over lean works ) Dark paint can overpower a colour added later, later, so only a thin layer of thick paint

then more paint can be put on top. Scrape it off if too thick If you can get your tonal recession, local colour, and form into the darks at this stage, then you only have to worry about getting the same in the next layer mid tones, one tonal range at a time. Makes for a convincing picture The camera records tonal and colour variations in the the lights lights tones. The human eye sees colour colour and tonal variation much better better the in the darks. Careful please when using photos.

This dark painting or moonscape allows you to envisage the final work better and see correct tones and convincing colours to paint over the top later. It sets the stage for the whole painting. Tone is more important than colour in a painting. Colour can be used to impart romantic subjectivity by toning every colour with a key colour, romantic lighting etc. Key up your hue colours slightly to allow for fading when paint dries. Wet colour looks brighter than dry. Old paint looks duller than fresh. Which is why the painting is varnished later but you still need to exaggerate colour slightly right through the painting to allow for later fading. 2. Middle coat middle tones middle amount of medium (oil or gel), middle size of brushes. A small amount amount of oil. You paint layer middle consistency, medium size brushes.

can add a bit to your turps dipper at this stage. Remember your drawing with a brush. Put it on, don’t skate around. Follow the direction of the forms with your brush. Hot dark tones in foreground cool lighter mid tones in distance Let the subject suggest the technique. Imagine the paint stroke before you jump in Look 3 times, times, think twice, twice, paint paint once. Test the colour on another another piece piece first. Emphasis edges with slightly warm against cooler variations and slightly darker against lighter variations. 3. Final coat Thick layer of thin paint. By now your previous layers will have set

slightly slightl y. Light tones of various colours. Warm lights at front cool lights in distance Vary the light tones for form. Most medium with thick application of paint Smallest sized brushes. Paint the highlights.

When painting be aware of your centre of interest. This This where where Highes Highestt chrom chroma a or colour. Sharpest edges. Lightest lights and darkest darks Most detail. Premiere coup or or final strokes are. Thickest impasto. No skating skating here please please unless you are are blending edges. Note If a large area or item in the picture is a predominately bright clean transparent colour ..say..reds yellows greens or transparent purples i.e. some exotic tree paintings, flowers, glass glass and water water.. Then it is best best to leave leave an area of of white canvas for the transparent colour to be put in pure first or later later on. Turps Turps wash wash in in pure colour then put in the clean transparent colour. Painting the slightly darker pure colours carefully into that building to darker tones gradually later. 12 Northern Promontory Promontory Plein Air Painters

FAT FAT (medium) over LEAN (turps) thick layer over thin opaque over transparent light over dark - soft edges to sharp

Example to start painting Can be used wet in wet or let dry between layers

3. small brush

thin consistency

light tones - thick size layer

2. medium size brush

mid tones med. consistency - med. size thickness layer

Plan your composition composition with a

turps wash

1.

Ink or draw in important edges or fine brush Choose the colour composition for each layer using colour wheel seen below

large brush - dark tones thick consistency - thi n size layer

3 2 1

Layer 1. Soft edges all blended. Layer 1. Darks 7.8.9. hot & cold Layer 1. Hot dark 2:1 Cold dark 1:2 Raw Sienna Burnt Sienna

Lt. Red Cad Red Yellow Ochre Cobalt

4.5.6. hot & cold

Layer 3. Premier coup pristine strokes. Unless soften for a glow Layer 3. Highlights 1.2.3. hot & cold Layer 3. Hot lights 2:1 Cold lights 1:2 Yellow Och. Cad Yell

turps wash

foreground

Raw Sienna Cobalt

Layer 2. Defined edges blend slightly with dry brush. Layer 2. Hot mid 2:1 Cold mid 1:2 Layer 2. Mid tones

canvas maybe tinted - ...................................................

Yell Och Lemon/Cobalt

t o H o t H t t H o H o t l d H o C o d o l C

d o l C d o l C l d o C

Tonal proportion selection

The Ebauche Palette can e l p e r p u P

Aliziarin Red

e u l B r a t l U e u l B t l a b o C

g h t L i g D a r k - S a d P u r e -

1:3

E m a l d G r e e n V i r i d i a n

t h i g d - L S a k r e a r D u P

C a d R e d

1:1

O r a n g e

e g n a r O w o l l e Y

w D a k - P u r k r e e - L i g g S a h t d

Lime Yellow

1:2

w o l l o Y e m L e

w l o l e Y d a C

1

9

2

8

3

7

4

6

5

5 distance

come into play to set and mix the proportion of greys and browns to the amount of pure colour. In order to control browns and grey you can use it thinly in your underpainting and add the colour later. i.e. Dark grey green or brown shadows in skin tones etc. Use pure colour for direct light, sky, flowers, birds foreground etc Use some plan together with with a study study of the subject to apportion Pure colour Browns & Greys in unequal amounts remember the golden mean Let the subject suggest the technique,

Split Compliment selection setting on wheel tones, colour composition, movement, select the Tone & Shade & Pure position etc. Catch the moment using the each in separate proportions

rules of engagement.

Northern Promontory Promontory Plein Air Painters 13

l d o C t H o

Palette Layout

for a right handed painter

Premixed Colour p l e n e l t n r l r i n n r i n r r p a Composition a u a a d d z z P P a m C o b V i r ir A l i C a d U l t r r a d e d b e r R e d R t R e d i a m n a s t a U C L e d w n n k I R a a r e D g n a O r a d a C o w l l o e e h r e Y c d a O O l C Y e l o n u m i u n e L e m t t e a a t e s T i W h i t e

g h L i g

For say a landscape painting, after the turps in and the scrub in and after the colour composition had been chosen, the first area to paint would be the sky. The first puddle would be a white base then dragging the

colours in from the palette.

hot and cold - light and dark light tones, following your colour composition.

Save any colours left over when finished. Then clean the mixing area. The second puddle to paint the middle ground and the middle tones may be decided as a Blue with a bit of Raw Umber with a touch of white base colour and draw the

colours in from the palette around to the edge of the puddle to mix nice -

hot and cold - light and dark mid tones, following your colour composition. Save any colours left over when finished. Then clean the mixing area. . The third puddle for the fore ground may be started with say a dark mix of Ultramarine

Raw Umber and touch of Alizarin. to make hot and cold - light and dark tones, following your colour composition. Save any colours left over when finished. Then clean the mixing area. As a leading art teacher told me that before applying the paint to you ask yourself..... Is it the right colour, is it the right tone, is it in the right place. i.e. drawing

....Warwick Fuller or as another leading art teacher teacher said to my attempt attempt to paint in a cow “ That’s a lovely dog you have got in there.” ........ Robert Wilson On appraising your almost finished painting you may decide to add another puddle mixture or to utilise the left over colours from previous mixes.


Extra points to make painting easier Give your canvas an extra 2 coats of matt gesso ground if you use a shop brand canvas BASICS FAT FAT (medium) over LEAN (turps) Painting on a tinted canvas ..similar to pastels...makes pastels...makes thick layer over thin opaque over transparent the turps wash easier. Just add highlights and darks light over dark Warm up with a drawing or small study of the sharp edges over soft subject...know subject...know where you’re going. 3. small brush - light tones Spend plenty of time looking at your subject before thin consistency - thick size layer starting. 2. medium size brush - mid tones med. consistency - med. size thickness layer Think about the painting you are going to do the 1. large brush - dark tones next day before you go out. thick consistency - thin size layer Lay your palette palette out tonally. Mix up some of your basic shade colours and darks. 3 W Y O R P B G and Black Black I.E. White, Yellow, Orange, Red, 2 Purple, Blue, Green, Black (a mix of alizarin, viridian, 1 ultramarine) Ordered same as the rainbow canvas maybe tinted - turps wash ......................... ............. ........................ ........................ .............. .. (roygbiv) (roygbi v) Plus earth colours i.e. Yellow Ochre, Indian Indian Yellow, ellow, Raw Sienna, Sienna, Lt Red, Bnt Sienna Sienna,, Bnt Umber Umber, Raw Umber. Umber. Artist quality quality please. Only 1 to 3 earth colours are are usually needed. needed. Look 3 times .think .think twice.. paint once...then once...then leave it. If its wrong scrape and add correct correct colour, tone and drawing. Don’t over mix colour ..it goes goes flat and lifeless If a mix goes goes wrong put it to one side side to use elsewhere If the painting looks wrong ..wipe or scrape it off. Visualize painting a passage before you actually do it ..see the imaginary colours Your subconscious imagination will work on it in the back of your mind Let the subject suggest the technique .. paint around form....Follow the direction of planes. For brush direction ..size ..type...imagine ..type...imagine it Some subjects are best painted with an old splayed brush ..tree foliage, cloud, wash ins Some artist end up with a cow brush a foliage brush etc. even sometimes bricking a brush to splay it A medium in your second and third layer can be be Art Spect Spectrum rum N0. N0. 3, or linsee linseed d oil. New synthetic mediums (Alkyds) are best used early in a painting, they speed up drying i.e. Art Spectrum Spectrum Smooth gel, Windsor Wind sor Newton Liquin. Best in lower first and second layers. Use buttery paint....lay it on......little to no scrubbing (except in the first stage) ..define your brush strokes Check your painting for white holes or gaps as you you go. The origina originall turps turps in or wash serves serves to hide these and can become part of the finished finished paintin painting. g. Assists Assists one one stroke stroke or premiere premiere coup effects. Clean your palette every time it gets muddy or between stages. Collec lect for use in greys later.

The Authour Authour Outdoors Outdoors


Clean your brush often.. Use a big 500ml tin of pure turps plenty of tissue, a toilet roll is handy and rag in a plastic bag bag hanging of your easel. (you’ll (you’ll need less brushes) brushes) Take your rubbish with you if outdoors. Keep plenty of paint on your palette..store it in a reasonable size flat tin, ply or a piece of formica that fits on your palette later, when finished ..put in a box or wrap it in plastic plastic ..stored ..stored in the freeze freezerr fridge it last last months. months. You can instead instead submerge submerge it under under water in a tray. Charge your palette with colour before going to paint. Poppy Oil can be used instead of Linseed to slow down drying time. If your paint is old and stiff...work it up with a pallete knife before hand, some medium can be necessary, some tubes of paint are thicker than others and need adjusting. Some are slow driers add Smooth Gel. i.e. Titanium Titanium white, Lemon dry slow. slow. Raw Umber dries fast. Stop every couple of hours or less ..turn your painting upside down to rest the eyes or look at it in a make up mirror over your your shoulder. shoulder. A mirror hung on the ceiling behind you at the right angle is best in studios. Wear a hat or tennis shade...to shade...to see better even even indoors. If you shade your eyes eyes with your hand you will see why. Wear dark clothing or apron to reduce reflection on working surface. Work under shade or turn easel around into the light. Don’t paint into sun on on reflected water too long ..or near ants. Sunglasses can save your eyes, wear them as long as possible, headaches from glare can damage your eyes. . cataracts are common amonst outdoor workers. If the the colour colour hue is is too bright bright add the the complime compliment nt and and or earth earth colour colour.. Add light light blue blue for distance. Transparent Transparent paint will go dark when you add whiteor any opaque colour. colour. To mix a transparent optical Black use Alizarin, Viridian, Ultramarine and a little earth like Raw or Burnt Sienna. Makes colourful greys. Ivory or lamp black is best used at the end of a painting. painting. Black can be used insead insead of blue blue to make make purple or green. It is often used in portraiture. It tends to darken in time and should should be sealed between dried layers with varnish. Medium greys mix is, Cad red and Cerulean. Cerulean. Don’t over mix. Add an earth to make it opaque like light li ght red or raw umber. umber. Opaque paint is darker than transparent. Raw Umber speeds up drying time. Gel medium speeds drying drying as well. Poppy Oil slows drying. Don’t mix your colour colour too hard or they they will go dead. dead. You arrive at favourite favourite mixes after familiarisation. Remember, thick consistency paint on your brush picks up a thinner mixture from off the canvas, less paint picks up more. Applying a larger amount of a thinner paint than what’s on the canvass covers it. Painting and art can only be learned by doing it. Learning to swim from a book can induce drowning.......... drowning.......... Brush miles only can improve your work....keep some of your best work to measure progress and to show your work. You will know when you are progressing because you will have enough old paintings to start a good bonfire. Check the regulations in your area. Compare your work with your favourite artist. Work out his sequence of approach. Then create your own. Study Study the amount of greys and browns in your favourite paintings compared to pure strokes. Painters are basically self taught. taught. Paint 50 paintings paintings then compare your your progress Keep your best paintings paintings to show your high standard. standard. Don’t sell them them till you have better work to show. Points to remember.....there are no parallel lines in nature (or the figure) .....equal spaces shapes or sizes.... all is a pleasant inequality set in a changing rhythm. (like music) Look for the rhythm attitude and pleasant inequalities in a repeating pattern or series of objects or lines. 16 Northern Promontory Promontory Plein Air Painters

All the layers of a wet in wet Oil Painting 7

Picture Varnish

6

Retouch Varnish for dull spots and over painting

5

after 1 yr. when paint is completly dry

THIRD LAYER LAYER Oil Paint thin consistency - thick size layer - small brushes light tones - some hard edges - opaque highlights - more oil medium medium - transparent glazes

4

SECOND LAYER Oil Paint med . consistency - med. size size thickness layer - med. size brush - mid tones - find some edges - semi opaque paint - little medium

3

FIRST LAYER Oil Paint thick consistency - thin size layer - large brush -

dark tones - soft edges - transparent paint - no oil 2

FIRST Turps Wash to estabish painting composition

1

Well gessoed surface minimum 3 layers to absorb turps wash and hold the first layer of

paint. Canvas can be tinted with a turps wash of earth colours if preferred. A

We should mention here that the canvas has a layer of Rabbit Skin Glue or lately PVA (i.e. Chemstick or Bondcrete) to protect the linen or cotton from the oil.

.........................canvas................................ When a painting has been allowed to dry between layers, glazes can be applied at any stage between 3 & 6 before picture varnishing. Some artists oil a painting when it is dry (after 1 month minimum) with a mixture of turps and retouch varnish with linseed oil, then wipe of any excess excess.. You hold the painting at an angle to reflect the light onto the wet oil to see that it is even. View of Sydney NOTE:

from Hunters Hill by Terry Clare Northern Promontory Promontory Plein Air Painters 17

Analogous colour mixing Mix 2:1 with the colour either side then one further either side to right, plus white This may be used to make am analagous colour wheel

Aliziarin

e p l e r p u P

C a d m i u m

w w

e u l B e n i r a m r a t l U

w w

w w

O r a n g e

w w

w

w

w

w w

w w

w

w

w

t l a b o e u C l B

r O

w

w

w w

w

w

w G r e e n

w

w

w

w

T o u r q u o i s

w o e l l g e n Y a

w w

w w

w

w l o l e Y d a C

w V i r i d i a n

w

Lime Lim e Yello ellow w

e l - Y n m o e L w o l o

Using the same method you may make a brown and grey wheel using Earth colours. Mix your own colours to familarise the effects effects pigments make on eachother. eachother. They don’t always react react as expected. expected. Some have more staining staining power and others react react chemically chemical ly to eachother. See page page 35. 18 Northern Promontory Promontory Plein Air Painters

Complimentary colour mixing Use this colour wheel version to make interesting tertiary colours by mixing each 2:1 with its compliment compliment (opposite)...then once removed (either side) from the compliment....then mix with white (tint) Exampl Example: e: * Alizar Alizarin in + Lime Lime 2:1 then Aliz Aliz + Viridi Viridian an and Aliz + Lemon Lemon then Just a bit of white with each to see the tint Us this to make your own Complimentary Wheel. Aliziarin

e p l e r p u P

C a d m i u m

w w

e u l B e n i r a m r a t l U

w w

w w

O r a n g e

w w

w

w

w

w w

w w

w

w

w

t l a b o C

w

w

w w w T o u r q u o i s G r e e n

w o l l e Y

w

w

w w

w

w w

w w

w

w

w l o l e Y d a C

w V i r i d i a n

w

o n m L e

Lime Lim e Yello ellow w

Using a similar colour wheel Earth Colurs in hue sequence can be used to make greys and browns.

Yellow Ochre - Indian Yell ow - Raw Sienna - Light Red - Indian Red Burnt Sienna - Burnt Umber - Raw Umber - Black Black may be substituted for Blue if you wish..The Old Masters used Black. Blue was too expensive. expensive.

Black can still make nice greens and purples. Northern Promontory Promontory Plein Air Painters 19

Distance....Cooler Low contrast

Nine basic tones Accurate tones are the

1

secret to realistic painting....They convey the

5

5

6

4

7

3

8

2

9

1

2

truth of a picture, whether it is real or not. Colour can

3

be subdued or exagerated. Not so tone. Nine tones are arrived at by subdividing black and white

4 5 6

Arranged for arial perspective

and it’s subsequent tones 7 8 9

Foreground. .Warm High contrast

TONAL COMPOSITION Using just the 3 basic tones tones for simplicity arranged arranged in the proportion proportion of 1:3:5 a popular formular for pleasant tonal visual realationship based on the golden mean 22:7 then converting this to a circular format we arrive at 6 possible variations. variations. Six pleasant tonal picture picture possibilities. possibilities.


Colour Wheel similar to used by Howard Pyle (American) as outlined by Andrew Loomis An Oriental influence in colour, using an extra yellow shade in the colour wheel, was used by many impressionists This contains: basics of of pure colour colour A. The basics mixing, using a hot and cold of the each primary colour to make a clean secondary colour. B. Gives a truer opposite or complimentary colours. and C. Warmer colour wheel. The colours in this wheel are not accurate Please use as a guide only

Analogous colour compositions and Complimentary colour compositions Too much muc h pure colour of similar tone is gaudy ....These basic colour compositions incorporating incorporating colourful greys and browns in tones and hues will produce better pictures.

Complimentary

Double Compliment

Triadic

Analogous Variation

Analogous

Monochromatic

Triadic variati on

Split Compliment

A colours chroma can be heightened by surrounding it with an outline of its compliment. Split compliment variation Complimentary variation A tone can be lightened or darkened by putting an outline of dark or light colour around it These two practices can be combined. When you consider the variations available to consider, you can understand why many artists planned planned a painting painting beforehand. beforehand. Every colour colour interacts interacts with the others. others. If you study closely the paintings paintings you find attractive, attractive, you can evaluate parts that that if removed would detract severely if not included. You can have a lot of fun trying out different combinations using coloured paper, tiles, stones whatever and moving them around. Pastels are handy for experimenting. Northern Promontory Promontory Plein Air Painters 21

Select a Tonal Composition 1 2 or 3 Umber. Viridian. Aliz / Hot Black = Brnt Brnt Sien Sien.. Aliz. Aliz. Cobal Cobaltt Making Dark Colour Cold Black = Raw Umber Mixed blacks and greys are called optical. Use the transparent compliment of each colour 3

2

o r

DARKS HUES TINTS

1

MEDIUM

LIGHT

*

Y

*

*

O

*

*

R

*

*

V

*

*

B

*

*

G

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16 17

* 18

BROWN

GREY

Choose either DARK TONE MEDIUM or LIGHT

MEDIUM

Y 2

* 3

LIGHT

O 5

* 6

R 8

DARK

* 9

V 10

* 12

B 13

*

14 15

G 18

* HUES TINTS

18 YG Emerald 17 G BROWN

16 BG Viridian 15 GB Torquois 14 B

GREY

Cobalt 13 VB

12 BV Ultram 11 V

LIGHT

Violet 10 RV

HUES

9 VR

TINTS

DARK

Y 2

O 5

R 8

MEDIUM

V 10

B 13

G 15

Alizarin 8 R CadRed 7 OR

6 RO

BROWN

CadOra 5 O

4 YO

GREY

CadYell 3 OY Lemon 2 Y Lime 1 GY

3

o r


2

1

SIMPLER TONAL PALLETE

7 hues each 5 tones

based on the ebauche

Warm Grey

Mixed Black Virid+Purple+Aliz RawUmber +Aliz

Cold Grey

BntSienna +Viridian

CadRed

LtRed +Touquoise

CadOrange

IndianYellow +Purple

CadYellow

YellOchre +Purple

Lemon

RawSienna +CadRed

Viridan

BntUmber +Orange

Cobalt

Raw Sienna +Viridian Darkest

CadPurple Tonally Modified with Compliment or Earth Colour

Pure Hue Tube Colour

Lightest

Above is a tonal approach used

by the Max Meldrum Method using impessionist colour mixing mixing without Ivory Black . Ivory Black can still be used to make a nice purple or green with yellow if you wish. Primary colours can be changed for other basics Red Yellow or Blues. Basic hues are darkend with complimentary earth colours and usual complimentary hue colour Northern Promontory Promontory Plein Air Painters 23

Colour of shadows A shadow can contains 4 colours. 1. The The local colour (natural colour of the object in a normal light) 2. the reflected colour colour (from the sky or ground or nearby object) object) 3. Plus a darker version of the same colour or analogous colours close to it to make it darker 4. plus add the compliment compliment to darken. darken.

Colour or lights A light colour can contain 5 colours. 1. The local colour, 2. the colour of the light source, 3. the reflected colour, and 4. an analogous colour for vibration (along side not mixed in) 5.plus white. Monet placed these colours side by side rather than mixing them or scumbled over the top to get his dazzling effects. Other painters painters realised you could get an optical effect effect by not mixing colours to often with the brush to obtain another colour often called broken colour. It gave an effect effect similar to a the marbeling marbeli ng technique.used by book binders where they stirred colours floated on top of water with a comb.

Puddle mixing for wet

in wet impasto painting Choose your colour scheme... scheme... mix a puddle for each layer - clean palette palette each time Clean your brush in turps turps if necessary necessary Plenty of rags and tissue. (toilet roll)

Some samples Viridian

Bnt Sienna

Light Red Aliziarin Ultra Blue

Ultra Blue + Raw

Aliz +

Yellow ello w Ochre

Cad Yellow

Aliziarin

Cobalt

MEDIUMS

DARKS First layer

Second layer

Lemon

LIGHTS Third layer

Mix up plenty of colour to finish the job with some over. Keep your colour clean Don’t over mix. Scrape the palette if things things are getting dull. Clean your brush often with tissue or toilet roll - keep rags handy- use a large tin of turps to clean your brushes in. Paint like a millionaire.

2 1 4

3

The basis of the puddle No.1 is called the key k ey,, mother, dominant or basic colour colo ur..


Puddle Mix Example 1 in colour

(Trying to to match the colours of Emmanuel Emmanuel Phillips Phillips Fox) Fox) see next page Other artist artists s I use for study study are are David Davies, Charles Conder, Conder, Auther Streeton, Streeton, Walter Withers, James Jackson, Jackson, more recently Doug Sealy, Kasey Sealy, Warick Fuller, Robert Wilson 1. DARK TONES - Light Red + Raw Umber with: Aliziarin Cobalt

Viridian

DARKS layer 1

4 Light Red+Burnt Sienna

3

1

2

2 MID TONES - Yellow Ochre + Indian Indian Yellow with: with: Aliz Cobalt Cobalt Cad Yellow MEDIUMS layer 2

L i g h t R e d + Y e l l O c h

3 LIGHT TONES - White + Indian Yellow with: Alizarin Cad Red Cobalt Blue Cad Yellow ell ow LIGHTS layer 3

n i a d I n + i t e h W

w l o l e Y


Ebauche Palette Sample of a layout This is a planned method of painting in the studio The same basic hues are laid out to mix the shades in the approximate amounts about D to be used in the composition D D D Tones and hues are arrived at by dividing and mixing-----D D Each artist artist varied varied in his arrangement arrangement.. Technique echniques s varied Y R O V V I B G a G r o m I B c h V a r k R d s

O Y

D a r k t o

r u o l c o e b u t

i white l g h t t white o n e

t g h l i g

turps

k r a D o t t h g i L

greys

b l a c k + 9 t o n e s t o

browns white

Brown can be greyed. Care is taken to avoid mud. No over mixing. Their should be the appearance appearance of some colour in browns and greys to be interesting. Premiere coupe or one stroke. Scrape and repeat if not correct. A limited pallet means that .....not all the hues and combinations have to be used Gr ey s an d Browns Browns are used used to adjust adjust the Tone and Chroma Chroma of Hues Hues Each layer as it is finished finished can be allowed allowed to dry for 8 days. Fat over lean. Several Several canvases may be worked on one after after another another.. A thin layer of oil with medium retouch varnish or medium is applied before commencing an over painting. Lean varnish then fatter varnish as layers progress. Glazing using various clear varnishes and oil or mediums allow great control over gradual toning for figure and portraiture used by Old Masters. Used in conjunction with wet in wet scumbling or scraping can be effective. Used by Rembrabdt, Whistler 26 Northern Promontory Promontory Plein Air Painters

Keeping a simple palette layout You know at every stage what you are doing and why A look at the layout of an ebauche palette used for portraiture in the 19th century shows you how they planned ahead and mixed only the colours they needed for the job Some artists artists used ...a brown green or grey or both with with colour ebauche. ebauche. Transparent glazing with with oil and varnish was was also used. It became became more highly coloured coloured during during the impressionist period becoming more wet in wet opaque impasto painting. painting. The ebauche was allowed to dry between between layers, then sometimes scraped scraped back a number of times and used as a guide for final work. Parts of the ebauche ebauche were often left as part part of the final painting. painting . For skin effects a pinkish semi transparent glaze was used over green/ blue underpainting.

A simple version based on Delacroix’s palette White ..yellow.. orange.. red.. violet.. indigo.. blue.. green Light to dark in tube colours ...W Y O R V I B G lay out for pallette pallette Then decending 3 tones of hot and cold grey and brown depending on the subject

Pallete layout for greys & darks mix using primary and secondry opposite each

other The BLUE TRIANGLE gives you an idea of how each colour can be blended with its opposite when laid out on the pallete this way.

Palette layout for brown and grey & dark mix (bottom 1/2 colours transposed to arrange mixing with opposites) move the BLU BLUE E TRI TRIAN ANGL GLE E selector below below to the the chosen colour mix juane brillant yellow och indian yellow

lemon yellow cadmium yell

raw sienna

cad. orange cadmium. red

indian red

alizarin

cad purple

Greys mixture span. span. Move selector around as needed cad purple

light red

ultramarine

burnt sienna

cobalt blue ceurelian

viridian emerald green

burnt umber raw umber Northern Promontory Promontory Plein Air Painters 27

To mix browns geys and clean colour As there is a hot and cold of each primary colour, you can use the furtherest primaries to mix a sad sad secondry colour or closest closest to mix them them as pure clean clean colour. colour. Just move the selector to any pair of primary colours. There are more secondry colours than primaries Primary colours with some secondies make good browns. Secondry colours make nice greys

Browns Earth Colour

Primary Secondry Tube Colours


Opposites Mix to make greys

AN ELABORATE COLOUR WHEEL

GREYS

BROWNS TUBE COLOURS

TUBE COLOURS

SEMENT 1 TUBE COLOUR Pure

Darks mixed with tube colour if neccessary Medium+ White if necessary Lights + White if neccessary

SEGMENT 2 BROWNS

Darks. Tube colour + Compliment + Black if neccessary Medium. Medium. Tube Tube colour colour + White White if necessary Lights. White + tube colour

SEGEMENT 3 GREYS

Darks compliments mixed with tube colour Medium + White if neccesary Lights+ White if necessary

Use together with with colour composition on Page 20. and over next the page.

1. LY = Lemon Yellow 2. CY = Cadmium Yellow 3. O =Cad Orange 4. CadR = Cad Red 5. Aliz = Alizarin Alizarin Red 6. P =purple 7. Ult = Ultramarine Blue 8. Cob = Cobalt Tourquoise 9. Emer = Emerald Green 10. Vir = Viridian 11. Lime =Lime BROWNS 1. JuanB = Juanne Brilliant 2. Y.Och = Yellow Ochre 3. In.Yell = Indian Yellow 4. Gld.Oc = Golden Ochre Ochre 5. R. S = Raw Sienna 6. Lt.R. = Light Red 7. I. R. = Indian Red 8. BSien = Burnt Sienna 9. BUmb = Burnt Umber 10. Rumb = Raw Umber 11. Peach or Ivory Black


Using the top three colour wheels, moveable dics can be swapped around to make the next three colour tonal compositions remembering that we have only 3 tonal varia ariati tion ons. s. As long long as the tones average out then the arrangement should work out.

Just in passing To get an idea of colour composition, choose your favourite artists paintings and document their their colour comps. Use them to paint another subject. subject. Monet and Picasso Picasso among others painted painted the same subjects subjects many times over with clever variations to great effect arriving at exciting colour comps through trial and error. error. I can only assume that the practices of those times i.e. ebauche pallets and Old Master techniques , encouraged these painters to this kind of excessive masterful studies or endeavours. Many miles of thoughtful brush strokes were achieved. When looking closely at a reproduction of Delacroix’s palette I can only assume to a method of the technique used used around these times times which might have have gone along these lines. 1 The study study was painted. painted. (many (many painted painted only one selected selected}} 2 A colour colour scheme scheme was selected selected (only after after great considera consideration tion and trial) trial) 3 The appropriate colours were laid out (if you had assistant bon 2 an attractive assistant chance) These colours appeared in relatively small quantities, so further later addition may have been necessary 4 A painting was executed with clean bold brush strokes (premiere coupe} 5 A party party was was held until until early hours hours of the the morning morning to celebrat celebrate e (pop gurgle gurgle gurgle) gurgle) 1 6 A quick quick dep departur arture e was arrang arranged ed for for next week to to avoid avoid the creditors creditors {zoom {zoom zoom) zoom) Well.....times were hard Artists made very little money in those days unless adopted by a large generally overseas gallery or patron. for Largest area of paint . Darks Medium or Lights Lights depending on composition 3 Area 2 for second largest area of paint. Area 3 for smallest area. Derived from the Tonal combination selected Area 1

Each area arranged hot to cold left to right.......Y right.......Y O R V B G or your own preference preference Darkest to lightest were from top to bottom bottom Suggest browns browns be warm........ warm.........to .to the left.........Greys left.........Greys cold ............to ............to the right 30 Northern Promontory Promontory Plein Air Painters

Closing Notes Scumbling or the dragging of a colour over another on rough canvas to leave the underlying colour show through slightly, may be executed in later layers and must be left untouched. The same applies to broken colour or picking up 2 or 3 or even more colours at once and mixing mixing slightly slightly as applied. applied. A bit like like marbling marbling in appearance. appearance. The rule usually usually (not always) used, is hot over over cold, light over dark. Results are usually 50% accidental. accidental. Painting outdoors outdoors means the addition of linseed oil or Art Spectrum Spectrum No. 3 Medium to your paint later on as it thickens on the palette which occurs faster in the summer specially for fine lines which usually usually occur last. Hang a plastic bag bag off your easel easel to dispose used paper wipes rags etc. Smear vaseline on tube necks to stop lids sticking. White umbrellas became popular for outdoor painting painting in the 1800s Monet used a wheelbarrow to carry his painting gear. Don’t spend spend too long long looking at paintings paintings you don’t like in books or galleries. They may lodge in your memory and rise to the surface in your your own work. Only expose yourself yourself to that work which has qualities or techniques techniques you aspire to attain attain for yourself in your own work. Specially just before starting starting a painting. Train your creative memory by imagining the scene you may be studying or looking at in oil paints. paints. Try changing changing the mood mood or colours of what you you are observing observing in your minds minds eye or moving and objects around in compositions. Imagine it in pencil pastel pastel charcoal watercolour watercolour and so on. Can be done while waiting waiting for the bus. Major artists paint manufacturers in an effort to reduce the price of oil paints have increasingly used alkyds in the paint (a plastic that is soluble in oil i.e. smooth gel medium & Liquin) and cheaper pigment mixed with their paint formulas. This has altered the drying time (faster) and shelf life (shorter) of the products and their fade resistance. resistance. Dearer old formula Artists colours cost $15 $15 to $30 a tube tube upwards. Gamblin, Bloncxs, Old Holland. Gamblin Gamvar varnish, a synthetic resin varnish developed in conjunction with the National Gallery in Washington, Washington, DC is used by conservators worldwide. This varnish will not yellow, crack, or dull with age as other, other, non-synthetic varnishes will, and thus it slows the aging process of the painting considerably. The drying time for colours proceed from Light (slowest) to Darks and earth Pigments (fastest) (fastest) With With Titanium Titanium White White slowest slowest to Raw Umber fastest fastest This assist assists most oil painters who paint Light over over Dark and and will help help prevent cracking. When painting painting Dark over light make sure sure there is Gel medium medium in the lights to to increase drying. Or Poppy Oil in the darks to slow drying. To test the fade resistance of your different brand paints (specially reds) place a strip of canvas with a sample strip strip of each of your colours in a direct sunny window and cover half the sample with a strip of board. board. Compare the fading result of different different brands. brands. Northern Promontory Promontory Plein Air Painters 31

To evaluate your painting when working you must walk back 6-8 feet or 2 plus metres. If you cant use a small mirror over your left shoulder outdoors or a large mirror in the studio up high at the proper angle angle is appropriate. Some artist use a dark glass to view view the painting to check tone. Don’t let abstract artists say to you “Show me something interesting” or its all been done before. Every painting is different. different. It takes the greatest difficulty to copy something exactly and a great deal of time and care. Even the same painting done by the same artist artist can be picked by an amateur. Monet Van Gough and Picasso painted the same thing many times with great success, changing it to suit a particular composition that came to mind, arriving at an effect by experimentation. Abstract artists like the term contemporary and modern often use rulers compasses printers and projectors with their painting, and are only interested in, and find interesting their own work or that of their closely knit group usually bohemian bohemian in nature. Partying, promiscuity, promiscuity, alcohol and drugs use use are often associated associated with modern artistic artistic pursuits. I’m not saying realists are angels. A large abstract painting can be finished in 1-3 hours, leaving plenty of time for partying marketing, selling, teaching and anything else to make money. A Gallery can order 10 paintings from an abstract artist to be delivered in a week. The result is a massive rise in the number of people pursuing this avenue and a lot of bad work. Creativity is defined by abstractionists as something that has not been created before. This has resulted in some absurd behaviour in order to become recognised as a genius or true creative. There have been many exciting movements and changes in the last 100 to 1000 years. Many of these movements moveme nts influenced each eac h other but often did not have time to be persued to perfection. Going back in history there are many unfinished threads and styles yet to be combined or persued. Streeton, Roberts, MacCubbin, E P Fox, Knox, Gruner and many others carried on the work of impressionism and were the start of a new movement in Australia similar to many in other countries at that that time. Many still pursue this direction direction and have polished it to to a marvellously fine result. Unlike music, art techniques tend to get thrown out and are replaced with archaic practises. With music, jazz is still popular as is classical and past masterpieces are studied and their methods taught in the academies. There are many traditional Art Schools coming on-line as more artists seek this type of information.

There The re is no END to the evolution of creativity .


Check with your favourite artist for colour composition and mixing.

For Example: Emmanuel Phillips M Fox


OUTDOOR P AINTING AINTING CHECK LIST Group Oil Colour

Plein Air

Basicsneccesary for Painting see Asterix*

Check the weather is it 1 Wet 2 Hot 3 Cold 4 Windy

Water colour

W&N (Basics*)

Windsor yellow Winsor Winsor Yellow or “ red Cad pale yellow* “ violet Lemon cadmium “ green Indian yellow* Indian yellow Yellow ochre* Yellow ochre Aust red gold Cad . deep yellow Cad scarlet* Aerolian Aliziran* Cad. red Perm rose madder Perm rose Cerulean quincodrine Cobalt Blue* Light red French Ultramarine* Venetian red Cerulean Manganese blue French ultra Cobalt Prussian blue Viridian Sepia Raw sienna Burnt sienna Raw umber Burnt umber Lamp black Water & sponges Gum paper Paper

Gear &Extras

Camping

Double Dipper* Canvas Panels*

Tent & poles Tent Peg Remover Folding table

Paint Brush Holder* Mahl Stick*

Windbreak Camp chair

Hat/Eye Shade* Sunglasses* Block Out / zinc* Repellent* Arm Protectors*

Mattress Sleeping bag Clock radio

Liquid Soap*/Hand Lotion Toiletries Electric razor Rags* Mirror Torch & batteries Esky / food

Roll Toilet Paper*

(wipes) Lunch/*Thermos

Juice or water Bottle*

Camp stove Tin opener

Pliers*

Sketch Book*/Pencils Pencil Sharpener Pen knife Camera Folding stool*

Camp dishes Mug & Spoons Tomahawk Tools Swimmers/Towel

Sun / rain umbrella*

Rope&Peg&Hammer Old Picture Frame Canvas Shoulder Bag

Clothes / jumper Gaiters First aid*

EXTRAS

Bottle Opener Water Esky Coat warm Jumper/Warm Gear Rain Coat/ brolly* Beret Dust Coat/ apron W’proofMatches Jar Vaseline* Old Newspaper to clean Brushes If I have left anything off let me know TC


Artists

Pigments

Colour

Chemical

Zinc White Titanium White Ultramarine Blue Stro Stront ntiu ium m Yello ellow w Aureolin English Vermillion Mang Mangan anes ese e Viol Violet et Flake White Indian Red Verdigris Cobalt Blue Viridian Green Lampblack Whiting Cadmium Ye Yellow Barium White Emerald Green Antimony Yellow Aluminium Stearate

Zinc Titanium Sulphur Stron tronti tium um Potassium Mercury Mang Mangan anes ese e Lead Iron Copper Cobalt Chromium Carbon Calcium Cadmium Barium Arsenic Antimony Aluminium

and

Hazardous

Materials

Source

Symbol

in oxide, silicate,sulfide, etc. abundant in rocks and clays volcanic & certain stratified rock chie chiefl fly y from from cele celest stit ite e & stron stronti tian anit ite e in wood ashes & many rocks occurs in nature chiefly as cinnabar asso associ ciat ated ed with with calc calciu ium, m, magn magnes esiu ium, m, etc etc found in galena & other ores as oxide & sulfide in many rocks widely distributed in ores occurs as metal in meteoric iron chiefly prepared from chrome-iron ore in organic matter as coal, graphite In limestone, marble, coral, etc small amounts in zinc ores found in combined form only, feldspar, mica, etc abundant in in native & sulphide forms occurs in limestone, metallic ores, etc abundant in clay, feldspar, mica, etc

Zn Ti S Sr K Hg Ma Pb Fe Cu Co Cr C Ca Cd Ba As Sb Al

wash your hands before eating, keep hands hands away from eyes nose & mouth when working working keep a tube of hand cleaner soap and towel ready plus rags and tissue

Mixtures to Avoid

(due to chemical reaction causing darkening)

Flake Wh White

with...Ultramarine

Al i z a r i n

with ...

Alizarin

Cadmiums Emerald Gr Green Viridian

Yellow Ochre

Raw Sienna

Chrome Green with ... or Chrome Yellow

Alizarin

C a d mi u m

Cadmiums

Flake White

with ...

Chromes

Emerald Green Viridian

or you can use the fact that these colours darken to your advantage Modern tube colours react less these days due to the use of substitute dye pigments and synthetic vehicles

itaniu ium m or Zinc Zinc.. .... .. Whit White e Safe Colours Titan

Rose Rose Madd Madder er Scar Scarle lett Crim Crimso son n

Lemon Yellow....

Indian Yellow

Cobalt Blue....

Ceurelian Blue

Windsor Blue

Shades

makes attractive attractiv e mixes Experiment with your own Alizarine darkened with Ceurelian ground shadows Ultramarine darkened with Light Red darks Raw Umber greys when lightened White (flesh tone) Cadmium Red greys when mixed Cerulean (fogs, smoke) Raw Sienna, Sienna, Burnt Burnt Sienna Sienna Flesh Flesh when when lighten lightened ed On blue/g blue/green reen tonal tonal underpa underpaintin inting g Indian or Venetian Red when lightened Salmon or Old Rose lights Northern Promontory Promontory Plein Air Painters 35

A gesso ground for canvas 8

Part Parts s

Watty attyll Sola Solagu guar ard d Low Low Shee Sheen n exte exteri rior or acry acrylilic c paint aint

1 1/2 Parts Parts

Chemstick Chemstick or Bondcrete Bondcrete PVA PVA glue (is exterior exterior quality) quality)

1 1/2 Parts Parts

Selleys exterior Spackfilla Spackfilla or Plaster of Paris

2 1/2 1/2 Part arts

Titani tanium um Whit hite Pigm Pigmen entt

for pastel or chalk ground - add 2

Parts Parts

Pumice Powder extra fine ground

Mix the Spackfilla powder and a nd Titanium gradually then the n PVA PVA stirring well using an electric drill with a paddle mixer attached for 10 - 15 minutes to prevent lumps This makes a thick paste which can be diluted with a dash of water. Brushing the paint into the canvas well makes it go thinner. Don’t add too much Plaster or the mix will go hard in the can. Keep in a sealed container. Stir well before before using using again. The titanium titanium sinks sinks to the bottom. bottom.

Dries in 2 - 3 hours.

2 to 3 coats are necessary

Leave dry for as long as possible before using, minimum 2 weeks. A 10 oz. coarse or fine weave canvas can be glued to cardboard, craftboard or ply with PVA glue or as a stretched canvas (seal the back of a stretched canvas with a quality PVA PVA before stretching) stretching ) then gessoed with the above recipe to make a permanent extra bright slightly absorbent ground for acrylic or oil painting.


Suggestions Subject Matter or What to paint Objects Depicted and their influences A Still Life in & out of Picture Plane flowers flowers dolls toys tractors trains objects objects B Landscape fertile fertile barren hard soft soft or geographic location C Water Water rivers dams ponds lakes waterfalls action action flow still reflections reflections E Seascape oceans oceans boats wharves wharves harbours rocks beach beach waves F Animals horses horses cows sheep koalas koalas kangaroos kangaroos birds cats dogs dragons G People crowds groups groups pairs lone young children old costume costume H Figure Portraits nudes male female draped and clothed Influences on subjects

1 Time Time of day sunrise sunrise sunset sunset high high noon moonligh moonlightt in between between 2 Time in history modern present frontier biblical ancient

mythological

3 View angle low level high high 4 Subject angle rear frontal 3/4 5 Light direction back front (flash) 3/4 low level high hard medium soft bounced light 6 Seasons autumn summer summer spring winter 7 Weather Fog wind snow storm rain wind wind flood sunny hot hot cold 8 Gender male female female bath toilet war sport dance play angels gods mermaids fairies princes witches devils wizards 9 Emotion death love love holidays carnivals carnivals work poverty freedom freedom fear comedy (X factor) happiness desire passion horror loneliness unhappiness beauty emotive story event happening ugliness drama nobility majesty utopia religious fervour wind fire peace still touch friendliness and so on Emotive power power of pictures in different different overall overall key colours mainly darks darks different colours have a differing emotional response match the overall dominant key colour to the emotion feeling story e.g. green= envy, envy, cold, rejection, rejectio n, fear, bad music, lunch, pastoral wealth, etc. Make a list for your own direction


STEPS for Antique or Sculptural Drawing (chiaroscuro) as taught by Mr Gunther Seaforth Tech 1966

Straight Lines

-Establish the size, using straight outlines and the attitude of other

Proportion

outlines and the centre line of masses or skeletal frame Relationship of each part - sizes of negative spaces spaces - relate to

Perspective

classical models

Pivot Points

of planes to horizon - direction of shading- foreshortening shoulders hips joints neck feet - where flow changes direction

Rhythm

- pressure points of spaces lines objects adding to the flow or direction to the

Space Critical

patterns and actions -feeling your way slowly using feint lines - fuzz - light colour deliberate searching till a subject emerges - simplify large spaces and their relationship - find the planes to form masses - cubes

Skeletal Frame

of simple mass - deliberate don’t scratch - check the underlying structure - points where

Tonal

bones lay close to the surface - hard or rocky outcrops

Perspective

- lights determine the light source - lighter near light source source and darker further away - darks are lighter near the light source and darker dark er further away - outlines become become heavy in shadow or where a sharp plane plane exists exists & light or no outline outline on light light side or or where a gradual plane exists lines are darker in the foreground and lighter in the distance

Firmly Slowly

lines follow the direction of the form surface in relation to the horizon - let the subject suggest the technique -look thrice think twice draw once

Tone Bias

- lines becomes part part of the shadow in the darks and

Overemphasize

part of the background on the light side (generally) -reinforce the overall tone of the object (not the detail) -graduating darker away from the focal point - shape - form major character details - point of interest - by going over the same steps again using a firmer approach


GUIDE ONLY PRICING Oil Paintings Multiply the width by the height.. add Quality 3% or more...add size o/heads...frame...etc. o/heads...frame...etc.

Size Size inches

N o r t h e r n P r o m o n t o r y P l e i n A i r P a i n t e r s 3 9

Equals Equals Qualit Quality y +% 10,5, 3% o/hd

Fram Frame e CommComm- S/Tax S/Tax Entry Entry Fee Fee Delive Delivery ry Insura Insurance nce Sales Sales ission Discount

6x 8

48

50

150

200

300 3 00

330

8 x 10

80

83

173

250

350

385

12 x 16

192

196

266

350

480

530

14 x 18

252

260

310

390

520

575

16 x 20

320

330

377

470

650

715

18 x 24

432

445

490

590

790

870

24 x 36

864

890

932

1050

1400

1870

30 x 42

1260

1300

1340

1460

1950

2600

samples of paintings

samples of paintings

The Shed Fagan Park Galston


by

Terry Clare

Samples of Puddle Mix Painting with wet in wet improvements

Lighthouse, Bradley Head by Terry Clare

Flinders Gums by Terry Clare Northern Promontory Promontory Plein Air Painters 41

$ 5 7 $5 $ $UWLVYLVXDORUDXUDOFUHDWLYHH[SUHVVLRQZRRLQJHPRWLRQIRU UWLVYLVXDORUDXUDOFUHDWLYHH[SUHVVLRQZRRLQJHPRWLRQIRU VSLULWXDOHQWHUWDLQPHQWDQGHQMR\PHQW 6RPHWLPHVERWKDXUDOYLVXDO , WFDQWDNHWKHIRUPRI 7 KHDWUH WFDQWDNHWKHIRUPRI ' 'DQFH KHDWUH 3 3LFWXUHV 0XVLF 'DQFH7 3LFWXUHV 0 0XVLF 6 FXOSWXUH& FXOSWXUH&RVWXPHRU 1 DWXUH 1 DWXUH 2 IWHQFRPSOHPHQWHGE\FRPELQDWLRQVRIWKHVH 7 KHILYHKXPDQVHQVHVZLWK KHILYHKXPDQVHQVHVZLWK , PDJLQDWLRQLQYRNH&UHDWLYLW\ , PDJLQDWLRQLQYRNH& : KHQLQDFDOPSOHDVDQWXQKXUULHGHQYLURQPHQW KHQLQDFDOPSOHDVDQWXQKXUULHGHQYLURQPHQW : LWKLQ LWKLQ 1 DWXUHWKH *UHDWRXWGRRUVRUVSHFWDFXODU $UFKLWHFWXUH $UFKLWHFWXUH 1 DWXUHWKH 3 3DUWLFXODUO\ZKHQL DUWLFXODUO\ZKHQLQWKHSU QWKHSUHVHQFHRIVLPLODUPL HVHQFHRIVLPLODUPLQGVVKDULQJ QGVVKDULQJ WKHVDPHH[SHULHQFHV , GHDVFRPHRXWRIDVSLULWXDOHWKRVDVLIIURPHOVHZKHUH GHDVFRPHRXWRIDVSLULWXDOHWKRVDVLIIURPHOVHZKHUH $ SSHDULQJLQGUHDPVDQGVXEFRQVFLRXVZDQGHULQJV , IWKH\DUHQRWU IWKH\DUHQRWUHFRUGHGLQVWDQWO\WKH\ HFRUGHGLQVWDQWO\WKH\FDQGLVDSSHDU FDQGLVDSSHDU $ $OZD\VKDYHDQRWHERRNDQGSHQKDQG\ OZD\VKDYHDQRWHERRNDQGSHQKDQG\ 8 QOHVVFUHDWRUVDUHLQ *UDFHRUKDYH QOHVVFUHDWRUVDUHLQDU DUHDVRQDEOHVWDWHRI HDVRQDEOHVWDWHRI* DOHYHORI 0 0RUDOVWDQGLQJDQG 0RUDOVWDQGLQJDQG&&RQVFLHQFH $ $ODFNRISHDFHDQGFDOPFDQLQKLELWWKHLUFUHDWLYLW\ ODFNRISHDFHDQGFDOPFDQLQKLELWWKHLUFUHDWLYLW\ ) DFHGZLWKDFUHDWLYHRXWFRPHRIXQXVXDOHDVHDQGVXFFHVV DFHGZLWKDFUHDWLYHRXWFRPHRIXQXVXDOHDVHDQGVXFFHVV 2QHFDQRQO\ZRQGHULIWKH\ZHU QHFDQRQO\ZRQGHULIWKH\ZHUHWKHRQHDQGRQO\VROHLQVWLJDWRU HWKHRQHDQGRQO\VROHLQVWLJDWRU 6RPHWLPHVLWLVDZKLVSHULQWKHHDURULWVHHPVDVLI 7 KHLVZRUNLVSURJU KHLVZRUNLVSURJUHVVLQJE\LWVHOIDQG HVVLQJE\LWVHOIDQGDVHQVHRIMR\ DVHQVHRIMR\LVHYHUSU LVHYHUSUHVHQW HVHQW ' 'HVSDLUHQVXHVZKHQQRWKLQJKDSSHQV HVSDLUHQVXHVZKHQQRWKLQJKDSSHQV 3 3OHDVDQWSHUVLVWHQFHSHUVSLUDWLRQLVWKHRQO\ZD\IRUZDUG OHDVDQWSHUVLVWHQFHSHUVSLUDWLRQLVWKHRQO\ZD\IRUZDUG  42 Northern Promontory Promontory Plein Air Painters

NOTES





Notes on Oil Painting 6.2009

Recommend Documents