Like most artists today I get much of my art “fix” online. I
have a multitude of blogs, online magazines, and forums I read,
browse and contribute to regularly. I truly enjoy seeing the creative process,
and most painters do not have any issues with showing you how they produce
work or come to their ideas and concepts.
In fact through this
medium the web-blog, I think artists that share their process and join into the
creative commons have helped secure a footing in the contemporary world of art
for representational painting.
This painting is still in process, I am focusing on the treatment of edges, attempting to keep every thing very soft and atmospheric.
I've watched this video from the late Denis Dutton several times. Dutton has some very unique insights on the aesthetics of beauty and the animation is really entertaining.
My father was deeply moved when John Wayne died back in 1979.
I have to admit I really did not understand why? I mean, you could always tell he was acting and his films were usually very predictable. I think for my Dad it marked the end of an era, somehow knowing that John Wayne was on his horse with a six-shooter, that everything was right in the world.
Lucian Freud is like that; his passing definitely marks a period in art history.
Surely one of the most important figurative artists of the 20th Century, he repeatedly pushed the envelope and painted with an intensity that can only be described as uniquely Freudian. His paintings are often like a car wreck, you really don’t want to look, but when you do you are mesmerized. His work may not appeal to all; his life seemed to be one full of extremes where his eccentric behavior often received as much press as his work.
However this was an artist, as John Wayne would say had True Grit.
The longer you look at an object, the more abstract it becomes, and, ironically, the more real.
Lucian Freud
After finishing this alla prima piece I notice the little Magi drama happening between the pears and x-mas bulb. I chose these object because I liked the colors, shapes and forms together. I really did not see any subliminal narrative in the study until the end. Three Wise Men - Oil on Panel - 8x10
And with that let me say that the rumors of my demise have been greatly exaggerated.
A lot of life (good and bad) has gotten in the way of my posts here.
Three Wise Men (cocktail) Recipe
In a tumbler pour
1 part Scotch Whisky (e.g., Johnnie Walker Red or Black Label).
1 part Tennessee Whiskey (e.g., Jack Daniels).
1 part Kentucky Bourbon Whiskey (e.g., Jim Beam White or Black Label).
Serve either neat or on the rocks, according to taste.
The Copper Pot painting is another exploration of traditional oil painting techniques.
With a grisaille the artist develops form and value, separate from color.
By glazing color over the grisaille (monochrome underpainting) the shading (values) is already established, creating the correct values essential to realism.
The indirect method or the process of painting in layers allows for a wide range of approaches, techniques and effects, starting with a grisaille. The artist has a full arsenal of painting methods at his disposal, scumbling, sgraffito, frottie, scraping, rubbing, blending, hatching, impasto, velaturas and glazing. A range of painting techniques that makes complete use of the unique characteristics of oil painting.
As I start working with color I establish local colors for each object describing them by (hue and chroma). Hue is a color’s characteristic, where it lies in the color spectrum, and which temperature it leans towards, warm or cool. Chroma is the degree of brilliance a color has, from intense to dull. The first passage of the color lay-in is thin enough so the grey underpainting will show through and modify the hue producing (value).
The basic values will be established by the underpainting, but unlike direct painting, (alla-prima) the hue and chroma can be modified by any of the techniques listed above. The temperature, chroma and value can continually be manipulated by transparent and semi-transparent passages of color. Thus, what is so interesting in this approach is that the actual color lay-in can be either duller than the final envisioned color and the chroma increased with consecutive layers of glazing or the first color lay-in done in higher chroma and toned down with further layers. Sort of sneaking up on the exact color desired.
The painting was continued by building layers of more opaque passages in the light areas and semi-transparent (velatura) passages in the halftones. Blending and dry brushing (scumbling) those into each other, and then adjusting all those passages with glazes, continuing this process in several layers building the (chiaroscuro) or light and dark modeling. I finished the final overall layer with glazes and scumbles for more subtlety of color and tone.
Overall I’m pretty content with the end result, certainly there are areas I don’t think work as well as others. But I was at a point where I was tweaking little details and not improving the big picture or relationships. I really wanted to interpret the light effect (chiaroscuro) and interesting relationship within those restrained colors and neutral tones, which I feel read well. I believe the scumbling technique worked wonderfully, but think the halftones transition into shadow could be resolved further. An area that I can learn to improve with practice, the success of this work or any is always the knowledge and experience I gain.
I have begun to see glazing as a much broader and dynamic process, and the subtle and unique difference in the optical effect of glazing, veluatra and scumbling.
But one has to realize as they practice these methods, that the masters approached a painting with a tool box full of techniques, they combined them, modified them and manipulated them at will, like a conductor leading an orchestra. These were not tricks or gimmicks like you find in “how to” books on painting but an instrument they used to interpret form so they could concentrate on the bigger idea, what they where saying with their art.
They understood the language of their craft before they spoke.
Glossary and Terminology of Techniques
If we look back at what our predecessors did we need to understand the terminology they used if we are to develop an understanding of it and put it to use.
Modern painters can easily discuss these techniques using simple language about paint, such as dragged, dry brushed, stippled, blended. Clear glazes that are like looking through color glass or semi-opaque glazes that are like fog. But if you rummage around in old dusty art books you’ll find that the terminology was very different from today.
I have tried to make these definitions as simple and clear as possible, but I must admit it was hard to pin down some terms in text. What complicates the effort is that the really good writing on classical techniques usually have no illustrations, and many of the descriptions seem to overlap. So these definitions are the sum of my research and trial and error painting efforts.
Unless you are so fortunate to be studying with a living master, this leaves us with really only two methods to get a handle on these processes, one is to understand what those terms mean in a modern context and translation, and most importantly, go see these works in the real. And two, pull out the paints and try to paint those effects. This is how I arrived at these terms, understanding that all painting approaches are not seen individually but in combination.
Glossary of terms
Alla-prima – Italian expression loosely translated “at first try”. Direct painting (wet into wet), a method which is completed in a single session without previous preparation or latter layers of paint.
Blending – in basic term the smooth transition of one color to another, in broader terms (sfumato) softening edges of paint after they have been applied, usually with a clean brush or finger. Characterize by da Vinci’s practice of blurring the outlines of the model.
Body Tone – or mass tone, designate the value and color of an object that is illuminated by light and part of the light pattern, a color modified by light, or in line with light.
Chroma – is the colors intensity, the degree of brilliance of a color, from intense to dull.
Chiaroscuro – The contrast of light and shade and the distribution of these elements in a painting that form pattern and composition. First and best exemplified in the work of Caravaggio (1569- 1609) and later the Dutch master Rembrandt.
Frottage – Thick paint rubbed or dragged over a dry paint. Generally applied by painting bright colors over darker ones, to complete areas of light, shining parts or highlights. The master Titian used this technique often with great skill, often applying it as a half-impasto in bold strokes to bring high reflection to silk, or metal. Most often seen in the finished layer of a painting.
Frottie - or frottis Fr. - frotter (to rub) Transparent to semi-transparent glaze rubbed into the ground in the initial phases of painting, generally the first color layer done directly over top of a drawing, in either a single color or as the local color of each passage.
You can produce a complete monochrome in this way, or lay-in all of the ground colors of the picture until it has much of the effect of the complete painting. It quickly covers the white of the canvas with local color or mass tone. A process probably first introduced in the French Academy, eloquently utilized by the master painter William- Adolpe Bouguereau.
Glazing – transparent pigment diluted with medium. It is the application of darker transparent paint flowed over a lighter, opaque dry under layer. Glazes can be worked together and modeled wet into wet, rubbed in, lifted out with a brush, wiped out entirely and left in the crevices of the underpainting or canvas, brushed into with varying degrees of thicker paint “wisps” of color and value, and overlaid in various degrees to modify the underlying paint (like layering veils of glass) to add harmony, depth and luminosity to the surface. A glaze is a dynamic procedure applying paint made of undulating degrees of thickness, opacity and translucency. Not merely a flood of color.
Grisaille – ( griz-eye’) fr.- grey a underpainting done entirely in monochrome shades of gray.
Hatching - strokes or cross-strokes in wet paint that blend at a distance.
Hue - is a color’s characteristic, where it lies in the color spectrum, and which temperature it leans towards, warm or cool.
Impasto – Italian meaning (paste). Thick opaque paint applied with a brush or knife that stand visibly proud of the surface.
Local Color – The hue of an object, not modified by light, shade or reflected color.
Scumbling – is the complement of glazing. A style of glazing that is scrubbed or dry brushed over top of dry or almost dry paint using a film of opaque or semi opaque color. The scumbled layer is thinly applied using a brush containing very little paint creating a delicate veil which only partially obscures the underlying color producing an optical blending. Generally with light colors over dark it can be used to soften colors or outlines and even model form, modifying the transition from light to dark. Or create a hazy, atmospheric “opalescent” effect.
Value – is the relative degree of grayness, dark to light.
Velaturas – Italian (veiling). A velatura is a glaze with some degree of opacity. A semi- transparent glaze, tinted with a small amount of white that allows the undercoat to appear as though a milky or foggy haze, often referred to as the half-paste or semi-glaze. My understanding is the application of a velatura is sort of the middle ground between a glaze and a scumble, the major difference in the viscosity of the paint film, it being fluid and with more medium. Its effect is to soften and unify the appearance of the underlying layer.
“Look at nature, work independently, and solve your own problems.”
- Winslow Homer
Explore - Question - Learn - Enjoy, Jim
Bibliograpy
Eastlake, Sir Charles Lock. Methods and Material’s of Painting of the Great Schools and Masters. (1847) reprinted New York: Dover Publications, 1960
Elliot, Virgil. Traditional Oil Painting. New York: Watson-Guptill Publications, 2007
Palmer, Frederick. Encyclopaedia of Oil Painting Materials and Techniques. Cincinati, Ohio, North Light, 1984
Parkhurst, Daniel Burliegh. The Painter in Oil. Boston: Lothrop, Lee & Shepard, 1898
Reprinted Dover Publications: New York, 2006
Ridolfi,Carlo. (1594-1658); The Life of Titian, translated by Julia Conaway Bondanella and Peter E. Bondanella, Penn State Press, 1996
Sheppard, Joseph. How to Paint Like the Old Masters.
New York: Watson-Guptill Publications, 1983
Speed, Harold. The Practice and Science of Oil Painting. London: Seeley, 1924. Reprinted as Oil Painting Techniques and Materials. New York: Dover Publications, 1987
Here we are at the end of another year, and I wanted to thank everyone for their support and interest. Many of you took the time to leave some thoughtful and challenging comments on my work; I can not tell you how much it is appreciated. If I did not respond directly to your comment I assure you that my lack of response was either circumstances or procrastination. Which ever case, be assured I value each and every comment, again my sincerest gratitude.
The goal with my blogs (Studio and Pochade) has been pretty simple. To attempt to publish at least one article on each site per month, with some type of content that may be of interest to artists or art patrons. I make no claims to great expertise but do profess a great desire to learn as much as I can about the nature and language of my craft, painting. And I know the most important pieces of information I have been given have come directly from conversations and exchanges with other artists that are kind and generous enough to share their skills and knowledge. I hope I can share the creative wealth and pass along, in some small way those gifts.
Happy Holidays and have a great New Years.
Jim
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Work in progress- (WIP)
Update on the copper pot painting demonstration grisaille, ("griz-eye")
Stages: 1. Transfer the drawing and ink in the contour lines. I seal the drawing with a thin coat of umber and medium. (imprimatura) And allow it to dry for several days. 2. Using my study in charcoal as reference and direct observation. I start the (grisaille) under painting. I model the forms in values with a mixture of raw umber- ultramarine - and flake white. 3. The goal is to describe light and shadow, paying close attention to halftones, that area where shadow meets light. 4. I finish the grisaille with passages of translucent mid tones to soften some of the transitions and allow the underpainting to dry for several days
Here is the finished grisaille before the color layer. It appears a bit darker I believe because the mid-tone glaze (velaturas) was not completely dry. That layer brings a soft focus to everything kind of as if in a fog.
This is a early shot of the beginning of the color stage. I'll post more on it as it develops.
I have been diligently photographing the painting stages as the work develops, so that the finale of this project will be a video tutorial of the entire process. I have gained a new appreciation for stop motion animation, and can not imagine how someone like Ray Harryhausen made hours of movies this way.
You can find more information on underpainting techniques by looking under "labels" in the side bar.
This study is for the studio painting, Copper Pot.
I like to work out the preliminary drawing in line and value before the commitment to the painting. Searching out the composition and subtle relationships between forms, for me is the real key to any successful work. Even if that sketch is not a full finished image just simply a contour drawing, it is the ground work on which I like to work. In this image, the copper, shell and gourd tones and palette are so delicate that I decide to work out a full charcoal value study for this painting.
Charcoal is a wonderful medium, very painterly in its feel. It can produce very fine lines as well as tone, it produces a wide range of values very quickly, achieves very dark blacks, corrects easily when understood, can be very loose and spontaneous to detailed and controlled.
My drawing process is a very traditional approach, with small variations that are convenient to me. The materials I used are very basic and for the majority of the drawing they are, a sandpaper sharpening board, (used to shape the vine charcoal to a fine point), soft vine charcoal, blending stumps and tortillions, kneaded eraser, tissue or a small chamois cloth. Also, charcoal pencils 4B and 6B mainly for the block out and contour and Strathmore 300 series charcoal paper.
Plotting the drawing and blocking out.
To scale the drawing you need a measuring device, something you can move your thumb up and down and make visual measurements from quickly, for comparison. You can use a piece of charcoal or a brush handle works. I like chop sticks as they have a uniform thickness up to the point. In the rest of this demonstration I will be referring to this device as your “scale”.
After setting up the still life and establishing a viewing point (the spot you will use to make all your observation from), establish a vertical axis through the composition. Use a plump line or scale edge held at arms length. I placed mine at the edge of the bell shape of the teapot lid as reference. Along that line, plot the high points and low points of objects. Moving the thumb up and down its length to get the distance I want and make a tick mark with charcoal on the paper. Next establish some basic widths with the scale at arms length and mark the distance between points. Compare measure and develop a set of points you can use as constant reference, establishing one measurement that you compare the next measurement to and so on, growing a set of ratios. As you develop the drawing you will check your dimensions often. After plotting all your reference points block out the basic shapes with simple straight lines. Keeping it as uncomplicated as possible, keeping them simple makes it easier to rearrange them until you have their placement correct.
The Contour
With the image plotted and block out you have already established a rough contour of the composition. Refine the drawing by looking for the variations in and character of each line. Working each contour from simple to complex and rechecking their positions with your plotted points and landmarks. Continue refining and measuring against your scale. Continue checking vertical relationships, horizontal relationships, direction and angles using the ratios you have already establish. At this stage I have a very accurate line drawing based on relationships, actually drawing what I see, not what I think I see. For some this may seem some what mechanical, but as you work through a drawing this way it does become more conceptual and automatic.
I would say it took me more time to explain these steps in text than to actually do them.
Massing in – light and shade To begin building values or modeling stage I tone the entire paper with charcoal. One can either use the side of a piece of soft charcoal or powder charcoal and level out the value with a chamois or tissue. Avoid using your fingertips, they can transfer oil to the paper and as you layer the charcoal cause areas that will not take more charcoal. Use a stump if you feel you need the control. As far as charcoal powder you can purchase it, however you will sharpen the charcoal sticks and pencils with the sanding board and create powder. I do my sharpening over a small tray made out of card stock and tape; dump the unused portion into a small jar and save it for the next piece.
In toning the paper I want a single value, about mid way on the value scale.
Every shape will be questioned by my scale (chopstick measurement) and its position related to the value scale. Ten being the lightest and zero the darkest.
Next I state the light pattern by lifting out with a kneaded eraser and suggest the shadow pattern with more charcoal. At this stage all of the drawing is covered with some value on which I can start analyzing values and comparing masses.
Develop the drawing thinking shape and value not line. Blend and soften the gradations of value. The kneaded eraser is great for this, roll it to a point and stipple and lift. Add more charcoal and blend with a stump. At this point all the passages become a add and subtract, back and forth approach of making minor adjustments.
Next model the halftones, those values related to the light family (those values where a form is in line with the source of light).
In a broad way you have already stated or massed these in but need to refine them.
We must take a long look at these values for they are often the most descriptive and most subtle. How fast or slow (long or short) they progress will depend on the object. Again return to our scale and judge these. I made a handful of passages over the drawing at this point working over the surface and adjusting the halftones in small veils of charcoal.
Next I made any contrast adjustments by looking at the dark family (those values where a form is not in line with the source of light). Again in a broad way you have already massed these in but just need to tweak them a bit. You might realize that at this phase almost all the information one needs to produce an image is in the simple analysis of form, objectively looking at masses and relating them to one another and that very little detail is really required to create form and dimension.
The final stage of the drawing is looking at the subtleties of our contour, those areas that are lost and found edges (hard or soft) being certain that they help describe the form. I look at the highlights which is the white of the paper and adjust it. I look at all the reflective lights and when I think they help describe the form I call the study complete.
You could certainly push this work further, continue refining and adjusting. But as far as a study for a work on canvas, I have a great resource and a better understanding to go foreword with. This process is a lot easier to complete than read about; I hope I’ve been able to describe it well enough. I produced a video of the process that for some maybe more instructive. Sorry about the poor audio quality on the video, visit The Avett Brothers site and click listen now to hear the great music by these artists.
Hope this has been of some interest, anyway, on to the painting.
