STILL LIFE IN CHIAROSCURO All Levels – (5 weeks)
Dates: Thursdays (All Day) NEW LESSONS monthly!
Classes: (5 Thursdays per class) Bonus Focus each month:
Mar 14, 21, Apr 4, 11, 18 Shoring up your drawing skills
May 2, 9, 16, 23, 30 Brushwork and clean colors
Jun 6, 20, 27, Jul 11, 18 Making your color sing
Aug 1, 8, 15, 22, 29 Painting glass objects, and reflected light
Time: 9:30am-4:00pm Cost: $300 Pre-Sign-up. Assures seat in the class. Saves $100 too!
Classes will be limited to twelve students. Each student may use up to 2 make-up days per class on a space available basis only (as per current atelier ticket expiration policies). Make-up days cannot be split. Non-refundable payment is due by the first day of every class. Individual all-day classes are $80 per class on a space-available basis only (please call to check on availability). Be sure to sign up for a class soon!
BONUS FOCUS Mar/Apr Class: SHORING UP YOUR DRAWING SKILLS with PAINT
- Do you know how to easily place your drawing on your canvas without running out of room?
- Do you know what to look for in setting up a still life to minimize problems when painting?
- Do you have trouble drawing books that look like they are sitting on a table?
- Do you know how to use size relationships for the initial sketch?
- Would you like to draw vases, flowers, and various objects with more ease?
- Do you know how to use notans (postage stamp) sketch to work out any problems before starting the painting?
- Do you get so tight with your painting that it’s difficult for you to paint over areas to make drawing corrections?
- Would you like to feel a bit less “tight” when you paint?
- Do you know the “heart” tip on drawing slices of cut out fruit?
- Can you visualize all of your still life objects as “volumes” as well as “flat” forms?
- Do you know how to make sure your still life does not feel like it’s leaning forward off the canvas?
- Do you know the key tips on how to set up your still life if it has been moved?
- Do you know how to photograph your reference in perspective so you don’t have to keep correcting your still life painting?
- Do you know how to use the “envelope” to place your still life on the painting surface?
- Do you restate your drawing as you paint?
- Are you aware of the importance of the relationship of “you” to “your painting” to “your still” life in making your perspective easier?
If you would like to learn how to master the above “focus” skills and more, in addition to the fundamentals of chiaroscuro instruction below, this class is for you! This month, we will cover powerful use of simple perspective, the importance of shape and unification of shadow, projection, vanishing points, ellipses, sketching tips and much more. We will have demos and valuable exercises as well as 1-on-1 instruction on how to paint a powerful 3-dimensional chiaroscuro painting.
Learn the secrets of the great masters such as DaVinci, Rembrandt, Caravaggio, Leffel, and others in creating powerful paintings! Chiaroscuro is the bold contrast of dark and light as a method of painting that has been used by artists since the renaissance to create drama and the illusion of volume in modeling objects. We will explore and emulate this dramatic way of painting to create our own masterpiece.
GOALS: The goal is to complete a chiaroscuro painting with a focus on dramatic lighting effect. We will focus on painting not the objects, but rather the abstract beauty of the light emerging from the darkness. Each weekly lesson will include demos and prepare us for
each next step. By the end of each 5 weeks, the student will
* Finish a strong 3 dimensional chiaroscuro still life painting
* Create a meaningful abstract underneath the realism using classical still life objects
* Be able to clearly separate the light from the darks, and unify each
* Create a clear focal point in the painting with additional supporting points of interest which keep the viewer in the painting.
Day 1: Composition
We will define chiaroscuro, examining a few prominent chiaroscuro painters and their paintings. We will discuss and demo setting up the still life. The student will compose a compelling still life, focusing on how the light reads through the set up. A focal point will be emphasized and the student will learn how to lead the viewer through the painting. We will plan our block-ins using notans in the chiaroscuro tradition, and begin the block in.
Day 2: 5 Value System Block-in
The goal will be to complete a strong block-in. The student will learn to unify the darks, create a single point light source, the importance of a limited 5 values system in chiaroscuro paintings, and we will start the 5-value monochromatic block-in as time permits.
Day 3: Color
We will be using a limited palette so that the student will not only learn how to use primary colors effectively, but also shortcuts to mixing any color. The student will also receive guidance in how to keep the colors clean and bright. The student will learn the importance of making and applying distinct color. We will be applying these principles directly to our painting.
Day 4: Brushwork
Soft and hard edges – We will learn where to put them and how to make them, and how to “spill” the light from objects so they seem to glow. We will also learn when and where to apply thin and thick paint, in addition to leaning to use the palette knife for special effects such as highlights, scraping, and creating interesting highlights.
Day 5: Unification and Details
We will look at the whole, and re-evaluate what we need to “push and pull” to strengthen the painting. This will include such things as evaluating and adjusting our lightest lights and darkest darks, unifying the highlights across all forms, unifying the resting space, and subordinating all that is not part of the light flow within the painting. This session will focus on shoring up our original concept.
Cadmium Yellow Light
Cadmium Red Light
11” X 14” Ampersand Gessoboard, or canvas (cotton or linen_
Tone thinly to medium value with burnt sienna and ultramarine blue
Brushes – Mostly filberts of various sizes, a half inch synthetic long flat is good for the color studies,
Some smaller long soft brushes, like rosemary or langnickel
Palette (medium tone, no white palettes), paper towels (viva is best)
Palette knives – medium and long lengths
Medium – Both linseed oil and stand oil
Fredrix 8” X 10” Canvas Pad for paint studies
Sketch book, pencil and eraser for small sketch studies (Notans