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COLOR THAT SINGSBEGINNING/INTERMEDIATE PAINTING
Jewish Community CenterWinter 2018
Glenn Hirsch, Instructor
Paul Wonner
SYLLABUS WEEK-BY-WEEK
Jan 24 “Light” and Abstraction – Color to create “light’ & brush to create “texture”
Jan. 31 “Light” and Realism – Still Life: warm/cool combinations to enhance the illusion of ‘form’
Feb. 7 “Style” Part I – Master Study – exact copy of a painting you love
Feb. 14 “Style” Part II – Response – a painting all your own but using the color & style of the master
Feb. 21 “Explorations” – Working in Series (Course Project: 3+ paintings investigating a style and subject)
Feb. 28: “Energy” - pattern and repetition (HW: continue series project)
March 7 “Idea” – modernism and art history (HW: continue series project)
March 14 No class (HW: continue series project)
March 21 “Critique" – Discussion of all work for semester and potluck
TONIGHT’S LESSON
• What is color? (light)
• What makes color ‘sing?’ (the illusion of ‘light’)
• What makes the illusion of light? (contrast and variety (of color))
• What’s the procedure? (acrylic/oil technique vs. watercolor technique)
• What are all the ways to use the brush?
• What’s the difference between ‘real’ and ‘abstract?’
• Painting exercise: abstraction, brush and layers
What is “color?”
What’s the ‘real color’
of the house?
Color is Light
Monet paints ‘white’ marble at different times of day
What makes color ‘sing?’
The illusion of ‘light’ !
Paul KleeAdam Hirsch
Styles of light“Old Master” emphasizing shadow vs. “Impressionist” style minimizing shadow
ManetRembrandt
Vermeer
Student work in style of Vermeer
What makes the illusion of ‘light?’
light/dark contrast(‘value’)
To see the ‘value’ (contrast)imagine what the painting would look like in black and white.
imagine what the colors would look like in black and white
Degas
Elmer Bischoff
A second factor which also makes the illusion of ‘light’
Variety of color(warm and cool combinations)
‘warm’ and ‘cool’ varieties of the same color
Monet (detail)
Georgia O’Keefe
What’s the Procedure?
Acrylic/Oil(use both thin & thick layers)
Watercolor (use all thin watery layers)
Acrylic procedurestart thin, build up each layer thicker each timeUse opaque white
Watercolor procedurestart thin, build up each layer but each layer stays thin (“watery”)Create ‘white’ by reserving the white paper
Joan Mitchell acrylic John Singer Sargent watercolor
Watercolor: starting on a white background, then preserving the white paper where you want “white”
Acrylic/Oil: starting on a dark background, then use opaque white
Eduoard Manet
Vincent Van Gogh oil Emile Nolde watercolor
Emile Nolde
Using acrylic AS IF it is watercolor
thin watery layers (also called ‘glazes’)
Let each layer dry
‘reserve the white’
Richard Diebenkorn
Semi-opaque ‘glazing’
semi-opaque yellow is painted over a dark backgroundand you see the dark peeking through from underneath
Helen Frankenthaler
Using acrylic AS IF it is watercolorPouring on flat paper or canvas
Acrylic or watercolor, no matter what your procedure, painting is
done in LAYERS
Let each layer DRY before you go to the next
Georgia O’Keefe, watercolorGrove Robinson Branch, acrylic
What is real and what is abstract?
‘Real’ and ‘Abstract’ are relative
Robert Marosiseries, acrylic
Manet Monet Van Gogh
‘Real’ and ‘Abstract’ depend on an artist’s style
All ‘realism’ has abstract qualities, many artists like to emphasize both
John Singer Sargent, watercolor
How many ways are there to use a brush?
• Wet-in-Wet• Wet-over-dry• Stamping, Rolling, Scratching• Dry Brush• Impasto• Transparent glazes
Helen Frankenthaler
Mark Rothko
Fred Martin
Fred Martin
Abstract brush energy is a great way to paint trees
John Singer SargentJohn Singer Sargent
Melba Cantu