At today’s meeting Eunice, Tedd, Mike, Nancy, John,
Stephanie, JoAnn, Vicki, Annie, Thomas, Susan, Jeanie, Tim, Harry, Loretta,
Mary, and me Celeste.
Today’s table topic: Visual depth in representational
painting. Can you make suggestions for depicting near and far in all painting;
landscape, still life and figure?
Celeste: It is true that no matter what you are painting
you have to indicate what is closer and what is farther away. Of course, you
have to use perspective and you have to use color recession. I brought in three
paintings where I seemed to have achieved pretty good depth.
John: I would agree that perspective, size and color are important. The more intense colors are generally in the front and less intense
colors are in the background.
Stephanie: In landscape color intensity is a big issue.
There is more detail in the front, less in the middle ground and even less in
the background. In still life you also
need variation in intensity. A good way to show depth in painting is with an indication of scale. I am showing two recent paintings where I believe I was
able to imply depth.
Joanne: After the Strada easel I felt I was better at making
composition decisions. The challenges I’ve been in lately have given me
opportunities to practice atmospheric perspective. I am showing you a painting
where I overlapped elements to indicate depth and also a recent plein air
painting.
Vicki: We all know these rules, but it is great to revisit
them and talk about them. Atmospheric perspective is necessary in landscape
painting. (That is the cooling off of colors as things recede). I am showing
recent plein air paintings.
Annie: I pass on this topic
Susan: When I first went to Hipbone Studio I took a figure
sculpture class. I learned so much from that and it informed my paintings. I
learned a lot about how things look and are “in space”. I am
showing you today a painting that was commissioned. You remember that I also
painted the Rose Festival Queen this year. I painted her wearing her crown and
when I did this painting of fish I was struck by how similar the silver in the
crown was to the silver of these fish. One painting teaches you how to paint
another. I won’t be here for a few weeks because I’m going to teach a workshop
in Hawaii. (Applause)!
Mary: I really like that you have these topics. It makes me
think about past paintings and future paintings. In regard to depth, I know
that doing value studies is very good. I am showing a studio painting and
painting I did in Anton Pavlenko’s class.
Jeanie: I have been working on big paintings. Pass on this
topic.
Nancy: I have to continually work on this issue. The near
and far is so important. I have been painting in the lavender fields and every
time I am there it is always sunny. Recently I did an experiment where I
painted the lavender in the rain! I am showing you the results. I am also
showing you a painting I did at the Beaverton Quick Draw.
Loretta: When I started painting I reversed perspective. I
had sort of a dyslexia about it. I eventually got it together! I know that during the Renaissance they
painted blue veils in the background to make things go back into space. Value, temperature and
size are the important components to describe depth.
Eunice: I have been working on my series. I will have
something to show soon. Cooling off colors is important in color recession.
Tedd: What I think about: light in the back, dark in the
front.
Mike: The way I achieve depth ….is to throw it into the
recycle bin. (laughter)!
I have had art conversations with youngsters…I point out to
them that they should just look at things. I will say look at the trees in the
background there-- what color do you think that is? And look at these trees
here in the foreground what color do you think these are? It is all easy to
understand when you really look.
Tim: Here are three of my recent paintings.
Tim: Here are three of my recent paintings.
Thomas: What we are doing is creating an illusion on a flat
surface. You have to situate things onto the picture plane --that is your job. “Ways to Achieve depth”:
1.
Overlap elements
2.
Vary scale or
size of elements
3.
Convergence also referred to as perspective
4.
Atmospheric color shift (observe the distance-- are you after a red
blue a cobalt blue, a cerulean blue? it will be a struggle with the wrong
one..and don’t fall into the trap though of thinking that it’s always blue.
5. loss of contrast and contrast
6.
edges
7.
Chroma
and strength of hue
8.
Thickness of paint (thick opaque paint will
always appear closer).
I have brought in a Jennifer
Mcchristian painting. It is a great example of near and far. Cezanne, of
course, threw everything I just talked about out the window and did it his way.
I would recommend a book called “Changing perspectives of Pictorial space” by Dunning.
Announcements:
Congratulations Thomas Kitts for winning
third-place in the Cape Anne plein air event
Thomas Kitts at the Brian Marki
Oleg Ulitskiy at Art on the
Boulevard
Congratulations, Jennifer Diehl,
Aimee Erickson, Brenda Boylan, James McGrew Laguna beach plein air
Watch for and participate in upcoming daily painting challenges on
facebook.
Medley Tea is looking for artists
contact them and send them an email with samples of your work
ReMax artists reception Sunday noon
Remembering Mark Larsen at Mt Tabor
Next meeting Thursday, October 27
suggested table topic: "Interiors" have you ever painted an interior as subject matter? What has been your experience? Let's Discuss!
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