Fruit Painting in progress.

Possibly the finished painting 

The colour beginning using tempra  pigments.

Small study

Painting on my studio today

Work on Seago studies using a colour beginning stage one 

Stage Two 

Further big brush oil colour. 

Small brush working to lights

Final result impasto whites and random marks for pebbles.

Day 3 studio painting , recreating E'bauche painting study from Edward Seago painting

The beginning layer "The Soup" 

The completed study after Seago 

Studio Work Day two of Direct painting Exersise

Stage 2

Stage 3

Stage 4

Stage 5

Stage 6

Still to be refined and added to .

Studio Painting Two Day Direct Painting Exercise

Day 5 professional oils

The technique of Tempera painting was used by Botticelli and many Renaissance artists. 

The medium had many limitations as you could only paint with it area by small area . It was difficult to apply to large areas  however fresco paintings were common.

Jan  van Eyck Painted with tempera and oils , which gave a very different effect. Turner and Rembrant used raw pigments with oil base.

Martin described the reflective qualities of using a glaze, how the gesso is the reflective part of the painting.  A transparent layer of coloured glaze becomes luminous because of what is beneath it.

A Grissille is a tonal black and white under painting that has colour by the addition of glaze .

Rembrandt added 'gesso force' extra white layers  and optical mixes, primary grazes layered on top of each other to create secondary colours. The sequence makes a great difference. Many thin layers were added.

Stage one of today's studie painting .

A cadmium yellow light substrate was the starting point. Then earth coloured pigments  were 

layer on top using an E'bouche tempra technique using  a special medium . Lots of raging off to make varied texture.

Second stage of painting 

Noticed the forced white pigment tempera on the skyline.

This shows the forced white ,

Third stage glazing with transparent red and a Resin medium make shout glaze mix is not slide ( keep a really dry brush watch out no spirit anywhere near because it will take the paint off)

Fourth stage 

Grazing with Indian Yellow and raging off in places

Fifth stage 

Final painting with oil paint applied to house and foreground grasses. ( no spirit to be mixed with the oil paint )

Day five Professional oils

Day 4 Professional Oils

Day 4

Reviewed 

Learning 

Studio Craft 

Subtractive Mixing 

Value optics

E'bauche and Direct painting methods

 Martin talked about Gestalt suggestive visual ambiguity 

Related to what you can make the viewer believe from as few marks as possible.

Today we made a study from a Seago 

Painting using the Direct painting method.

First stage make a pencil sketch

Stage 2 

'Colour Beginings'

A colour  E' bauche

Rag in use 50 50 paint to medium 

20 minutes 

This is my colour beginnings 

Stage 3

Blocking using a size 12 filbert brush 

No medium dry brush no cleaning mix all colours on the pallet  with the brush.

1.30 minutes 

This is my blocking stage 

Lots of Tonking and more colour contrasts 

Next stage 4

Work on creating focal point using 4

filber Brush in this case I chose to work on the golden section area blocking in buildings and back grounds creating contrasts.1.30 minutes

Last of all stage 5

Everything must be done in the under painting, then last of all add the Impasto 

Pallet knife work only to the focal 

points .

Bingo 

don't forget to create a colour counter- change 

Warm impasto and cool impasto.

Day 3 Professional oils

Day three 

Norfolk painting school

E'bauche Techniques

Painting by Edward Seago

Martin gave a talk about  Gridaille and E'bauche painting.

The classically taught techniques of oil painting .

 The term is applied to  the early sketch of a painting .

It is also called a silhouette or cut out  from the practice of all watchmaking.

The impressionists were criticised by calling their work E’ gauche.

Artists that have used the technique for Sir Joh Sergeant Walter Sicket Turner and Corote.

   

Stage 1,The first thing you do is make the soup which is a mixture of transparent red black and medium.

         

 

stage 2 paint this over the boul ground coloured with yellow raw mineral pigment  and then rub it out you can   also use a scraper for a sgraffito .

Stage 3,block in you black in your darks 

Stage 4, add opacity with paint and model the forms.

My study 

We learned about Range how you can distinguish different areas of paint 

Techniques you can use 

Range 

Value -counter change light to dark

Optical – transparency  or opacity

Temperature- warm and cold 

Detail – focus or blurred 

A bridge , is a area of line or any of the above.

In the afternoon 

We did a direct painting study 

Worked from. 

  Walter Richard Sickert

Stage 1 sketch out  with pencil       

Stage 2 mix in the basic background colours till they are perfectly dry rag them in place .

Stage three draw in pencil again the basics shapes.

Stage 4 using eight filbert brush painting the lines ‘ bridges’-using black.

Stage 5 begin building up in colour patches  making Opaque paint  keeping your colour       

stage  6  add fore ground strong detail and whites also  primary colours.

My study 

Day2 professional oils

Day two. The Im-primature stage complete.

Direct painting. This is the method of his Pizzaro

Today we were going to copy van Gough painting.

Martin demonstrated big brush technique using translate decent oil paint mixed 50-50 with mediumon a short ground.

Martin divided the painting into stages which he described as one

1Big brush technique

2To blocking in large areas

3Three refining into small areas and detail

4 Impasto

 painting techniques using chalk with oil paint 

The pallet of colours.

Stage 2 stage complete painting still very dry to the touch.

Stage 3

😊

After lunch Martin demonstrated the final stages

Martin demonstrated using smaller brushes a number 4 Filber

fat on to lean

Lean being the Im preimature 

And mixed oil paint 

Stage 5 impasto paint using a pallet knife 

 Martin mixed chalk. Into his white paint 50 percent this dryer out tmade the white think and luminous paste.

Think focal point 

Impasto on the Red

Use slight  cool blue with the White to make the white come foreword.

Final results 

Day one painting notes

Day one of the Norfolk painting school

 Working with lots of skills from other artists from the Flemish masters to Italian school and Turner.

Taught us  to read paintings and work from them learning skills borrowing techniques of Quroscueuro from Caravaggio (light and dark ) and  Rembrandt techniques big to small and small to big. 

Painting 

Direct painting 

E 'bauche painting 

The studies 

paintings are study's not copy's /focusing on making studies which are important Learning points.

First exercise BW photo 

 1, painting the values middle and high tones from light to dark using oil painting on a short ground using a medium.

Learning 

Use of translucent grey black, 

three tones of blacks made from  a translucent mix, soft grey it  is important to keep the first coat very very thin and mix with medium let dry before you apply to 2nd and 

3rd thick coat .

This was the baseline painting then we watch then  

demonstrator Martin Kinnear  .

The difficulty of this exercise was sequenceing the 

mixes 

The transparent paint  reflects the white ground underneath.

It was difficult managing the tones ,you're basically using the reflectivity of the ground.

Substrate that means what the work is done on might be MDF / HDF canvas board .

 

 Short ground is made by using chalk adding three parts white acrylic and water- mix the chalk on the water together first form a paste then you have to mix in the acrylic 

Keep  it in a jar or you  can Use marble dust to the ground must be fine ground.

The Flemish ground has got earth yellow ochra pigment mixed into the ground like  Rembrandt 

Rubens  would have a red background mixed into it that would be a Venetian finish to the ground. It's important to take control of your grounds because that controls the amount of viscosity  of the paint.

You can paint to ground on to a modern canvas or board.

Also we can do a varied ground so some areas can be more chalky than others. 

And when you size your canvas it's best not to use rabbit skin glue anymore because it absorbs water. 

Modern canvas size is better for the purpose now and will look after the canvas better.

Atkinson Grimshaw used aluminous ground. 

Short ground is the luminous part of the paint

Light goes through the colour which is transplant which is optical colour

glaze as well which is transparent so that increases the luminosity.

Modern impressionist painting uses a lot of opaque white paint and produces a very flat Opaque surface which draws attention to the surface of the paint and it hasn't got much depth.

Rubens used orange to add depth to it and using aluminous ground.

 The artist van Dyke used ground used to mix affects .

 Im- Primature would be more Optic than others . 

Think optics before you use white also think about the transparency of your colours

crimson Lake , lake means transparent 

A code tells you about  that colours transparence. 

Mediums
Tradition 
Mixture of Resin  damask 

the original way was used 50% Resin with 50% turpentine a strong mordant.

Modern mediums can use a modern and the alkid varnish 50 Cent with a low oder dolvent  which is it odour free solvent 50% most good quality stand gamsil is by Robert gambit manufacture. 

Store in a jar once mixed

with a topping of solvent to stop the drying process.

Turner often added linseed oil to slow drying of the surface of the paint new .

Oiling out 

This is Vandykes technique which is about creating 

a total value painting or underpainting. 

Then when that is dry oiling the whole surface so then glaze could be put on with transparent oil paint 

The modern solvents can be recycled because they don't evaporate in the air so that means that they can they last longer. 

Modern solvents on safer and easy to reuse

Cleaning Brushes

To clean the brushes use a brush kettle where you can soak hog brushes. Black sables for the top layer painting only wash after use in a special Olive oil soap , 

You can use brush cleaner and also conditioner to bring brushed back to condition.

Basic brush kit you need a number 12 Flat brush small medium small large and small palette knife 

Scraper or scariffito plastic brush 

 Turner did his very  last paintings with Rag  and the palette knife the randomised tool . 

In the afternoon we did colour theory chevrral colours wheel. 

Harmonic warm and cool colours complimentary opposites. He talked about the saturation of colour .

warm and cool colours 

how to make a blue warm and make a blue cold.
Complimentary colours
Additional white to colours is a tint is shade adding black to colour .

Edited notes on Day One

Day one of Norfolk painting school

 Working with lots of skills from other artists from the Flemish masters to Italian school and Turner

Taught us  to read paintings and work from them learning skills borrowing techniques . techniques of Quroscu euro of Caravaggio light and dark of Rembrandt

" big to small and small to big" I think he meant textural mark making .

Painting  Techniques we will Learn are 

Direct painting 

E 'bauche painting 

We are making  study's  not copies. 

First exercise  painting the values and middle and high tones from light to dark using oil painting on a short ground.

This was the baseline painting . We painted a what we knew. 

Then we watch the demonstration by Martin Kinnear 

The Use of translucent grey black which was used in   three tones blacks which was made by the addition of medium.

 A translucent mix with Ivory  black  which became a   soft grey with the addition of medium.

This is a important point to keep the first coat very very thin . Allow to dried before you apply to 2nd coat using the rag techniques. Finally 3rd coat white opaque  paint .

The difficulty of this exercise was sequence of different layers of opacity. It was difficult to mix transparent paint and managing the tones and you're basically using reflectivity of the ground just like Watercolour.

Substrate that means what the work is done on might be HDF canvas board Sectra

 Short ground is made by using chalk adding three parts white acrylic and water mix the chalk on the water together first form a paste then you have the acrylic install it in a jar or you  can Use marble dust to the ground must be fine ground.

The Flemish ground has got  earth yellow ochra pigment mixed into the ground and a Rubens  would have a red background mixed into it that be a Venetian finish to the ground. It's important to take control of your grounds because that controls the amount of viscosity  of the paint.

You can paint to ground on a modern and we can do a varied ground so some areas can be more chalky than others. And when you size your canvas it's best not to use rabbit skin glue anymore because it absorbs water. Modern canvas size is better for the purpose now and will look after the canvas better.

Atkinson Grimshaw used aluminous grounds .

Short ground is the luminous part of the paint and so it goes through the colour which are transplant which is optical colour and it will then also comes through the glaze as well which is transparent so that increases the luminosity.

Modern impressionist painting uses a lot of opaque white paint and produces a very flat Opaque surface which draws attention to the surface of the paint and it hasn't got much depth.

Rubens's  surface which is orange had depth to it and using aluminous ground. 

The artist van Dyke used grounds used to with mixed  affects .

 Premature would be more Optic than others . 

Think optics before you use white would like such as in crimson lake  implies that the colour is transparent some of your paints are very transparent and they are to be used in that way.

Mediums
Tradition 
Mixture of Resin was the original way that a medium was used 50% Resin with 50% turpentine a strong mordant.

Modern mediums can use a modern and the alkid varnish 50 % with a low oder thinner   which is it odour free solvent 50% most good quality stand gamsil is by Robert gambit manufacture. Store in a jar with a topping of solvent to stop the drying process.

 Turners often added linseed oil to his paint this added translucency and slowed down the drying time of the oil paint.

Oiling out 

This is Vandykes technique which is about doing a total value painting or underpainting. Then when that is dry oiling the whole surface so then glaze could be put on with transparent oil paint layers .

The modern solvents can be recycled because they don't evaporate in the air so that means that they can  last longer. 

Modern solvents are safer and easy to reuse

Brushes

To clean the brushes use a brush kettle where you can soak hog brushes. Black sables for the top layer painting only wash after use in a special Olive oil soap , 

You can use brush cleaner and also conditioner to bring brushed back to condition.

Basic brush kit you need a number 12 Flat brush small medium small large and small palette knife 

Scraper or scariffito plastic brush 

 Turner did his last paintings with Rag  and the palette knife the a  randomised tool this could be just a rag  . 

In the afternoon we did colour theory chevrral colours wheel. 

Harmonic warm and cool colours complimentary opposites. He talked about the saturation of colour .

warm and cool colours 

how to make a blue warm and make a blue cold.
Complimentary colours
Additional white to colours is a tint .

Adding black paint to a colour is a shade.

My day one painting  study from Turner 

At the Norfolk painting course professional oils

Tutor Martin Kinnear 

The course began with a base line work showing our understandings foil painting techniques to date.

Day one was all about Turner and the processes involved in his technical style .

Martins work,

This is my work today .

My 30min study after Turner 

Learned how to mix a short ground .

Had a super quick wiz through Cheveral Colour week .