Friday, December 13, 2013

Charles Cecils Paint Grinding Method and Recipe

Portrait of Emanuele by Jean-Antoine Norbert 2013

[Video coming soon]






A kind thanks to artist Jean-Antoine Norbert for giving the demonstration and sharing the information he learned during his 2013 workshop at Charles Cecil studio in Florence (and the homemade pizza).

Cecil Palette:
Vermillion Red
White
Ivory Black
Persian Red
Yellow Ochre

Cecil Medium:
25% Canadian Balsam oil
25% Sun-thickened linseed oil
50% Thinner*

*Fist painting use slightly more thinner, for subsequent layers use the same medium.

Grinding materials:
Grinding pestle
2 pieces of glass (previous coated with adhesive and white sand for grit) (one of colors and one for white) mounted on boards (white background recommended to see better during cleaning)
Linseed Oil
Mineral spirits
Paper towels

Maestro (Michael John Angel):
To get a pure black: use a high quality pigment and grind everyday for 15 minutes for a year.

Paint away.

Evanny
(la balcone piccola a Firenze)

Friday, August 2, 2013

Martinho Correia Summer Portrait Workshop Review

Portrait Workshop - sight-size live-model
Instructor: Martinho Correia (speaks English, Italian, and learning Portugese)
Location: Florence, Italy at Angel Academy of Art, cast studio
Dates: 15 - 26 August, 2013       9:30-12:30, 13:30-16:30 Monday-Friday

This overview is just a little taste of the actual experience. I highly recommend taking the workshop in person because nothing can replace the one-on-one instruction and being in that focused environment; more information is revealed and the external time limit helps put a necessary amount of pressure in order to mentally process and apply the techniques quickly, which otherwise might be neglected when attempting alone. Besides, there is also the added benefit of camaraderie and support when your previous habits are rebelling against the new approach. Be patient with yourself and the process. The closer you focus on listening and applying exactly what is being said and shown the easier you will catch your mistakes in action and get a more satisfying final result.

Typically throughout the workshop, especially during demos, the students use sketchpads to keep visual (doodles) and verbal notes and take photos (please ask permission first before photographing models or other's artwork) for future reference when practicing or finishing up at home. Keep handouts to reference during workshop and afterwards. The studio space is setup with storage, work surface, and seating at your easel station. At one end in a large table setup with mediums, paper towels, plastic wrap and other basic needs. Demos would be conducted either at an easel or the large table. A board of reference images is always on display and a large projected slideshow accompanies the lecture. Martinho teaches the entire painting process. Everything is covered from initial setup to the varnishing stage - what materials and how to use, how to think about and see your painting/subject better, how to resize painting, preservation and care tips, and how to transport back home.

Martinho Correia has a Fine Arts Degree from the University of Calgary, Education degree from British Colombia University, Master's degree from the European University in Rome, completed the program and taught at Angel Academy of Art, and has teaching experience since the mid-eighties.
Martinho is relaxed, funny, and gracious. He is very knowledgeable, methodical, and well-organized. He helps you keep on track, explains the process clearly and is always available to help you through a problem area or clear up any confusion. The mood in the studio is lighthearted and focused. Either at the end of the first week or the end of the workshop, Martinho organizes a dinner at the authentic italian restaurant I Tarocchi and the final day of class is celebrated with a shared bottle of wine. You can expect to come away from the workshop well-prepared to continue painting in this style or easily adapt it into your own.
To see his work and find out more, visit:
www.martinhoart.com
http://offthecoastofutopia.blogspot.it/

Stay up-to-date by checking into the Angel Academy of Art website in the Spring for next year's workshops. Martinho will be teaching the methods of a modern day contemporary artist, showing how to work partly with a live model and from a photograph.

How to Care for Paintbrushes Properly

First-rinse brushes in container of mineral spirits, Second-rinse in another, [3-rinse in linseed oil, 4th-rinse in clean mineral spirits,] wash in warm soap and water. I skip 3rd and 4th rinses if I am working everyday. I will do those steps when not painting for several days and also reshape them and let dry with a little conditioner or olive oil.

Seal new palettes with 2-3 coats of linseed oil before use. Either rub paint into palette or wash off with mineral spirits. I like to occasionally reapply a little linseed oil.

(More detailed description coming soon)

Wednesday, July 3, 2013

Artist Daily - Human Anatomy for Drawing for Artists PDF (link)

Artist Daily - Human Anatomy for Drawing for Artists PDF.

http://sherristakes.com/download/art/DrawingAnatomy.pdf

Friday, May 17, 2013

Art Style Generator - How to expand your style!


"...a new navigator for contemporary works of art created by Charles Morris, which is designed to highlight the current renaissance of everything, showing how the widest range of human experience is expressed in contemporary art.

Art Style Generator allows you to dream up new works of art with any combination of stylistic elements. You can then commission Morris or another artist to create the piece. Art directors and artists are also welcome to use the site to help envision and plan new works of art."


A friend and I are conspiring on getting a group of artists together and practice this with a model or perhaps we'll combine it with the weekend sketching outings. I'll share what becomes of it! :)

Sunday, May 5, 2013

Gesture - Capturing mood/energy and personality

[Slightly] exaggerate features you want to emphasis movement or personality of. Drawing directly what you see in reality can appear stagnant, stiff, lifeless as a realist drawing. The goal is to stay within the limits of believable so to keep this image visually harmonious and balanced. It is a tool for directing attention and communicating whatever is desired.

Harold Speed talks about how line quality and hatching techniques can effect mood as well.

Info source: # Wendy #AAAF

"If the gesture is off, there is no amount of surface details that will correct the drawing." - Inge
Start with your foundation. Without proceeding through the necessary stages/steps, a drawing will follow apart, but with a good eye and adequate knowledge it can usually be corrected. Don't abort ship until you've a least given some effort to trying to save it. Sometimes it is better start with a clean sheet of paper; sometimes it faster and just fine to drastically correct your original drawing. Situational.

Here's an artist info blog I stumbled upon in Google images: Gurney Journey

So, what are you (intentionally or [sub]/unconsciously communicating in your work?

Landscape painting Tips - Color of a city

Each place has its own color, which is why each city has its own particular atmosphere. Assisi has a lot of pink reflecting from the type of stone that was mined there.* Whereas, Florence has a golden light. This naturally effects your palette choice when [plein air] landscape painting or painting a cityscape, in general. The color will create a sense of mood, but also location. Hence, I remember years ago as child seeing a simple painting of a house and instantly correctly guessing Bermuda. It will make a huge impact for your end result.

Florence, to keep to sky from going to blue use: light yellow oxide. Nice and transparent.
Yellow ochre is too dulling.

Start with dry brush-in of your shadow/light shape composition. Fill in your shadow shapes. Pay attention to what time of day it is and what effect that has. Decide and act (aka paint).

*Verify, retelling from memory

Info source: #Llewellyn

Tips on Paint Brush Care

If you have to leave you brushes a long time without adequate cleaning or simple want to reshape them>>

Let sit in linseed oil and wrap in plastic wrap. (I found from previous experience, keeping my palette in the freezer kept my oil paints from drying out as quickly.)

 Work hair conditioner into bristles, reshape and carefully wrap in paper, and let dry. Remove paper form once dry to reveal a nicely reshaped brush.

(Info source: #Savannah via #Jered)