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depicting S P A C E. and creating harmony in that space with a DOMINANT COLOR. Tools to create (deep) SPACE. Overlap Disproportionate Scale Transparency Interpenetration Line Variation, Cross Contour, Chiaroscuro Perspective. - PowerPoint PPT Presentation
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depicting
S P A C Eand creating harmony in that space
with a DOMINANT COLOR
Tools to create (deep) SPACE
• Overlap• Disproportionate Scale• Transparency• Interpenetration• Line Variation, Cross Contour, Chiaroscuro• Perspective
1. Overlapany time one object obstructs the full view of another form
Das Modewarengescheft by Edgar Degas, 1885, oil on canvas, 99 x 109”
Interior with a Bowl with Red Fish By Henri MatisseApproximately 1913
2. Disproportionate Scalewhen one object is drastically larger or smaller in scale
compared to other dominant objects
Young Spartans Exercising by Edgar Degas, 1860, Oil on canvas
Pianist and Still Life by Henri Matisse, 1924
3. Transparencywhen the opacity visibly changes throughout a work – some areas may reveal the ground color, applied
very thinly, in comparison to other areas being thickly painted
Mr. and Mrs. Manet by Edgar Degas, 1868-1869
Henri Matisse
4. Interpenetrationwhen one object seemingly passes through or
disappears inside another object
Glass & Shells by Janet Fish, 1990
The Goldfish by Henri Matisse, 1912
5-7. Line Variation, Cross-Contour & Chiaroscuro
Line Variation = change in width, orientation, brush stroke Cross-Contour = line traces the contours of a form
Chiaroscuro = Light to Dark rendering of value across form
Dana Gordan by Alice Neel, 1972
Orange Cloth with Orange Poppies by Janet Fish, 2000, 48 x 60”
8. Atmospheric PerspectiveObjects in foreground: most VIBRANT & DETAILED
Objects in middle ground: middle gray, mid-resolutionObjects in background: DULLEST, LIGHTEST, FUZZIEST
Caspar David Friedrich, Das Eismeer – Sea of IceOil on canvas, 50 x 38.1” 1823 - 24
Caspar David Friedrich’s Kreidefelsen auf Ruegen – Chalk Cliffs on RugenOil on canvas, 35.6 x 28” 1818
9. Linear Perspectivewhen all lines seemingly converge to one
“vanishing point” on the horizon
Edward Hopper
Complex Environments:
Interior spaces including the Figure
A few more images for PAINTING II . . .
Establishing aFigure / Ground Relationship
• Figure = the main subject. Also considered the “positive” space
• Ground = the environment surrounding subject. Also considered the “negative space”
• Ground should not be an afterthought• Address figure & ground simultaneously• Pay attention to edges & proximity
Frau in dern Badewanne by Edgar Degas, 1886, Pastel, 70 x 70”
New York Restaurant by Edward Hopper, 1922, Oil on canvas
The Living Room by Balthus, 1960’s… Oil on canvas
Tapestry or Embroiderers La Tapisserie ou Les Brodeuses by Edouard Vuillard, 1895
For EVERYONE:• You will be in conversation with a partner today
sharing feedback about depicting space and constructing a dynamic composition
• Throughout class today I’ll announce: “PARTNERS” & that’s when you can have a brief dialogue about each others paintings in progress
• Painting II please partner up with a Painting I student. Introduce yourselves (we may need one group of three)
For EVERYONE:• Everyone is painting from the same still
life / installation over the next couple of weeks in-class
• Painting II: Must have main view of figure, so adjust yourselves accordingly.
• Painting I: minimal to no view of figure, so adjust yourselves accordingly around still life.
PAINTING II: “game plan”• Draw 2 thumbnail sketches –
locating distinct: foreground,middleground & background
composition should EMBED FIGURE in environment
• Begin by painting loose, gestural framework of space, establishing Figure/Ground Relationship aiming to build them simultaneously
• PALETTE: select a dominant color and incorporate into every color you create on palette
PAINTING I: “game plan”• Draw 2 thumbnail sketches in sketchbook –locating
distinct foreground, middleground, & background
• Begin by Painting (rather than drawing on canvas) loose, gestural framework of space DARK to Light, THIN to Thick
• PALETTE: select a dominant color, for instance: LIME GREEN. Mix LIME GREEN into every color created on palette, including the RED chair seen in the still life, the Violet Drapery etc. All colors must have a trace of LIME GREEN mixed into them.