Mastering The Craft of Painting (1985)
Mastering The Craft of Painting (1985)
Mastering The Craft of Painting (1985)
the Craft
qfPainting
BY ANGELO JOHN GRADO
Basic instruction in
form, color, and drawi^ ^
famous teachings
Mastering
the Craft
cfPaintmg
BY ANGELO JOHN GRADO
All artists
personal
style. In this
In
own
half of the
first
from Reilly"
tion for
on
how to
discover your
individual style.
The
ists
to
book
"Lessons
foreshortening,
is
and chroma, as
demonstrations
teach you
lay-in,
painting.
The emphasis
is
on the
all
figure,
painting
subjects
The second half of the book is designed to show you how to adapt what
you have learned from Reilly to your own
personal needs. Grado offers advice on
the use of a free palette and gives a detailed demonstration of procedures for
loosening up your technique. He also
provides helpful tips on working with pastels, handling textures, and creating lifelike portraits.
guide
and
it
is
an excellent
can be
easily
craft of painting.
oON-GUPTILL PUBLICATIONS
BOSTON
PUBLIC
LIBRARY
Andrea
Cella,
oil
Stanley
Myron Handleman,
Hi
oil,
BRIGHTON
w
Special
My mother and
to:
responsible for
My
Justin.
special thanks to
Matulavage, and
ready
First
to
help
in
published
last
in
1985
in
New
1515 Broadway.
Library of
New York.
NY
Inc.,
10036
Congress Cataloging
in
Publication Data
Mastenng the
craft of painting
Includes index
1.
Painting Technique.
ND1500.G65
Distributed
Littlegate
in
the United
House,
St
I.
7514
1985
ISBN 0-8230-3016-4
Title
85-13724
Ebbe's
St.,
Ltd
Oxford
All rights
used
in
Manufactured
First printing,
in
Japan
1985
123456789
10/90
89
88
87
86
85
This book
is
dedicated to
my
wife
Justine
for her love
Still
Life with
Lemon,
oil
and patience
Introduction
10
Drawing
LINE
12
13
14
18
SHADOWS 44
CAST SHADOWS 48
PLANES AND LIGHT
50
GROWTH LINES
52
59
HUE
60
64
64
VALUE
66
CHROMA
68
MATERIALS 78
BRUSHSTROKES
AND FORM
76
79
74
70
Wash-In
80
STARTING WITH
AN INK DRAWING
WORKING DIRECTLY
86
COLOR NOTE 86
PAINTING DEMONSTRATION 87
COMPLEXION OR FLESH COLOR
92
THE EFFECT 94
HALFTONES 95
GRADATION 96
PROGRESSION 97
CENTER LIGHTS AND HIGHLIGHTS
PLANES 100
HARD VS. SOFT EDGES 102
Finishing Touches
81
84
98
104
INDIVIDUALITY
106
108
A Demonstration
110
Loosening Up:
111
112
118
120
144
124
Introduction
The most
difficult
a teacher
problem faced by
to paint,
art
who knows
ment.
is
executed."
Brackman taught us
background.
After three years of study, and on Brackman's advice, I spent one year
painting on my own. By the time the year was up, I knew I needed more
experience painting from the model and someone to help me on the next
phase of my education.
Robert Brackman and Robert Philipp were good friends from their art
school days, and Brackman always had the highest praise for Philipp's
paintings. With this in mind, I enrolled in the National Academy Art
School to study with Philipp, although not full-time. I worked with him
for three months, alternating with three months by myself, for the next
few years.
I found Philipp a much more emotional painter and a warmer person
than Brackman. Given his emotional personality, he produced more
uneven paintings than Brackman did, but the aesthetic highpoints were
much greater which, to me, is more exciting. He was not overly
concerned with the conception or procedure, but rather with beautiful
color and the application of pigment. He was truly an artist.
Even after studying with Philipp, however, I felt a lack in my craft.
Brackman had given me a feeling for the conception, as well as for pastel,
and Philipp taught me about the aesthetics of painting. But that certain
was
still
missing.
where
I
had
to teach.
all the variations in value, hue, and chroma for landscapes and
the human form. I think I spent one summer just mixing and tubing
paint yes, we pre-mixed and tubed most of our colors in Reilly's class.
After all the colors were tubed, I made charts for every conceivable
human complexion in nine values for every hue and chroma.
covering
While
was
in Reilly's class,
he became
ill,
and he died
in
January 1967.
In the following years, whenever I felt the need to work from the model,
I enrolled in Robert Philipp's class at the Academy for a month or two. In
1972 I was awarded a bronze medal for a large oil of a nude that I painted
in his class.
of
my three
to the quality of
my paintings.
Lessons
from Reilly
The lessons in this section stem from the notes I took in Frank Reilly's
classes. The focus is on drawing and painting the figure
a good starting
point for any art student. Once you learn how to deal with the problems
in painting the figure, you can easily transfer this knowledge to any other
situation.
you
to the
this craft,
directions.
The important thing to remember as you study these lessons is that the
ideas are part of a learning process. Don't be concerned with "your way"
or "your interpretation." That will come later. For now, just stay with the
correct procedures and repeat anything that seems difficult. As you
you will be developing your skills, and it will also help you
understand what you are doing. And if you don't get it right at first,
practice,
don't
become discouraged.
to
that
11
Drawing
Drawing
is
the
first
Drawing
is
forms, and patterns that are formed through repetition of similar shapes.
to suggest a third dimension, there are additional
symbols for indicating form, planes, edges, and perspective.
Drawing teaches you how to understand what you're seeing in nature
and express it simply and clearly. It isn't a matter of copying what you
see. Instead, you have to be able to conceive it and translate it onto your
paper or canvas.
Having a conception when you draw means that you must know what
each line is for and where it is going before you begin. You start with the
longest lines and gradually work to the smaller ones. This means you
must think before you put pencil to paper.
~|
PRACTICE EVERYTHING
nude
As you
the figure
Kneaded
to a point, then
eraser
uoocfT^
12
sanded
OJ28ca> pe**j^
tt
down
to
Line
LIGHT
Use
vs.
line:
DARK lines
Use dark
light lines
for subtlety.
Variations in light
lines
for emphasis.
three dimensions.
2.
THIN
vs.
THICK
lines
Use thin
on the light
3.
SOFT
vs.
lines
side.
HARD lines
Soft lines
describe
CCCD
soft edges
Hard
lines
describe
hard edges.
your arm and hand, practice drawing these lines every night. Try
curve in a free and easy fashion. Let them flow
naturally. Make them large and use your entire body to draw them
work from the shoulder, not the wrist.
To
train
DRAWING
13
Relationships
Between Lines
is
already there.
Every
line
to
something
7~
~Hv
if~
The relationship can be
The
lines of forms
can relate
tr
When you draw
the
human
1.
3.
4.
Always
different ways.
?"-
first.
REMEMBER:
14
many
figure:
2.
relate
in
line.
Every
line
Before you can draw a form like the human figure, you must determine
its basic action
the gesture. This action imposes order on the subject. It
holds the individual pieces of the composition together.
To explain this concept, Reilly used the now-famous example of a
string of pearls. If you were to draw a necklace, pearl by pearl, the result
would be a chaotic and disjointed series of balls. The only way to make
sense of the pieces is to draw the direction of the string that connects the
pearls first. This is the longest line of action: it shows the movement of
the parts. Once this is drawn, you can put the individual pearls (the
String of Pearls
details)
Apply
on
that line.
this principle to
draw
Then put
on the forms.
^4Ds\*4A3^^<sO-^
Just as
before the
main action
line
down
be-
Then the
forms have something to
rest on and somewhere to
go. They have a direction
and movement.
fore the forms.
Every line must explain an action in drawing. DON'T use stiff, jerky
piecemeal lines. Choose long, graceful lines that connect one form to
another.
into
DRAWING
15
down
first.
Use as few
down
first.
instead, look
lines as possible
inside the
forms.
it is
going, and
where
before
acJCLtmJ
drawing a form
In
first
Everything relates
action line.
what
is
against
It
to the
main
figure, accentuate
the action.
By simplifying
and
16
Again,
this will
it
ends
figure.
1.
Head
2.
Center line
neck
3.
On
Shoulder line
to pit of
4.
Center line
pit of neck
5.
from
Shoulder points
to crotch point
Add
the legs in
with inside
line.
rest of the
Draw
the lines
of the arms.
fawline
width of hips
to crotch
The
6.
beneath ear to
six lines.
Add
DRAWING
17
Axis, Boundary,
and Station Points
Because the silhouette does not explain the forms well enough, you must
work
axis
its
action.
You can
asjU^
JHXt^jiAAfj-
as&ls
^4WJsrulL*AJ-4.
/v^pla^
and
the
way
18
Note the
tilt
of
where
up and down
2.
side to side
3. in
To emphasize the
draw
First
and
figure:
action:
crotch, continuing
down
legs. (A)
Next put in
Remember:
The outside shape
(axis)
The
the action.
They
also help
direction of
Pit of neck
Belly button
Pelvis (always
moves with
the waist)
Crotch
DRAWING
19
Forms
in
Action
figure,
remember:
of balance for the whole figure is the center of the head. (A)
All action points on the figure are related to the pit of the neck. (B)
The center
A**JLs
jUltHA.
how
20
LFSso\s|KO\1
Kill
lines,
DRAWING
21
From Action
Points to Form
There are four points on the figure where the boundaries show action.
These action points are helpful guidelines.
Pit of neck
Crotch
Remember
from the
pit of the
neck to
Look
on the body's
show on
22
LFSsu\slKOMKI
II
surface.
IMPORTANT:
main
In drawing, action
lines, as in this
profile view.
Establish the
how
you can
Before
DRAWING
23
Connections
Between Forms
drawing the figure, always think of relationships. All lines that radiate
from one form, for instance, should connect to a line on another form.
In
A. The
rib
Another relationship
rib cage.
sfacAftCs
Notice
how
the
round
by
flat
shapes.
The
belly button
Pay attention to
24
LESSONS FROM
Kill \\
And
movement
Forms can be
Forms can
twist.
at the
at right
the large shape, look for the smaller forms within it. Keep
the outline simple and draw as much as possible from the inside. Note,
for example, the breast and belly within the form of the torso and the
developing forms of the thigh and crotch.
to the
Remember, however,
guide
to
how
to
make
is
all
that all
DRAWING
25
Inside the
Forms
figure.
26
LESSONS FROM
Kl
II
>
c
Relate the outside lines
to
Remember
up and down.
that there
as outside
it.
DRAWING
27
Symmetry and
Other
Relationships
Whenever there are two similar forms on the body, draw them at the
same time. When you draw one arm, for instance, also draw the other
arm. When you draw one leg, also draw the other leg.
Work with
relationships:
Each limb
relates to the
other).
Each limb
arm
leg)
itself (the
upper arm
relates to the
wrist).
1.
Relate each
arm
to
4. Relate
one leg
arm.
to the opposite
28
issuNSFROM
Kill
2.
Relate arms
to
upper body.
5.
to the
other leg.
3.
Relate legs to
6.
Relate one
to the other
arm
arm.
Always
relate
from side
movement on both
to see
how
symmetry
of the
they grow.
'toTLUr'
CA*tcM~>
Now compare
the
movement
the curves.
/Ajtr
f*
/yJ*JU,
By
male
female
is
bulkier.
-AtsmajLtLs
/WA&-
JUwedbis
and female are especially apparent in forms like the buttocks or breasts.
DRAWING
29
Every
line,
to another.
to the opposite
leg.
<
#5K"
Make
you draw.
Individual forms
mean
how
30
LESS< >NS
ROM
REILLY
to
tell
you
and
and relationships.
making curved lines
using your whole arm
not
just your wrist.
the action
Practice
DRAWING
31
Most
Connectors
and Action
action
happens
such as the
direction,
or the wrist)
rib cage, the
is
at the
connectors
action
points where the
the
of the neck
shifts
A connector
pit
(like
arm
to y CJUrJZs
dUnJ^
As
main connectors.
the head
moves
the
Note that
to the 1
moves
left.
to
the
head can be at
directions without
at the crotch.
the crotch.
any
left
right or
Observe
how
the
movement of one
and
twist
left.
The extended
muscle under
the
arm
makes the
torso look
wider when
the
arm
raised.
As
the
arm
32
LI iSS<
>NS
forward.
KOM
REILLY
As
the
urm
moves forward,
head
tilts
back.
raised
arm
is
the upper
arm moves.
You can
rotate the
arm
elbow starts
to
move.
is
The
leg
can be raised 90
crotch
At
the
same time
can bend in
the knee
many ways.
When
must move.
is
a counteraction.
the leg
moves
for-
When
and
the
arm goes
forward
/Y^er^yv^aJL
-&W7^*^.
Lij^
-M**sy+p*jA
JrtstJ' -/*-Ux*lA*L
DRAWING
33
Action and
Balance
To determine
Make
to see
Points of support
points of support.
points of support.
in action.
Also look for the horizontal and vertical alignments of the figure. This is called pointing off.
are
The ilium, or
pelvic bone
protrusion,
is
The crotch
is
Counterpoint on the figure works in much the same way as a seesawone part of the figure is off-balance, it is counteracted by an equal
movement on the opposite side.
When
from the
pit of the
You can
also see
is
7^iw
how
.<**r
I
on the
buttocks.
form
J.
I
and
VI
On
neck to the
drawn
-if
When
the figure
movement
of one
is
active, the
form must
movement
Remember that for
be balanced by the
of another.
is
a coun-
teraction.
FIND THE
The body
is
always balanced on
how
The boundary
lines flow
through the form, in and out
of the body.
DRAWING
35
In
drawing the
action,
AjL^ljlcL-
/\A^q/<-Ws
sdV^CUsriJid-J
AjJU^&d^.
Observe the difference when
one leg is strained and the
other
is
relaxed.
Strained muscles
in the middle.
Remember
that the bulge in the muscle always goes with the action. If
the action of the leg is pushing up, off the ground, the muscle will be
strained and bulge at the top. When the leg is relaxed, with gravity
pulling down, the bulge is toward the bottom.
(up
<
71
^^
ASSIGNMENT
36
LE-.sso\s|KOMKMin
When
take
In
drawing
of the figure,
it
will
a standing fig-
shape of the
on the
floor.
In
drawing
let
a seated figure,
on the
Can you
see
why?
DRAWING
37
of the body are round. In contrast, planes are flat, twodimensional areas of a form. They show the character of the form and
help to describe its shape telling you about its front, top, sides, and
bottom.
The forms
^\^
-Ccrpyfi
*;-A<JU'
luSvd'
^tMs'
s&V&ims
The basic form of the head
is
egg-shaped.
round edges
to leave
plane,
a flat surface.
Then connect
the
inside corners.
Planes must stay on the form. But planes can relate to each other and to
the form in different ways.
horizontal planes.
overlapping
planes.
on the head).
plain-
can connect
mm.
38
Lhsso\slKOM
Kl
II
A form
on a form
can be connected
by a plane.
There are
You
cat i repeat
(parallel) a plane
that's already there
bulky,
show how
the
drawing a form
torso,
show how
in
like the
the planes
In
To understand
how
planes
draw-
DRAWING
39
Foreshortening
on
rib cage).
to
lines
are easy to put in perspective, try boxing in the curved lines to see how
they should be foreshortened. The greater the foreshortening is, the
line will
become.
LJiO\^^
To decide whether a form is foreshortened, measure the distances
between the normal midpoint and the extremes. If they are unequal,
then the form is foreshortened.
No foreshortening.
When
the
the
ssoNsJKOM
Kl
II
the top of
When
the bottom of
SIZE
When you
foreshorten a limb, look for the pivot point. The pivot point
the center of action, and what happens to the form will depend on
whether the pivot point is at the center, top, or bottom.
When
When
is
at the
CENTER.
at the center:
is
at the
is
TOP.
at the top:
When
is
at the
BOTTOM.
at the bottom:
DRAWING
41
With forms with a center "bump" like the kneecap, make sure:
When the form goes back, the bump moves up.
When the form comes forward, the bump moves down.
OM*u
sOtST
^V
^um>
A^djL.
-d+tLf-
-^<U5Yl
differences
is
is
forward.
leg
AsrUUL*
/VaajlScJU.
42
LESSONS FROM
II
\\
Y/y>vuu<uJU. Ao-UJ"
When
the head
Notice also
that
you can
see change.
how
GUIDELINES TO REMEMBER
Draw
the
known
Then connect
furthest ends
first.
Then
quantities first.
Jts*j2j^
DRAWING
43
Shadows
figure.
Let the
Make
Shadows
the
the action.
The dividing line between light and shade describes the distance
between an object and a light source like the sun or a lamp. The light
becomes more diffuse and softer as the object moves away from it.
44
sso.NS
FROM
Kl
II
shadow
/YUT
Start
by indicating how the shadows go with the action. Then, once the
is established, model the shadow on each form separately.
action
When you
possible.
small variations on the inside that describe the shapes of the small, inside
forms and muscles.
Pay attention to
how
the
'r-O^X&AjAz,
tsr^^s-djL.
Any shadow
that crosses
skip a
makes a
twist.
REMEMBER:
are to
45
Shadows
Shadows help
the action. Let
to express
them flow
46
lines.
Shadows
also describe
the nature
and
location
DRAWING
47
Cast Shadows
light,
Cast shadows always go in the direction of the light source, and they
show the shape of the object casting the shadow.
Always
Whenever
a cast shadow does not follow the action or define the form of
the object casting it, leave it out. For example, if a shadow cast by the arm
on the torso does not follow the action or define the form of the arm or
torso, leave it out.
48
LKSSo\s|KOMKllin
is
Pay attention
to the
cast
it
from the
object casting
If all the
edges on a cast
shadow are
object
is
soft,
it
moves away
it.
then the
shadow
Use
to
cast
is
cast.
shadows
DRAWING
49
The position
As
on the form
will change.
light
ASSIGNMENT
Set
up
a light
figure. First
move
it
50
LESSONS FROM
Kl
II
BE SELECTIVE
want
to
accent carefully.
'
What
is
wrong
drawing?
would you
correct them?
in this
How
*;\
DRAWING
51
In drawing a head, you need to understand all of its forms and planes.
Always work from the large forms and planes to the smaller ones. Use
the diagrams on this spread and the next to learn how the large and
small forms and planes relate. To do this exercise, you will need six
sheets of tracing paper and three colored pencils (red, green, and blue).
Structure
of the
Head
agram
in red pencil.
Be
sure to
draw
rec-
the
two
you
to line
up
all the
steps
in the
on
The width of the
nose equals the width of one
eye, and the ends of the
mouth line up with the
correct average position
the head.
2.
agram
muzzle
in green.
is
The
the feature to
you can
form for the
skull and the top
back of the
of the jawline.
52
3.
this
large
4.
When you
how
all the
forms
relate.
1.
shaped.
The lower
head.
2.
3.
The brow
lid of
is
the eye
is
to the top of
the head.
4.
The nose
is
halfway between the brow and the chin, and about one eye
wide.
The mouth is one-third the distance from the nose to the bottom of the
head. The outside ends of the mouth line up with the centers of the eyes.
6. The top of the chin is two-thirds the distance from the nose to the
bottom of the head. From the top of the chin to the bottom of the head is
the same as from the hairline to the top of the head.
5.
DRAWING
53
understand.
2.
As
before, use
green
down
54
3.
blue
diagram.
producing a
lifelike
por-
trait.
4.
When you
you can
the progression
clearly see
from the
these
GUIDELINES TO REMEMBER
drawing the head, once you have established the outside shape, you
follow this basic order:
1. Draw the skull and cheekbones.
2. Position the muzzle (the area beneath the cheekbones, including the
In
jawline).
3.
4.
5.
6.
7.
8.
mouth, and
chin.
DRAWING
55
Features
face
some
expression.
suggested
Start
at first.
with the extreme ends of each feature and then draw the connecting
lines to
make them
full features.
EYES
brow form.
Then add the eye sockets.
Then put in the eyeballs.
The
iris is
the eye.
And
cfo^Jce^'
fc>
bkuUc
tjs*^ULAjf>A-As*JL>
(unless there
light
then
comes
is
very
little
JUjxAx^ksui
~to
^uX^ajU. cey*uL\>
larger).
\
sLa*s$-
oLL-
m^XtAs
MOUTH
The width of the mouth
goes from the center of one
eye to the center of the
other.
The mouth
fits
into a
rectangle.
56
cLasJUmas
sdLfjLJdluJdi^ JUfys
NOSE
Don't make the top edge of
the nostril and the top edge
of the nose's underplane
parallel.
J^flklLflktz
EARS
There are no
parallel lines in the ear.
^L^udjisrCboLLcB-y*^
The ear
DRAWING
57
In
Hair
modeling the
hair,
look for
its
and planes
form underneath
(yt^zsis objtn^LdJLAs
When
the forehead
is
is
short, there
58
the forehead
is
When men
lose
When
it
is
long, there
of the head.
Basic
Growth
lines
Lines
c^ryK/e/
sdtAOUjtfdC,
OrrujxurZ-'
7K
>
<r
i.
yux^r-^
^Sau^olAjl CfyyjCoM*-*
^dJU^jLAj^
%
< >
&J&ut^c*JL
-**%
<
jJJLja&t^
1^
>
aslcZa^aI-^
ou-<jfjL C*-r-<4uu-ts
To see how these lines relate to the shape of the head, it helps to divide
the head into cross-sections. You can take a cross-section at the widest
point, at the center of the form, or wherever you want the center of
interest to be.
determine
to
how
it
fits into
is
to see
a cube with
the cross-sections
shown
here.
Dividing the head into thirds also tells you about the outside shape of
the head. The size of the features is related to these parts of the head.
hair.
and
ears.
the
DRAWING
59
Character and
Basic Shapes
(e.g., large
nose or
ears).
2.
The
head
in relation
to the body).
3.
Note
J^cr\X-
60
LESSONS FROM
Rl
II
/yx^syy^-AjL
\\
^Lfy^^y
There are
many
2-
JleJ/^j&uxAjtfd')
C/rvuj~es)L
n*<r\sr*-0-JL
C3
lines
at different points.
DRAWING
61
Brows
/Ylt^TKSdL
LA)
/T^&i^r^l
(A )
Forehead
^uU^bi JU<U.
Au<aM^L
^d&^ZL<3
Eyes
/KJnsrKjJL (A~)
jbxU Jt^-M^t
^IfisJIr d+US~S
Nose
/K^L^I^JlJi
CAl
sdta^dtj
uuk>
^^AjloA^A.
Mouth
The mouth can
also slant
down
or be straight
->l^Vm^ CA1
Lips
^ 3 ^H
/yt-erVw-ax^
62
CJjrLL-AsJ- JUflLAJ
^
-^it
^^
^apJL^JJ^
Chin
yyur^yryjxJ.
sdXiucJk^ t^uJ^
(4)
aJIjcjzJjL&s
Jaw
/njrTsY>^*JL
(A)
-J^^IC
***
Ears
zn^rvm^" (A)
n^er^ry^- (>j
">
^>^>-\yrr\Jut
^Cj)
-*>
DRAWING
63
Understanding Color
To learn to paint, you have to understand color. Specifically, you must
understand hue, value, and chroma (intensity). The assignments in this
section are an important first step in this learning process. Do each one
carefully and repeat it until you get it right. The understanding you gain
will be invaluable, whether or not you use Reilly's method when you
paint.
]-[ug
YR.
Hue is
If it is
a yellow-orange,
it is
YYR;
a red-orange
is
YRR.
HOME LEVEL
HUE
Y
YR
R
RP
64
is
Alizarin
Crimson
VALUE
MAXIMUM
CHROMA
12
12
14
12
P
PB
B
Cobalt Violet
12
Ultramarine Blue
12
Cerulean Blue
10
BG
G
Viridian
Cadmium Green
10
GY
Yellow Green
12
On
MeUhxv
hues
purple,
and
red
are con-
UgMeuT-
%AJUsrv-'tytkrur
Halfway between
and yellow-red.
fad.
/J*JLQsyV
rf&l- &U<f&L.
BLl*A -Jju*.
fuApla.- BZjuJL
Utl*ur
Uc*vr
^jdUUur- JUjul*^
dhA>4f~s
The
it?iportant difference is
faoL-Qu**?'
On
and blue
indicated by a gray
are
tri-
by
purple
rtu.
are indicated
fijtd.-
CuA-jate-
e&ujt-
(m^al-
red-orange, red-purple,
blue-purple, blue-green,
and yellow-green.
fiuAjJA,
UNDERSTANDING COLOR
65
Value
Value
If
is
we
black:
scale enables
Cadmium
you
to
measure
different
hues
has a value of 5
when it comes out of the tube. If value 7 is needed, you add white to the
cadmium red light and measure it against value 7 on the neutral gray
for specific values.
red
value scale.
If you are painting a still life and want to know the value of the light
area in the background, lay the scale on the actual background and match
the background to one of the values on the neutral gray scale. Then mix a
hue to this value on the neutral gray scale. By constantly checking
everything with the neutral gray scale, you will train your eyes to see
things in terms of value. Try squinting your eyes while checking a strongchroma hue, as this will allow you to compare the value more easily.
oj^Jjl,
ASSIGNMENT
Make
scale
on any support,
work
recommend
illustration
it
this
it is
it
gray
easy to
from the
paint. Prepare
first
time.
Mixing the Values: Because the tinting strength of colors varies, you
can't simply mix 50% white and 50% black to get value 5. Instead, you
will need considerably more white than black. Use the gray scale printed
here as a rough guideline and try to gauge your values by eye. The key
values to start with are values 9, 5, and 1. Once these are correct, use
them to mix the following values:
Value 7 (from value 9 + value
Value 3 (from value 1 + value
Finally,
Value
Value
Value
Value
66
LKSsuN'siKOMKHin
5)
5)
to get the
8 (from value 9
-I-
6 (from value 7
4 (from value 5
2 (from value 3
+ value
+ value
+ value
value
7)
5)
3)
1)
remaining values:
Measuring the
it
for
your white
Storing the Paint: Mix enough of each gray value for later assignments.
This extra paint can be stored in empty paint tubes (available at art stores)
or 35mm color film containers. Be sure to label the containers as you put
paint in them.
UNDERSTANDING COLOR
67
Chroma
ChvOttlCl
is
A change
2 parts
1
Red Value
Red Value
part
2 parts
Munsell system, the hue is listed first, then the value (with a
then the chroma. Thus, R 5/6 refers to a red with a value of 5 and
Note: In the
slash),
chroma
of
6.
ASSIGNMENT
Make
values
3, 5,
>~t
}4uj^
68
WjuJ^
'^h\JjdLu*sr*J
^CLo-y^a,
Mixing the Paint: Use the mixing chart below to determine how to
lighten or darken a hue. Let's take cadmium red light, which comes out
of the tube at value 5. To get value 8 for cadmium red light, add white
and measure
it
a combination of
the
cadmium red
90%
alizarin
light
TUBE COLOR
Cadmium Yellow
and measure
VALUE*
ADD TO
LIGHTEN
White
Cadmium Orange
Cadmium Red Light
Alizarin
HOME-LEVEL
Light
7
5
Crimson
Viridian
Cerulean Blue
Ultramarine Blue
Yellow Ocher
Raw
Sienna
Burnt Sienna
White
White
White
White
White
White
White
White
White
1,
make
this to
on the gray
scale.
ADD TO
DARKEN
Raw Sienna
Value 4;
to
Raw Umber
to
Value
Burnt
Umber
90% Alizarin
Crimson plus
10% Burnt Umber
Black**
Black**
Black
Black**
Raw Umber
Raw Umber
Burnt Umber
*Be sure to check the tube color values against your neutral gray scale as colors
brand, or even in the same brand.
*
3,
below value
Special Tips: When you make your chroma charts, first cut pieces of
paper into rectangles about 2x5 inches. Paint these with your gray
values so that you have nine pieces of paper, each painted a different
value. Then, when you mix your colors for the chroma charts, put the
color on the corresponding gray value to see if it is correct. If it "sinks"
into the gray value when you squint, the value is correct and you can put
it in the right place on your chart. It also helps to add a drop of cobalt
drier to each color to speed the drying time.
UNDERSTANDING COLOR
69
Four Typical
Nine-Value
Chroma Charts
the
column
to the left is
neutral gray
umn
and
the col-
home-level value of
each hue.
70
UNDERSTANDING COLOR
71
"tfoH^^B^^^H
72
LESSONS
Ki
)M RLILLY
^^^B^^^^H I
UNDERSTANDING COLOR
73
Color, Light,
and Form
an angle that best reveals the form. You should, however, observe what
happens when the light is from the front or back, or when it just hits the
rim of an object.
chroma
rest,
and
strongest in
is
under
different
lighting conditions.
light-
and
it
is
in the
gets weaker in
the shadow.
In
is
weak
in the light
and
however, helps
to clarify the
form.
74
LESSONS FROM
REILl.Y
MAINTAINING
CHROMA
At times you may want to keep the chroma strong while you change the
value of the color. To lighten or darken a color without losing intensity,
you can move around the color wheel as shown, using the home level
(maximum chroma) of each color. There will, however, be some change in
the hue.
Lighten green
with yellow
Lighten red
with yellow
Darken green
with blue
ASSIGNMENT
When you
factors influence
Start with
your hue
value 5 and a
at
medium
Change
the
hue on both
and chroma
form.
form.
this
value
the same.
change, there
little clarification
is
With
only a
of the
Now
the front to
make
it
strong,
20%
is
80%
UNDERSTANDING COLOR
75
remember
looks. In other
The mind is selective you can focus on only one object at a time. You
must look at things in the correct order, from the big things to the smaller
ones. Also, because we see with two eyes (binocular vision), you must
have
soft
edges in painting.
you must
M^Jc
7T-aZc(A4^
a^AcXJn,
sCrfaiJc
la^sflJC.
urf^Xe^
adjust
When
you're learning to paint, try to paint the form directly. Don't take
way out and simply "suggest" it. Also, as a beginner, remember
that your paintings are for study only. Don't worry about a finished look.
The important thing at this point is to learn.
the easy
WORK
IN
MASSES
In the beginning, mass your paint. If you keep the masses simple, you'll
learn to paint more quickly. Put in the large masses first. Then, once
they're correct, put in the smaller masses.
Paint the
76
1.
2.
Once
the action
is
established, begin to
cast
shadow (from an
object in front of
is
usually a
flat
value with a
it).
Next consider the first the largest form of the object or model. With
a round form, it is the light and shadow that give the appearance of
roundness. There should be two values in the light and one value in the
shadow. Overall, the model has three values in the light and one value in
the shadow.
As you paint, you want to keep the background back away from
the figure. To do this, make sure the lightest lights are on the figure and
the background remains simple, with a generally flat value and very little
detail. Soften the edges of the figure to create an atmospheric effect.
Note:
PAINT
IN
STEPS
and edges.
Painting: Develop the lay-in by painting directly into wet paint. (Mix a
few drops of oil of cloves into the colors on your palette to keep them
3.
Finish:
Make
details.
PAINTING ADVICE
77
Materials
In learning to paint, use the Reilly palette rather than a free palette (see
the discussion and photographs on pp. 108-109). It's a mistake to include
too few colors on your palette. But you don't want too many either. Use
only the colors you will need. Remember that with the principal hues in
the Reilly/Munsell system yellow, red, purple, blue, and green you
can make any color in the world.
BRUSHES
While you're learning, paint only with filbert or flat bristle brushes. Sable
brushes are too soft and pick up too much paint from the canvas.
You'll also
inches wide).
often,
largest
a
It
will
both directions.
fingers.
Use
'J^//l-tyy//yy^uj
'
<
S>
MEDIUMS
To
if
78
llsso\s|Ko\1 REILLY
needed.
Brushstrokes
familiar.
to
Stroke: Practicing the stroke is the best way to learn how to paint.
Don't just make straight strokes let them flow. Try varying the
thickness of the stroke, from broad to narrow. And remember, just as
with lines in drawing, every stroke must come from somewhere and go
1.
The
somewhere.
The Daub: The Impressionists often used this type of brushstroke. The
daub can be large or small, but once the pigment is put on the
canvas, it must not be touched or blended. You can overlap one daub
with another while both are still wet, or you can wait until the first daub
2.
size of the
is
dry.
The Smear: Where soft edges are needed, you may want to smear the
up some paint with your brush and literally rub it into the
canvas. Use either a large or small amount of paint, but once the paint is
3.
paint. Pick
The
le ridges
When
go
When you
start,
the best
way
is
to
the
form.
PAINTING ADVICE
79
Wash-In
The wash-in is an initial monochrome painting, done in raw umber. Its
purpose is to solve all the problems of drawing, values, and edges. It also
enables you to get rid of the whiteness of the canvas and to set up the
correct atmosphere.
Doing
because
it
stages of painting.
MATERIALS
Before you
start,
stretched, cotton
when
to
even use
it
full
amount
If,
however,
of linseed
oil,
or
strength.
Cheesecloth.
Use
this to
80
you
to
apply
Starting with
an Ink Drawing
draw
directly
rect
main
action.
Do
ever,
attempt
to
not,
draw
howde-
just
tails at this
stage
indicate the
main features.
2.
Reinforce Your
many
details
concen-
Add a Coat
of Linseed Oil
3.
with linseed
oil
first in a
horizontal direction
and
with
cheesecloth.
pentine).
cloth,
value 3, darken
it
with
WASH-IN
81
5.
Wipe out
Now
the Lights
(The values
conditions,
may
your values
differ.)
Wipe out
Darkest Lights
6.
light
and
to the correct
value.
Wipe out
Lighter Lights
Now wipe out the lighter
areas on the figure to about
7.
value
8.
8.
drapery
figure here).
82
9.
and outside
the figure.
f^Bm' wL_
ways
in the
middle of the
light areas. These center
lights should be about one
value lighter than the light
areas. Don't, however,
worry about the highlights
^^^^^^^L
yet
^^^^^^^h
L^**^*
j^T
9V
^wK^^m
tjf
^B
flr
H^
if
il
Detail of Finished
88SBJ WPflfSfltSfflffllM^^
^t^f
Wash-In
This closeup of the head
the degree of finish
shows
''-^''-
may
any
is to
set
'1.',"
HlfflBtitfMWBl'ffi^j^
l^^^f.^
^:
/.^f,3fflfi^^^
'.
.''
fewr*!-^
"
:^Jp1l?
'^JeB^BB$s&S:%&&^J^i*-
',-.'
^^^^^sSSM^^^
^
:"
.,
KsHHmhBHHHbH
'
'
'-":<'S-^
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^y|3BiHUi^^^^^fg^'
,,
B&
ESSliilisiii'
fiVfeov
--
"
j&
'
^^^^f ^^
wBBJfflffBH^llggfiffllSlM
\Sl^A]'f?^^CTBsSBaiBroflHI'T^BfiiHBM
t|HH|^H^:
i-^^\?'k-:'-';'Wa^^^^^^'^M
^^SffljKSBHi|^ffi
^y
:':
'^"(Ussf #?^m{v
'-^^^^^^^/'
MJEBBtc^wfeotfSfl^^BS'
'^''''-
TWMfflBIBwffiiH^^HH^WBI
BKfiflfflffwflB
^^^SBfljnDBsffuBuBfl^DwSlHi^S^^^^^^^HB^
!**?* 5KJ5i
"ScaS?
ti^H^llGliSSk
"
-:'.''':--
WASH-IN
83
Working Directly
Draw
end of
sharpen
it
with a pencil
shadow areas
alone.
with
Wipe out
Darkest Lights
3.
Now
drapery.
4.
Wipe out
Lightest Lights
Return to the figure and
wipe out the lightest lights
to about value 8. Here I
accidentally wiped out the
belly button, which I then
restated.
84
in
your drawing
ability,
you can do
wash-in
the way we did in Reilly's class that is, with no preliminary drawing
before applying raw umber to the canvas. To start, coat your canvas with
linseed oil as described in step 3 of the previous demonstration. After
this step is complete, cover the canvas with raw umber as described in
step 4 of the previous demonstration. Remember that if the coat of raw
umber isn't dark enough value 3 you should add more raw umber.
6.
Put in Accents
and
the foot
halftones
forms.
Wipe out
Center Lights
7.
which are
in the
middle of
and wipe
Make them about
them out.
one value lighter than the
surrounding lights. You
can also put in the highlights, although this is best
left for later, during the
painting stage.
WASH-IN
85
in a
way
that
believe
is
most helpful
for beginners.
demonstration
will help
Background: Decide
Drapery:
Figure:
ways
of
making a
model,
note. right
it
on the canvas so
was constantly
me
as
I laid in
in front of
the colors.
my
de-
color note on
this
86
Before you begin the lay-in, make a color note. The color note also
called the poster
describes the overall complexion of the model and the
main colors in the picture. It tells you what the colors in the finished
painting will look like, showing the main hues, values, and chromas, as
well as the position of the primary source of light.
Make your color note about 6 inches high, either in the upper section
of your wash-in canvas or (if you're more advanced) on a separate canvas
or board. It's best to make the color note while you're mixing your paints
for the lay-in itself.
Don't complicate your color note with too many details. What you
want is the essential information. Here are some guidelines:
Color Note
Look
for
Painting
Demonstration
After you've finished the color note, you're ready to begin working in
color on your canvas. At the start work flatly, laying in broad average
values in accordance with your color note. Always work from big to
small,
adding
detail
only gradually.
1.
Compare
drapery,
and on
the fold in
color note.
shadows,
to the
on
under the
With the male,
hair,
left,
and
LAY-IN
87
2.
Indicate Local
Colors in
Shadows
Now paint
shadows on
and drapery as
By
painting,
it's
a good idea to
when two
3.
is
to
paint in
on everything
It's
im-
"overmodel" or exagger-
88
4.
Turning
in the
Normally, as on the
on
and value
add
and dark halftones
the light
At
to the
value
8.
model.
flat areas
this
point
LAY-IN
89
5.
Model
the
Form
with Halftones
Now you're
ready
to soften
on the
ows
6.
Add Center
is
Lights
to
paint in
which
90
7.
Put in Highlights
forward.
orange,
red.
At
On
of
chroma
first.
LAY-IN
91
Complexion or
Flesh Color
To determine the complexion of the model, squint your eyes and look for
the average value and hue of the skin on the torso. Focus on the largest
area.
from
this area.
from
this area.
The
basic hue for the flesh is yellow-red (YR). If the model has thick skin,
use yellow plus yellow-red (Y -I- YR) as there is less blood near the
surface. For a model with thin skin, use yellow-red plus red (YR + R) as
there is more blood near the surface.
KEEP THE
LAY-IN SIMPLE
The
shadow.
lu^JOu>Jr
92
shadow
stays the
same against
all
three
Make
the halftones one and one-half values darker than the values of the
they are next to.
light areas
If
(*"X
5'^
(c
4''z
of a value
when you
other
known
values
Note
that the
in the
it
shadow than
against
two
in the light.
This chart illustrates how to mix your colors for the average complexion, which is based
on yellow-red (YR), or cadmium orange. Essentially you add the light control (gray) of
the corresponding value to the local color for each of the nine values. When the yellow-red
is made lighter than value 7 (its home level), add smaller amounts of gray to get the samevalue complexion color. The reason for this is that as you add more white to yellow-red, it
becomes weaker in chroma and thus needs less gray. As the yellow-red becomes darker,
moving toward value 1, add equal amounts of gray to get the complexion color.
LAY-IN
93
The
Effect
effect is the lightest and largest area in the painting. You can think of
as a spotlight on a stage. It creates a center of interest.
The
it
Effect in
2. Effect in
3.
effect in a painting:
hue
value
Effect in
chroma
for
The effect is always one-half value lighter than the local color it is within
and thus gives added light to the model. The effect also gives the form its
greatest volume and lends a brilliant look to the painting.
Remember
It is
on the part
of the
shows the
light;
f**s*^*jif^
When
the contrast
is
will
one
less in
augment the
area, the effect
seems greater
Keep
in
mind
light
is
moved away,
when
is
closer.
Halftones
Halftones
make an
/W'JvdLLttrnJL
~4vk&LXfiVJ~
sure:
2.
LIGHT
halftones
JUtf
10
light areas.
f
1
djyJks
<
i>
You can
1.
2.
Put the halftones in the smallest area possible. If the halftone is too wide,
will flatten the form. When the halftone does cover a relatively large
area, make sure the change in value is gradual so that you can tell what
it
Remember
the light
is.
same
LAY-IN
as the
chroma
of
95
Gradation
Gradation
is
enhance the
First,
make your
gradation in
VALUE,
pronounced.
some
is
to
Finally,
most
which is less
HUE, which only occurs
CHROMA,
in
paintings.
In grading
Remember
of the
light source.
The
zwaJU*-*- ko
means
there will be
no
gradation.
Form
lighting
gradations.
on the background
creates
one
to
one and a
half value
background takes on
on
a surface is, the bigger the gradation will be. Here the
angle of viewing, or position of the viewer, is important.
of the
little
With gradations
c^\/rmn~-
shadow
stronger
/y>JO\/rY<aJL
grooves).
If
when
in
there
is
more
the background
either a
your
weak
light
and
move toward
If
light
HUE. North
llssONSFROMRHI
flesh colors.
Progression
showing
and
modeling the form in relatively even steps. Progression, on the other hand,
moves
in
and out
of the
Progression can be
in:
VALUE
weak)
HUE
colors)
(complementary
The greatest progression occurs where the contrasts are greatest. Add
more detail to this area to make it stand out. If the contrasts are not
pronounced, indicate progression with the edges. Hard edges will come
forward; soft edges go back.
Make
background.
LAY-IN
97
Center Lights
and Highlights
The center
middle of the
A center light is
7Vy
rj//]_
JLLmJUX.
Center lights only occur on round forms. Square forms do not have a
center light.
and grade
it
back until
it
98
How you paint the center light is different for different parts of the body.
With the
Make
form
ARMS and
LEGS:
adding
Don't put
on the
correct before
them
light
form
on.
3~/yjx-
With the
lM-
TORSO:
Always make
the center
breasts.
Add
highlights only at the very end (if at all). The highlights go on the
corners or in the center of a light (as on the torso). Always relate the
highlight to the light source, and make sure it goes toward the hue of the
light source. Also relate the highlight to texture
a very rough texture
has almost no highlight, while a smooth texture has a stronger highlight.
Remember
on dark skin
than
it
sides,
really
and one-half
light.
~
NOTE ON REFLECTED
LIG HT
light
It is
lighter
may
reflect
Its
color
is
When you
more than
LAY-IN
99
Planes
In painting, always work from large to small. First, look for the planes of
the figure on the large forms like the head or torso. Only later should
you add the planes on the smaller forms like the nose.
On
the values
move
closer together
is
in relation
on large forms
like the
value
head.
yL*cccPte4->
sdlt-fldLi CuAArtjiL
aJUtca^ n&dbUjJL
when
further away.
When
When
much
the
do not develop
better.
Do
it
too
make changes
however, make
not
When
UULhts\j*J*JU
either
When
the
TOP PLANE
is
in the
SHADOW,
there
is
To paint the top plane in the shadow, first put in the value
3 shadow with vertical brushstrokes. Then, usitig the same
value 3, paint the top plane with horizontal brushstrokes.
The
100
An
edge plane is never the main plane you are looking at, but it is
from a side plane. The edge plane is the actual edge of a form.
can be on the top, side, or bottom of a form.
different
Do
It
not put
of the edge plane is the same as the main plane it's on. The
chroma, however, becomes more neutral it is usually two steps weaker
than the chroma of the front plane. In this way edge planes make your
painting look more colorful. Because they are more neutral, they make
the chroma in the front plane stand out.
The value
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HRZ/i
is,
ASSIGNMENT
To see
Front lighting
Form
lighting
HZ
MW(*
Rim
lighti}ig
3/2
Back lighting
t^
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HZ
2/(0
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LAY-IN
101
Hard
Soft
vs.
Edges
important that the edges are correct as you paint. If your edges are
your form will look correct. Begin with the outline, then paint
the edges inside the form.
It's
correct,
Make
on round
objects. If the
You can think of a scale of edges in your painting, from hard to soft to
virtually no edge. Pay particular attention to the big blur
the largest softedge area in the painting. The big blur helps to create a sense of
atmosphere.
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of.
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iXcs*^ CsAjlaAJ
Remember
these principles:
Edges are
The harder the edge is, the flatter the form will be. The softer the edge
is, the rounder the form will be.
The thinner an object is, the harder its edges will be.
Always use a hard edge to define the main effect, or center of interest
(where the light is strongest). Also use a hard edge whenever the local
softer in the
in the light.
color changes.
The
Hard edges make forms like bones project. The more projection you
want, the harder the edge should be.
Edges near the bone are harder; edges near the muscles are softer.
Strong value contrasts make hard edges; with less contrast, the edges
its
edges
are.
The
further
away an
are softer.
point light source (e.g., a light bulb) creates harder edges; a diffused
makes softer edges. Sunlight, however,
gives a harder edge than moonlight.
light (e.g., natural daylight)
Note:
id:
lessons from
rf.illy
if
When you
begin painting, make all the edges soft. Then, as you develop
the painting, start to vary the degree of softness on the model. Create a
"big blur" in the areas of least interest, where you don't want the viewer
to look. When the painting is about three-fourths finished, pay more
attention to variations in edges. Look for lost and found edges, for where
the form "disappears" and "reappears."
On
and out
(hard).
To make your edges soft, first paint the two values side by side, leaving a
hard edge. Now zigzag through the wet paint with a clean brush. Then
brush over the zigzag (vertically in this case). The larger the zigzag area
is, the softer your edge will be.
ASSIGNMENT
To see the difference between hard and soft edges, try this exercise. First
paint an apple with soft edges on thin canvas or paper (A). Then paint
another apple with soft edges on canvas board (B). Now cut out apple A,
giving it a hard outline, and paste it on the canvas board (B). In this way
you'll be able to see an apple with a hard edge next to an apple with a
soft edge.
AstldLujL,
3
LAY-IN
103
Finishing Touches
Finishing a painting is primarily a matter of bringing out the brushwork
in the light areas and modeling the details. It's the time to make minor
adjustments in the model's complexion as well as subtle hue and chroma
changes. But don't lose sight of the painting as a whole. Always check to
make sure your drawing is correct. And be careful, as you refine your
work, not to obscure the main effect, action, and form.
Choose
putting in as
BRING THE
BRUSHWORK OUT
IN
THE LIGHT
size of the
brushstroke before you put it down. Apply the brushstroke on the form,
but make sure it goes with the action.
^tujAlZ
-^
There are four sides to every
brushstroke. Keep the hard edge
in the direction of the light (so that
edge
is
Use cross-strokes
in the center
and
104
model the
shadow.
S''3-
On
and
Remember
top planes
and underplanes
differ
of the
shadows
if
ASSIGNMENT
is*.
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3.
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^jLZ&ytX-
*For this small form in the center light, paint the top plane value 9, but don't paint an underplane.
Instead, paint around the bottom of the form with a value of 8%, which will give the illusion of an
underplane.
"Along
FINISHING TOUCHES
105
lIGfij
T~s SKAW-'
A good way
to loosen
up
is
done
under three hours. Try
some
yourself.
Spend
the
first
my
my
As you look
at
the gallery of
my paintings in
Philipp.
The captions for my paintings will help you to understand the thinking
process behind my work. By showing you how I have developed beyond
the lessons my teachers taught, I hope to encourage you to explore
further
on your own.
107
you began
little room
to paint
This palette
11)8
%-^m
PALETTE
ARRANGEMENT
109
Loosening Up:
A Demonstration
One
a painting to
paint canvas after canvas in the same way, repeating the same subject
matter. Of course, some repetition is necessary when you are learning.
But even then there is a sense of discovery and accomplishment, of
finding out how to do something and mastering the craft.
The demonstration that follows shows how I've modified the lessons
from Reilly and my other teachers into a more intuitive approach. I
decided to use a loose, impressionistic technique to paint the view from
one of my studio windows. I have mentally painted this picture for the
past twenty years, and although I have photographed the scene many
times, it has never looked as good in a photograph as it does in my
mind's eye. One bright, sunny day in July I thought the time had come
for me to put my subconscious thoughts on canvas.
Preparation
110
V
Wi
\i
Step 1
Facing a blank canvas can
and I find
make a
be unsettling
mark on
may
use
put out
colors.
my full
Here
palette of
choose yellow
Step 3
With a Grumbacher "Edgar
Degas" series no. 5 bristle
brush, I continue working
with yellow ocher and
viridian, both thinned with
turpentine.
brushstrokes
add more
and notice
that
don't try to
making too dark a statement so early in the procedure. The yellow ocher is
adding brushstrokes of
does not
with a rag
made.
to be
changes have
if
use a
Grum-
way
mean one should
think
and
make what may be no more
than a few scribbles of color
on the canvas.
think too
just
much
let
don't really
at this stage
add viridian
to the
At
don't
Step 4
Burnt sienna
brush,
this
things happen.
Step 2
Still
is
point
know how
to the
is
now added
make
I really
want
the
I'm keeping
my
eyes half-
many
details.
What I'm
is
LOOSENING UP
111
Step 5
I'm
now using
ultramarine
5 bristle.
Usually I change brushes
only when another size is
needed. Sometimes I find
is still
the no.
and using
it
it
constantly
It's
and
also by
some
to
sections
Step 6
The forms
in the
painting
It is
me
not
still
really don't
much;
know what
is
to be-
the painting.
suppose
it's
and
not trying to
for
but
blue.
happen.
to
uncommon
I'm
1 1
going
with
just
is
not
my way
Step 7
The canvas
more or
is
less
From
now
little
more
on,
must
be a
in control of
happening.
what
is
lay in the
doorway
adding a
large
little
window
viridian.
The
raw umber and burnt sienna lightened with titanium white. The window
doorway
chromium oxide green
ocher.
to these details!
LOOSENING UP
113
Take Control
Step 8
foliage with a
green,
shadow
doorway.
The
objects in the
in this painting
is
apply
this
Then taking
the
left, I
lawn. First
put
in the
114
Bno\n mi
ESSONS
In the
shadow area
of the dirt
color
shadow of
the foliage.
jump
in value.
LOOSENING UP
115
Pull
Together
It
Step 8 (Detail)
from step 8,
you can see that my brushIn this detail
am
the canvas in
buildings.
It is
and
a stage dur-
Step 9 (Detail)
Once I'm
specific
with
satisfied
decisions,
my
start to use
sentially
it is
repeating
a matter of
in
more
and color
Almost all
abstract shapes
relationships.
my
more controlled
look,
changes
painting sev-
The great
appearance
of the canvas usually o CUT
in the
From
come more
subtle.
'Mdft.llll
16
Step 9
At this point
the
begin to pull
Many
and
stated,
begin to sug-
wth a
leaves
no. 1
round
step
using a no.
foliage,
round
chroma
is
too strong
and
from
values.
Where
light, I
the foliage
cadmium yellow
viridian
is
light to the
and white.
also
Step 10
Once everything seems
cor-
rect 1
fence
and
little
mix
add a
clothesline. I
a middle-value gray,
cerulean blue to
it,
round
and
wet fence. In
some of
the
oil,
so that the
intend to create.
LOOSENING UP
117
Add
11 (detail)
11 (detail)
it is
in a
way
black
The
pile
on
feeling of
movement
repainted.
that color
in the clothes, so
Bl>0\n HE LESSONS
all the
problems have
many
Once I
and rework
impasto
118
desire. If there
too
is
much
impasto,
scrape
and pole
between the leaves. Finally I add the red and blue clothes,
and the painting is complete.
lots
the clothesline
and
to lose
down
carefully,
Then
clothes.
light areas of
cadmium yellow
use a no.
round
bristle brush,
while
an almost
pointillist technique.
All the red flowers are painted wet on the wet green. Then,
after
everything
varnish.
is
dry,
add
a final coat of
Winton picture
LOOSENING UP
119
Gallery of Paintings
This "gallery" of my paintings spans a variety of techniques, from more
controlled to fairly loose. In each case, the method was determined by
my inclination at the time and the subject to be painted. I do not mean
that a particular subject should be painted in a specific manner. On the
contrary, with the exception of commissioned portraits, I let intuition be
my main guide.
Even when a controlled look is desired, there are several ways of
arriving at a solution. One method is to start with an accurate, detailed
drawing and stay within its guidelines throughout the painting.
second method the one I prefer is to start in a loose, sketchy manner
finish
is
(Zotltwllcd This painting was carefully planned. From the moment I saw the enamel
anc co PP er jardiniere, I wanted to paint it. I set up the still life with an
Tprhviimip
Using
CL
eye to the interplay of color. The solid blue drapery, of course, establishes
the main color theme. But notice how the striped wall covering in the
back provides a soft echo for the colors of the pot, while the mid-Eastern
tile calls attention to the intricate patterning. I spent days rearranging the
composition until it looked just right. At one point I decided there were
too many big, solid shapes, so I added the delicate touch of the twigs and
small buds.
Painting the picture itself was a slow, tedious process it took me
about six months. As you can see, there's a high degree of finish, with
Composition Blue
oil
on canvas
American
Newmgton Award,
Artist-* Professional
Grand National
I
120
xhtbition 1981
weak
side. Careful
placement of the
gave the
highlights
it
correct form.
This
is
spot
in
the warmest
the painting
and thus
attracts the
make
hammered
viewer's eye. To
it
look
like
copper,
the
indicated
change
in
value
On
added a
si-
reflection of
Even
details like
these Arabic
letters
are important.
The
perspective had to
be correct
to
show
carefully repainted
the connecting
edges.
GALLERY OF PAINTINGS
121
Study
ofTextures
Young Athlete
on stretched paper
40" x 34" (101.6x86.4 cm)
pastel
Andreic Nelson
Whitehead Award,
Pastel Society of America
recipient of the
Exhibition 1981
v
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amount of pastel applied to the paper to a miniyou can see how to establish the values by using watercolor.
After making a careful drawing, paint the darks a solid black and the lights a correct value
of gray. When the paint is dry, continue with pastels. Take special care to place the
mum. On
it
122
Bl
>o\|)
him ESSONS
made
all
of plastic or
the
edges
main
light
flected
model brings it
forward and pushes
the figure back.
re-
made
the
round the
of the
edges weaker in
chroma and the halftone warmer to help
to the
The sculptural
and a
light.
The
feeling
shoulder pads
ball.
value of
lighter
underplane here
gives a forward thrust
to the racket strings.
receding.
spent
of
the knuckles.
all
lighting
the knuckles
and
strengthened their
chroma by adding
red
GALLERY OF PAINTINGS
123
Different
Techniques with
the Figure
(>//
124
For the oil painting here, I gave the canvas a weak-chroma underpainting
to simulate a pastel paper. The model's complexion is a medium chroma,
with the chroma becoming stronger on the face and strongest in the chest
area. I kept the background sketchy and only briefly indicated the
various things behind the model.
After completing the oil painting, I decided to paint a pastel using the
same model and pose. Everything in the pastel is softer and lighter, and
the colors are more luminous. To get the effect I wanted, I varied the
color temperatures. Note particularly the blue in the chest area and the
blues and greens on the legs.
Figure Study
oil on panel
16" x 20" (40.6x50.8)
Figure Study
pastel on paper
17" x 23" (43.2x58. an)
GALLERY OF PAINTINGS
125
Painting with
Texture
effective statement.
For this painting I used one of my favorite methods. It's a lot of fun to
I give the canvas an underpainting of a weak-chroma burnt
sienna and allow it to dry. The final colors are then roughly painted over
this. What the underpainting does is to give a soft unity to the whole.
do. First
oz7
20"
16"
(50.8x40.6 cm)
The concentration
warm
color
of
the
face. By softening the
is in
made
of
the face
wanted,
avoided de-
tailed features
merely suggesting
Notice
is
and
mouth.
background color
again adding to the
painting's unity
of
showing
through the gown,
flesh
added a
little
of
color of the
come
painted
it
belt
forward.
darker than
and
the
126
HI
YOND
HI
body
ESSONS
my
gown.
This painting
was done
in three hours.
It's
good way
to get
down
to
character.
For this painting I used an old canvas and painted directly over the old
At points I even let some of the old background show through.
The main center of interest, however, is clearly the face.
picture.
oil
18"
No
Here
pronounced tooth of
the used canvas by
using a drybrush
technique and then
working with a palette
knife. Although the
background
is simaliveness
heightens the pen-
ple,
its
face.
put just
enough
on the eye
and
light
light
to the right
catch
up the
iris
of
you look
closely here, you can
see that although the
that eye.
If
in
a broad manner,
everything important
is
indicated.
This shoulder is
darker than the background, and the contrast projects
it
forward.
Notice
how
the jacket
even
lining looks
lighter
than
cause
of
it
behard
edge.
is
its
GALLERY OF PAINTINGS
127
Textures in Pastel
Originally
for a
All my paintings are really studies in texture. Here the texture of the
drapery, the girl's face, and the doll's head had to be carefully controlled.
The loose handling of the drapery conveys its roughness. For the girl's
head, which is smoother, I used a tighter technique.
The
Mother
Little
on stretched paper
24" x 20 "(61x50. 8 cm)
pastel
Award,
Exhibition 1978
Megan Devir
collection of
In
I
painting drapery
ligraphy
portant.
is
very im-
The
direction
introduce other,
weak-chroma colors
so that does not
should be varied as
much as possible
but
it
look too
flat.
The
doll's
head
is
the
smoothest, shiniest
object
in
the painting
strokes,
used my
fin-
made
the
highlight
edges and
somewhat
hard.
28
of
repeated
in the round shape of
the dress and then
reversed in the round
the chin
shape
head
is
of the doll's
For this large pastel portrait, I added a second figure in the background
to fill out the area behind the standing child. This second figure then set
the mood for the background, where the colors give the painting a
feeling of fantasy.
Creating a sense of space was important here. The girl and her doll had
white dresses, but I added warm color to the doll's dress and carefully
positioned its overlapped folds to make it project. Then, by adding blue
and green to the girl's white stockings, I made her legs recede, so that
her dress, too, projects.
x 29"
(94.6
x 73.7
GALLERY OF PAINTINGS
129
Making Flesh
Luminous
One
is
the lower
the
thin paint
and
soft
edges.
The
ery
the
left
side of the
canvas.
This straight
arm
drape counbusyness
of the figure on the
left side. The straight
arm also emphasizes
straight
teracts the
and
leg
drapery helps
to
Observe how
shows tenbecause of the
legs.
this thigh
sion
hips
and upper
on the
is
more
30
relaxed.
thigh
painted with a
heavier impasto After
building up the imintermingled
pasto.
cool and warm colors, using almost a
drybrush technique.
is
pressure of leaning
I
Model
oil
in
Thought
recipient of a bronze
GALLERY OF PAINTINGS
131
Texture in
two
Still Lifes
objects.
this
one
to
make
this
on one
or
painting and to capture the iridescent colors in the smooth part of the
shell.
The Sea
oil
Shell
on panel
The top
is
made
The background
interesting
by subtle changes
in its color and edges.
All
the underplane
edges are
soft
burnt sienna
ange
132
is
painted
with variations of
and
vindian.
The texture
of the table,
Here
same
direction.
Three Pears
oil
on panel
As
the
right,
it
background moves
becomes
lighter in
to the
value
As the edge
of the table
the pears,
becomes
it
meets
The
softer.
to
orange
The handling
of the
it
lies directly
on the
table.
GALLERY OF PAINTINGS
133
Focus on
Facial Features
so
wanted
to paint
him
in
warm
Mediterranean colors. The forms are built with a series of small pastel
strokes, left
open
in
many
intermingled with
places.
and
warm
structure,
making him
and a strong
To make his
distinctive features
good subject
for a portrait.
My
pastel
Father
on paper
17" x 14" (43.2x35.6 cm)
pastel
collection of
Justine Barbara
134
Grado
eyes
chroma
added a middle-
red, in the
same
was
also
added
to the
is
above the
highlight of the
iris.
this
Notice
how
the
move
into the
and paid
to the
special attention
placement of the
highlights.
GALLERY OF PAINTINGS
135
Pastel Portraits
is
was very
My
Son Frank
pastel
on stretched paper
To make
the paper
the highlight.
possible,
heads
In
vignetting an edge,
try to
make
the
shapes
abstractly interesting.
this
I
The calligraphy
is
different
the green
of
from
the strokes on
136
cape
of
shows through
At the time of
this portrait
had
just
paintings and wanted to paint something with less detail. My son John
was elected to pose. I chose a dark pastel paper and stretched it on a
piece of Masonite. Using only one color a dark brown pastel I made a
drawing. Once this drawing was complete, I slowly added color to the
face, as well as black for the accents. The feeling of the figure emerging
from the background color gives the picture an air of mystery.
^ ^^^H
fei
My Son John
on stretched paper
23" x 17" (58.4x43.2 cm)
pastel
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GALLERY OF PAINTINGS
137
Working Loosely
and
keeps the background color from becoming too cool.
strokes of blue
of this
is
it
and the
The face
soft.
face.
painted
and found
edges, and with the
with lost
what
is
almost a "big
blur"
edge.
The brightest
the red scarf
part of
is
be-
you
to the front
of the
to the stronger
of the chin.
38
BE YOND
TH E LESSONS
edge
edge
GALLERY OF PAINTINGS
139
Creating Interest
Still
oil
Life
with Milk
In painting
was
to
Can
on panel
This
edge
to
soft, vertical
first
edge of
rose and from
the harder
the
painting
in
burnt
si-
it
it
some
sections, wet
on wet.
The edges
of the
face the
at
where they
light
source.
made
of glass,
hard highlights.
is soft,
of
while
edge
eye
added
leaves,
was
the rose
which lead
can.
140
did an under-
The
first thing to notice in this painting is the axis of each onion. The
varied directions of the onions add interest and movement to the
composition. The top lighting also creates interest by giving a specific
Onions,
oil
on canvas, 11" x 14" (27.9 x 35.6 cm), collection of Mr. and Mrs. Walter Nelson
GALLERY OF PAINTINGS
141
Telling a Story
an interior like this one, I always try to think of a story for the
which gives it a focus. The open letter and single rose on the
desk create a feeling of mystery, while the lit-up but empty chair adds
drama. The title Love Lost suggests the story I imagined.
In painting
painting,
The
of
The
hall,
which is lit
overhead
helps
light,
has the
value, but
lightest
its
make
the
with an
It's
weak
like
on the
an explosion
wall,
and
it
straight
room.
of the
shadow
opposite
To
make
wall.
for
terest in the
let
line
door on the
more
in-
shadow,
as many shapes as
you can.
142
painted
it
the
open desk.
GALLERY OF PAINTINGS
143
Index
Abstract pattern, 111
Action, 19, 22-23, 34, 39,
41
107-108
Brushes, 78
Brushstrokes, 79,
104-105
Cast shadows, 48-49
Center lights, 98-99
Character
features and, 62-63
head shape and, 60-61
Chroma, 68-69
70-73
charts,
Color
chroma, 68-73
hue, 64-65
lighting and, 74-75
value, 66-67
Drawing, 12-63
Edges, 101-103
Effect, 94
Features, 56-57
character and, 62-63
in portrait sketches,
106
proportions of, 53
Figure Study (oil), 125
Figure Study (pastel), 125
Finishing touches,
104-105, 118
Flesh, 130-131
Foreshortening, 40-43
Forms, 19-26, 28, 74,
112-113
action and, 19-23
boundaries of, 18
foreshortening of, 40,
42-43
of head, 52-53
Growth
lines,
59
58-59
110-119
Love Lost, 142-143
Materials, 78, 80
Model in Thought,
130-131
Modeling, 104-105
Movement,
32, 33, 35
Mr. Frank
Johnson, 134,
S.
features
forms
of, 53,
of,
level,
64
Hue, 64-65
Jennifer,
129
method,
140-141
Onions, 141
144
Palatmo
140
Painting, 76-77, 81
120-123
Strain,
36-37
Symmetry, 28-29
Textures
loose technique
in,
Reilly
method
of,
80-91
126-127
128-129
132-133
still life,
oil,
pastel, 122-123,
108-109
Value, 66, 67, 74-75
Pastel
figures, 122-123,
Vinci,
Leonardo da,
11
128-129
portraits,
134-137
Wash-in, 80-85
Weight, 36-37
107-108
Pivot points, 40-41
-point
46,
94, 100, 133
Six lines, 17, 23
Spectrum color wheel,
Philipp, Robert, 9,
Still Life
Planes
Shadows, 44-47
cast, 48-49
forms and, 44-45
65
My Father, 134
My Son Frank, 136
My Son John, 137
in
Reilly/Munsell color
wheel, 65
Relationships, 28-31
Sea Shell, 132
110-119
of loose technique,
Text set
Reilly,
23
Loose technique,
124-125, 138-139
demonstration of,
in,
Head
Home
80-91
Head
controlled technique
56-57
52-53
hair on, 58-59
planes of, 54-55
shape of, 59-61
Highlights, 98-99
110-119
Little
see also
Progression, 97
action, 16
six, 17,
Pointing off, 34
Points of support, 34
Portraiture, 106, 134-137;
String of pearls, 15
Complexion, 92-93
of Reilly
44, 46,
Outside envelope, 25
Halftones, 44-45, 95
Demonstrations
shadows and,
Gradation, 96
Hair,
Connectors, 32-33
Controlled technique,
120-123
Counterpoint, 34
94
effect,
135
Color note, 86
Color wheels, 65
Composition Blue, 120-121
Light
BRIGHTON
BRANCH LIBRARY
NE1500
.G6 5
1965
The Dat
8 *_?
!!^ii*Ltat indi-
lectures,
among
the
Hudson
and the
Pastel
in
Joe Singer's How to Paint Figures in Pastel, and he is listed in Who's Who in American Art and Who's Who in America.
Jacket design by
Bob
Fillie
WATSON-GUPTILL PUBLICATIONS
An
Drawing
The Six
LilteS
figure.
Understanding
On
'
'0
(D
'(
Color, Light,
and Form
an angle that best reveals the form. You should, however, observe what
happens when the light is from the front or back, or when it just hits the
nm of an object
front lighting
Color
are painted
two values
rest, and
chroma
strongest in
is
Painting
under
color)
Advice
different
lighting conditions
Wash-In
4. Center line
from pit of neck
5.
Shoulder pnnft
to crotch joint
6.
lawlme
beneath car
to
width of hif*
to crvtdt
You can
Lay-In
The
rest of the
six lines
see
how form
light-
light,
and Painting
the
in
Stage
Finishing
Touches
weak
in the light
chroma
and
however, helps
to clarify the
form.
form
is
DRAWING
COLOR
you do not
my
Starting with
If
canvas
an Ink Drawing
a Palette
1.
Arrangement
mm
feel
try the
Pastel Portraits
This
is
was very
his hair. In
ei<er.
Loosening Up:
A Demonstration
t"*t
f''VC
indicate Oie
main
features
Reinforce Your
Drawing with Ink
Use a nonbUrdmg felt nib
1.
brush
coal
Gallery
of Paintings
itrmgth
ink. or uou'll
end
many
trate
concen-
details
on the
shapes
mam abstract
Once
thts
drawing
Add
Coal
of Linseed Oil
Using your cutter or varnish brush, coat the canvas
first in
horizontal direction
<t
and
Wipe
with
cheesecloth
AND BEYOND
PAINTING
italog:
SON
PUBLICATIONS,
1515 Broadwav,
10036
ISBN 0-8230-3016-4