Taube's Guide to Oil Painting
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Taube's Guide to Oil Painting...
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Taubes' Guide to Oil Painting by Frederic Taubes Reinhold
.
Taubes' Guide to Oil Painting by Frederic Taubes
Reinhold Publishing Corporation
New York
Copyright, 1965
Reinhold Publishing Corporation, All rights
Printed
in
Library of
reserved the United States of America
Congress Catalog Card Number 65-24060
Published by Reinhold Publishing Corporation
430 Park Avenue,
New
York, N.Y.
Designed by Charles N. Smith Type set by Lettick Typografic. Inc. Printed by The Comet Press, Inc. Bound by Publishers Book Bindery,
Inc.
Other Books by Frederic Taubes
Painting Techniques, Ancient and Modern, Viking Press, Inc.
The Quickest Way To Paint Well, Viking
Press, Inc.
The Quickest Way To Draw Well, Viking
Press, Inc.
Better
Frames for your
The Mastery of Oil Pictorial
Pictures, Viking Press, Inc.
Painting, Viking Press, Inc.
Anatomy of the Human Body, Viking
The Technique of
Oil Painting,
You Don't Know What You
Press, Inc.
Dodd, Mead & Company
Like,
Dodd, Mead & Company
Studio Secrets, Watson-Guptill Publications Oil Painting for the
Beginner, Watson-Guptill Publications
The Amateur Painters Handbook, Dodd, Mead & Company
The
Painter's Question
and Answer Book, Watson-Guptill Publications
Anatomy of Genius, Dodd, Mead & Company Pictorial
Composition and the Art
of
Drawing, Dodd,
Taubes' Paintings and Essays of Art, Dodd, Mead &
New Essays on Art, Watson-Guptill Oil Painting
Mead & Company
Company
Publications
and Tempera, Watson-Guptill Publications
Pen and Ink Drawing, Watson-Guptill Publications
The Art and Technique of
Modern
Art
Portrait Painting,
Dodd, Mead & Company
Sweet and Sour, Watson-Guptill Publications
The Art and Technique of Landscape
New Techniques in
Painting, Dodd,
Abracadabra and Modern
Art,
Painting, Watson-Guptill Publications
Mead & Company
Dodd, Mead & Company
Contents
List of
Color Illustrations, page 6
Chapter 7, page 49 Glazing and Scumbling
Suggested Equipment For Beginners, page 7 Part Introduction,
3.
Painting a Picture
page 8 Chapter 8, page 55
Part
1.
Basic Tools and Materials
The Alia Prima Technique Alia Prima Painting
Chapter
1,
page
The Imprimatura
11
Brushes and Painting Knives
A Still
Life
Step-By-Step
Field Flowers Step-By-Step
A Head Study Step-By-Step
Chapter 2, page 17 Canvas, Panels, and Miscellaneous Equipment
Mountain Landscape Step-By-Step
Comments on
the Colors
Chapter 3, page 21 Physical Properties of Paints Diluents, Varnishes,
and Drying Agents
Chapter 9, page 69
The Underpainting Technique General Principles
Chapter 4, page 25
Painting a
Still
Life
Step-By-Step
The Colors
Painting a Portrait Step-By-Step
Suggested Palette
Lighting a Portrait
General Characteristics of the Colors
Grisaille
How To Part
2.
Painting Practice
Painting
Technique
Paint Hair
Landscapes
General Procedure
Chapter 5, page 29
Underpainting and Overpainting
Organizing the Palette Exercises with Brushes and Painting Knives
Chapter
10,
page 85
The Use of Various Technical Devices Chapter 6, page 37
The Rock Step-By-Step
Mixing Colors Limited Palette
Extended Palette
Chapter
11,
page 91
Varnishing Paintings
Intermixtures of Neutral Colors Intermixtures of Brilliant Colors
Glossary, page 94
Color Illustrations
— The Colors, page 41 Chart 2 — Color Mixtures, page 44 Chart 3 — Neutral Tones, page 44 Chart 4 — Glazing, page 53 Chart 5 — Scumbling, page 53 Chart
A
Still
1
Life in Alia Prima,
page 56
Field Flowers in Alia Prima,
A Head Study
in Alia
Mountain Landscape
A A
Still
Life Painting
page 56
Prima, page 56 in Alia
Prima, page 65
on an Underpainting, page 68
Portrait in Grisaille Technique,
page 78
The Rock, a Painting Using Various Devices, page 87
Suggested Equipment
for
Beginners
Easel
Set of round sable brushes Bristle
brushes Numbers
4, 5, 7, 8,
10
Painting Knives
Canvas made of cotton. 12 by 16 inches and 16 by 20 inches Stretchers
in
sizes corresponding to canvas
Stretcher Keys
Masonite panels up to 12 by 16 inches Restricted
list
of colors
Painting media and varnishes
Miscellaneous materials Turpentine
Charcoal Fixative
Tracing paper
Thumbtacks Upholstery nails
Gesso priming
Part
1
gives detailed descriptions of the materials listed above.
Introduction
Three decades
of
teaching have convinced
substitute for habits of
outset of any effort
who of
in
me
that there
good craftsmanship established
is
no possible
at the
very
the art of painting. This applies not only to those
turn to art as a profession but also to the increasingly large
people who take up painting as an avocation,
expressing their inner sensibilities
for the
group
sheer joy
of
the wonderfully satisfying activity
in
of painting a picture.
By now the
total
number
students
of
thousands; and judging by results,
remarkably successful. Therefore to
meet the special needs
have taught must be many
I
my
teaching methods have been book, prepared essentially
in this
of beginners,
I
have followed my established
teaching plan, stressing the importance of a thorough grounding
technique as the
first
recommended here
step for anyone
will
who wants
to paint.
in
sound
The methods
also help experienced painters improve
their technique.
Technique
is
the painter's alphabet— the
his vision into visible form.
To
become completely familiar What
attain
means by which he can
good technique,
translate
the painter must
with the tools of his craft, and with their uses.
are painter's tools? They are the lowly brush and the painting knife.
Certain artistic effects can be best achieved by one tool, and others by
another artist
tool; the
wishes
nature of these tools must be well understood
to take
command
of his
means
of expression.
if
the
The same
imperative applies to the colors, their properties, actions, and interactions; to the vehicles
colors; to the supports
and the media
upon which
other operations and practices
these things add up to what
Most
of the successful
in
that are the lifeblood of these
a painting
is
done, and to the many
the creation of a
we mean
work
of art. All of
by technique.
techniques used today were developed through
the ages by great painters
whose works
are immortal.
All
the
instructions
condensed
of these great
into this small
masters of the past-in
book are based on the teachings these masters could be
truth,
considered the de facto authors.
some
Currently
art cliques, fortunately diminishing in influence,
continue to promote the fallacy that present-day artists should ignore the entire artistic heritage of our civilization and start painting simply by intuition.
do not believe
I
that
any worthwhile work of
however
art,
modest, can be created by such an uninformed approach, artist quite literally
that
is
doing or
somehow what he has put down will turn
There but
does not know what he
is
then the
why— he just hopes
out to be a great picture.
a large body of literature on the subject of painting technique
much
of
it
lacks any real authority. In these matters
accepted the word
my own
for
of others. Instead, for
research and experiments, often
and highly
qualified specialists including
I
have never
many years have conducted I
in
consultation with trained
world-famous
museum
conservators here and abroad. The only materials and techniques
and recommend are those
that
I
have tested myself,
I
use
patiently, over
long periods of time.
While several of
my previous books contain various results of my
research, the present volume contains the essence of
knowledge,
distilled
and brought up
to date.
I
all
the basic
have written
who want to follow a sound time-tested system
it
for
those
that will develop the
a-b-c skills necessary for proficiency, ease, and true satisfaction art of painting.
Frederic Taubes
1965
in
the
Part
1.
Basic Tools and Materials
It
goes without saying,
first
of course, that
to paint
must
gain an understanding of the painter's tools and materials, and
their uses.
A familiarity with these
starting to paint, for their nature
the painter's work, as 10
anyone who wants
devoted
I
requisites
and character
pointed out
to this purpose.
must be established before
in
my
will inevitably
introduction. Part
influence
1 will
be
1
Chapter
1.
Brushes and Painting Knives
Sable Brushes Five basic round sable brushes with short handles of equal thickness
should be part of every painter's equipment
should be handled much
like writing tools;
specifically for delineation.
extra length extending that
nudges the sable
(Fig. 1).
These brushes
the small ones are used
Long-handled brushes are a handicap; the
beyond one's hand acts as a counter-balance
away from the canvas. Thin handles, such as
hair
those found on watercolor brushes, are also undesirable for the oil
to
painter because they
do not
rest well in a
hand
that
is
unaccustomed
working with a flimsy holder.
The smallest brush shown, Number those needed for fine details on a
1,
permits precise strokes, such as
portrait, for
example. Numbers 2 and 3
They are also suitable for
are similar brushes
in
detail work, as well
as for forceful strokes on broad surfaces.
large dimensions.
Number 4, known as a script in
landscape painting, and
freedom
of execution. This
liner, is
in all
Therefore
it
in still life
painting,
painting situations that call for great
brush can follow the most delicate impulses of
one's fingers. The long, thin body of paint.
indispensable
its
hair takes
can operate on a canvas
for a long time without
interruption for reloading. This, in turn, allows the
the painter's hand to develop with
on a large quantity of
initial
impulse of
unimpeded freedom
and spontaneity.
The In
last brush,
Number 5,
contrast to the script
called a striper, permits even greater freedom.
liner,
the terminal point of this brush
is
chisel-
shaped. This characteristic forces a more vigorous application of paint.
Delineations Figs.
made with
these sable brushes are demonstrated
5A and 5B, page 30.
in 1
Figure
1.
Round sable brushes
with
short, balanced, uniformly
thick handles
Figure
2.
Bristle
brushes
in
useful
sizes
;.j
Vf 12
2
3
4
5
A. Short bristles
4| B.
Long
bristles
Bristle
Brushes
Six bristle brushes are required (Figs.
have short as
2A and
2B).
Those shown
in Fig.
2A
bristles suitable for forceful applications of paint,
underpainting, for example. Their most useful sizes are
in
Numbers 5, 8, and 10. Brushes with longer
more fluent,
bristles
have greater
elasticity.
They are used
delicate work, and for blending of colors. Sizes
for
and 10
4, 7,
are best (Fig. 2B). These are particularly useful for work on small and
medium-sized canvases. Characteristic markings made by brushes are demonstrated
in Fig. 6,
page
bristle
32.
For work on a very small scale, or for the extremely delicate blending of colors occasionally called for, flat sable
may be
used.
diluent
used
even with a or,
still
It
in
must be stressed, however,
that the nature of the paint
our work
of the paint
is
bristle brush.
worse,
brushes Vs to 3 U inches wide
if
linseed
such that fusion
However,
oil
linseed
if
oil is
and turpentine— the
used
favorite
can be achieved for thinning paint,
medium
of those
unfamiliar with painting techniques— are used, such a fusion or blending
cannot be easily and
efficiently
done with
bristle
brushes.
Cleaning Brushes
The best way
to
remove moist paint
is
with soap and water. Slightly
hardened paint should be softened with turpentine or "painters' thinner," a solvent available
in
every hardware store. Very dry paint can be
removed only by soaking the brush Red
Devil.
in
a standard paint remover, such as
Such commercial paint removers, contrary
to
common
belief,
are not harmful to sable hair or to bristles. After the paint has softened,
wash
the brush with soap and water, being very careful to clean every
particle of paint from the
neck
of the ferrule,
After the round sable brushes have
brushes
in
around the
starts.
been washed, they should be
brought to a fine point between one's as the brush dries, the sable hair
where decay
will
lips
and allowed
to dry. Otherwise,
spread and separate. To keep
bristle
shape, wrap a piece of soft paper, such as newsprint, bristles while they are
still
wet.
13
Figure
3.
Three painting knives basic shapes
in
a
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14
HI
Painting Knives
These
tools are of great importance; often a major part of a painting will
require their use. Three knives, each one with different properties,
The first
are necessary (Fig.
3).
underpainting.
made with
so that the
It
stiff,
is
1, is
the interstices of the canvas. The middle knife,
fill
to the dictates of the artist's fingers. in
It
is
suitable for
broad areas. The
last knife,
usually called a blender. Large surfaces of paint can be
is
blended and smoothed with
this knife;
it
is
useful not only for such
as finishing the underpainting of large surfaces, but also
work
in finishing
itself.
Painting knives are used chiefly for well
for
a firmer blade than the other two knives
both detail work and for applying paint
the painting
designed
a delicate instrument with a tapering, elastic blade that
is
responds readily
Number 2,
Number
undiluted paint used for underpainting can be applied
vigorously enough to
Number 3,
knife pictured,
on panels, because a
rigid
work on canvas. They do not operate
surface does not respond sufficiently
to the impact of the blade.
Taking care of Knives First of
all,
the blades must always be kept immaculately clean,
otherwise they
will
to rust, however,
mar the painting
even when not
in
surface.
use.
They are protected by an
infinitesimal coating of protective oil that
surface after
all
The blades are not subject
always remains on the metallic
the paint has been cleaned off the blade. But painting
knives do have a characteristic that needs careful watching— through frequent use, the blades
may develop edges sharp enough
not only fingers, but the canvas as well.
should be dulled. To do
this,
carborundum paper and will
If
this
to
endanger
happens, the sharp edges
hold the knife upright against a piece of
rotate the edges. During this process, a burr
form on both sides of the blade. This burr should be sanded
with
off
carborundum paper.
15
Figure
4.
Keys used
to
wedge
stretcher bars apart
16
the
Chapter
2.
Canvas, Panels, and Miscellaneous Equipment
The Canvas Canvas
is
made of either cotton
cheaper than the second, but
or linen fiber. is
it
The first
is
considerably
not necessarily inferior. Both
come
in
various grains.
Choosing the proper canvas be the
first
is
important.
The surface
quality should
consideration, for this quality can radically affect the painter's
work. The right grain for the task at hand can often
The wrong grain often impedes
its
Unduly coarse-grained canvas,
will
make
his
work easy.
progress.
make
it
difficult to
create a paint
surface on which brush or knife strokes register easily. Coarse grain
needs a great deal applied,
it
will
of paint to
fill
its
interstices,
and even
if
paint
is
heavily
swallow up brush or knife marks.
Generally speaking, the smoother the canvas surface, the more easily
brush marks
will
assert themselves.
too smooth tends to
make the
On
the other hand, a surface that
paint slide
and
slither.
is
Canvas surfaces
without definite "tooth," or grain, are not satisfactory for work with the painting knife.
Such canvas
is
primarily for alia prima painting,
described on page 55.
17
a
All in all,
medium-smooth canvas, double-primed,
for beginners.
is
the best choice
"Double-primed" means that the raw fabric has been
treated with two layers of priming solution.
the yard. This costs
Stretching canvas
much
is
Stretcher bars and
less than buying
Canvas can be purchased by it
already stretched.
a very simple process even for the inexperienced.
wooden keys can be bought
in
any
art
supply store.
Stretching Canvas 1.
Assemble four stretcher bars
2.
Fold the canvas over one
3
/s
inch upholstery tack
be used 3. Pull it
4.
for this
to
form a rectangular frame.
of the stretcher bars.
hammered through
Anchor
the center.
it
with a
A stapler can
purpose.
the folded canvas horizontally toward one end of the bar.
with a tack. Follow the
Anchor
same procedure at the other end.
Fasten the canvas firmly with tacks placed about two inches apart
along the entire bar. 5.
Follow this procedure along the opposite stretcher bar, and at
the 6.
same time pull
the canvas taut vertically.
Fasten the canvas along the two remaining stretcher bars, using the
same method. While 7. Nail 8.
down
Place the
tacking the last bar, stretch the canvas taut.
the folds that form at the corners.
wooden keys slack,
the slots provided for
Hammer in
of the stretchers, Fig. 4.
and thus correct
in
them
at the
corners
gently. This will pry the bars apart
making even the limpest canvas
taut as a drum.
The Panel The best panel
for
our purpose
is
Masonite, available at any lumber yard.
Sizes up to about 20 to 24 inches, Vs inch thick, braces. Larger panels warp easily, hence they bracing, unless a panel A inch thick 1
is
will
may
not need supporting require cross-bar
used. However, such panels
are rather heavy.
Ready-prepared Masonite panels are available
8
most supply stores.
my experience these are all unsatisfactory in one respect or another. Some are too absorbent to be used for oil painting. And the But
1
in
in
surfaces of that the
all
commercial panels are much too smooth, due
gesso surface
is
sprayed on and often smoothed
to the fact
after the
spraying. This gives the panels a mechanical finish that imparts a certain slickness to the painting.
However, with the
availability of a
new acrylic
material called Liquitex
Gesso, priming a Masonite panel has become a simple and effortless operation. Before priming, the gesso should be thinned with an equal
amount
of water.
thinly to
both sides of the panel
Using a broad brush, the mixture should be applied
dries in a few minutes.
in
order to prevent warping. The priming
Then a second and
third coat
A surface prepared in this way can be used for oil it
is dry,
that
is,
within minutes. Thinning the
solution with water
is
thick
gesso
necessary to avoid brush marks. Experience has
the texture of paint applied over is
painting as soon as
somewhat
proven that heavy brush marks on the priming
side of the panel
should be applied.
it.
For
alia
will
always interfere with
prima work, only the smooth
suitable.
Miscellaneous Equipment
we have dealt only with the tools and supports used in painting. There are other requisites. A palette and, of course, an oil cup are So
far
essential.
The
palette should have a surface measuring at least 12 by 16
inches. Preferably,
it
should be
agreeable material for
An
easel
is
purchase if
required.
price.
this
made of wood. consider wood I
the most
purpose.
The nature
of the easel
depends
entirely
on the
However, students should know that inexpensive easels,
they are sturdy enough, can be serviceable and satisfactory.
19
Another indispensable item to painting.
wiped out is
I
is
vine charcoal for sketching preliminary
state specifically "vine" charcoal
easily with a rag.
Carbon charcoal
because
in stick
not suitable for this purpose. Fixative spray, sold
or
in
its
in
marks can be
pencil form
spray pressure
cans, should be used to render charcoal marks indelible and so prevent
smearing, which must be taken into account
when
painting over
the preliminary drawing.
Thin, translucent sketching paper
—working
directly
especially for
is
also needed.
transferring a drawing to the will
needed
for
developing a composition
on the canvas with charcoal can become a messy
complex designs
Transfer paper
is
that
may call
for
job,
many changes.
Use graphite paper not carbon paper
for
canvas— tracings made with carbon paper
bleed through the dry paint
film.
If
graphite paper
is
not available,
an adequate transfer paper can be prepared by covering tracing paper with dense charcoal, or
20
still
better, with pastel
marks.
—
Chapter
3.
Physical Properties of Paints Diluents, Varnishes, and Drying Agents Knowledge
of the properties
and working
importance
to every painter.
They have such a great influence on the
work
painter's
that
I
shall discuss
them
in
these materials
of
considerable
of crucial
is
detail.
Paints Paint, as
everyone knows, comes
in
tubes.
not
is
It
common
knowledge,
however, that some cheap, so-called student colors can actually be a great handicap because they are deficient
in tinting
strength. Several of
the expensive pigments, the cadmiums, for example, as sold
cheaper
in
brands, are considerably cut with inert material which gives the paint bulk at the expense of true color. Of course,
all
colors, even the
most
expensive ones, must contain a certain amount
of
an inert material,
and
its
vehicle— the
called "stabilizer," that allows the pigment to
remain
in
perfect suspension indefinitely while kept
in
oil
tubes.
The
stabilizer gives the paint a certain "buttery" consistency, but at the
time
it
reduces
viscosity. This, in turn, deprives the paint of
its
same
its
capacity to blend properly. The lack of viscosity can be remedied by
adding a conditioner, such as Copal Concentrate, described
later.
Diluents Paint sold
vehicle
is
in
tubes
is
concentrated; that
used with the pigment
in
is,
order to give the painter as
substance as possible. However, usually, by a painting
and a hard
medium prepared from
resin
known
my own
medium
based on the formulas
formula,
to
still
of using the copal
media
it
oil,
is
of the early
stand
much
color
must be thinned
oil,
turpentine,
possess undiminished is
demonstrated
in
of
all
the Old Masters
brilliance.
The advantage
the ease with which colors
can be blended and manipulated
glazing and scumbling, see page 49.
Medium. This
Flemish masters, whose
be among the most stable
and whose colors
mixed with
linseed
called Copal Painting
to
works have proven
this thick color
of the
as copal. Such a painting medium, prepared
according is
minimum amount
a
for impasti as well as for
21
Even story.
so, the
use
The body
medium with tube
of painting
of the paint
needs
colors
be improved
to
depth of color, and capacity to fuse— that
is,
in
is
not the whole
regard to viscosity,
to blend sufficiently.
Therefore, before starting to paint, one inch of every color to be used
should
first
be thoroughly mixed with a small amount
Concentrate— about as much as the This conditioner
Copal
a painting knife
tip of
also manufactured according to
is
of
my own formula.
The heavy, honey-like substance should be scooped out the knife. White
require considerably
will
rest of the colors, otherwise this
way will be
it
will
too
(If
paint.)
Colors conditioned
much Concentrate
29.
Then
thin
in
added
is
Arrange the conditioned colors on the palette
suggested on page to
stiff.
and characteristics common
the colors will take on the consistency
enamel
of the bottle with
more Concentrate than the
remain too
flowing and glossy.
will hold.
to
the order
in
them with the painting medium
any desired degree.
Students
may wonder why
linseed
oil
and turpentine are not the
appropriate media for thinning paint. The answer
as such
is
is
simple. Linseed
the best vehicle used for binding the pigments that
our paint; turpentine, this binder.
But
when used as
when turpentine
is
make
a diluent, destroys the properties of
combined
with a thermally processed linseed
oil
oil
(stand
in
the right proportions
oil)
and a certain
quality of
natural resin, these ingredients, in combination, will yield the ideal paint diluent.
Recipes calling
linseed
oil
for a mixture of
produce a compound
that
is
damar varnish
(soft resin)
deficient in point of
and
permanence.
Such recipes should be avoided.
Varnishes I
have referred
varnishes.
to resin as
an ingredient
What are these resins? All
in
mediums, conditioners, and
resins are exudates of coniferous
trees, but the resin referred to as "hard," called copal, is the
trees that are resin
22
is
now
extinct.
used as part
It
is
found
of our painting
in
deposits
in
the earth. This hard
medium. Damar
suitable only in preparation of picture varnish.
product of
is
a soft resin
The word "varnish"
denotes that a resin (hard or volatile solvent, for
known as
has been dissolved
example, turpentine or mineral
Picture Varnish,
Retouching Varnish
is
I
to
my formulas.
used
for varnishing either freshly-finished
months
bring out sunken colors that have dulled. protect the surface of the picture from
is
Picture Varnish
for paintings that
months
six to 12
purpose it
in
is
is
Its
have dried completely;
film.
this will usually
is
to
to
resin.
be within
has been finished, depending on the
Such a heavy final varnish of
will
serve
its
Retouching Varnish, because
applied to paintings before they are thoroughly set,
will
disintegrate
a matter of months.
Copal Varnish gloss
is
is
desired.
used on thoroughly dry paintings where a moderate Its
excellent lasting properties
valuable for use on imprimatura, described painting. is
second purpose
is
dirt.
many years, whereas a film
for
purpose
old. Its first
prepared from a heavier concentration of
after the painting
thickness of the paint
Retouching Varnish,
and Copal Varnish. recommend those
paintings, or paintings less than six
It
an appropriate
spirits generally
of varnishes are required in oil painting:
manufactured according
Damar
in
"painters' thinner."
Three kinds
Damar
soft)
Because the composition
of the
in
make
it
especially
the chapter on alia prima
commercial copal varnishes
not suitable for the purpose of varnishing and imprimatura,
Copal Varnish prepared according
to
my own
I
always use
formula.
Turpentine
We need turpentine, but for only two purposes. First, to soften semi-hardened paint (painters' thinner can also be used
and second sometimes
medium
to prevent paint
called.
There
is
for this purpose),
from "trickling," or "crawling" as
no
real explanation of
why
it
is
paint or the
applied to an underlayer of paint occasionally contracts
driblets like water
on glass, instead
of
in little
going on the surface evenly and
23
easily.
Should
this occur,
however, turpentine brushed over the paint
surface and then allowed to evaporate
will
promptly halt the
trickling.
Drying Agents
Occasionally the
may want paint to dry quickly so he can start
artist
overpainting with the least possible delay. Cobalt Dryer, or Cobalt Siccative,
added
to
is
a liquid especially prepared to dry paint rapidly.
one inch
of color will
than four hours. Drying
make
a thin application of paint dry in less
be equally accelerated
will
dryer are added to a teaspoonful of the of course, that
An important
all
medium
remembered, however,
suitable for thick layers of paint. it
The dryer
hardens the top
used only when painting inadvisable;
in
of the
the oil-cup— provided,
thinly.
time they
will
will
is
that dryers are not
not help thick paint dry
which prevents
film of paint first,
from reaching the paint underneath. For
is
in
two drops
if
the colors are mixed with the medium.
point to be
quickly because
Two drops
this reason, the dryer
air
should be
Another point— excessive use of dryers
cause embrittlement and darkening
of the paint film. Cobalt Siccative
behaves better
in this
respect than
other dryers.
Umber color, because
of
its
rapid-drying quality,
will
also act as a
powerful drying agent when mixed with other colors, even
in
small quantities.
24
Copal Painting Medium. Copal Concentrate, Retouching Varnish, Damar Picture Varnish and Copal Varnish, and Copal Siccative manufactured according to my formulas by Permanent Pigments, Cincinnati, Ohio, are available at good art supply stores everywhere.
Chapter
4.
The Colors
That the beauty of a painting depends to a large extent on the manner in
which colors are used
self-evident.
is
colors and their general characteristics
It
follows that knowledge of
is
of great importance, for
without this knowledge the choice of colors with
wrong guesses
To begin
usually
in
becomes
a guessing
game—
the majority.
can be sure that
with, today the student
all
standard colors are
chemically compatible, and that adverse chemical reactions, not infrequent a half century or
colors our only concern
is
more ago, do not occur. Hence, when mixing
a sensible selection with which to achieve
a required effect.
Suggested Palette
The beginner should in all.
Of course, he
start with a limited palette— a
may use
a portrait, a landscape, or a
only half as many, whether he still life,
a wider palette from which to
can be seen on the color mixtures
The
is
limited
shown
list
of colors
make
9 and
10,
is
painting
but he should be familiar with selections.
chart, Fig. 8,
in Figs.
dozen or so colors
The recommended colors
and a complete chart
pages 41 and
of color
45.
should include flake white, Prussian blue,
ultramarine, and viridian green (the blues and greens are referred to as
cold colors); and the
warm range
represented by Naples yellow,
cadmium red and
light,
(the yellows, reds,
light
ochre,
and browns)
cadmium yellow
light,
Venetian red, burnt siena, burnt umber, ivory black,
alizarin crimson.
General Characteristics of the Colors. Flake white. This
is
preferable to any other white because of
superior all-around properties.
It
dries well
and
is fairly
its
opaque.
The Blues. Prussian blue has a greenish hue and possesses excellent
25
drying and tinting capacity. useful on
It
is
our most versatile, transparent color,
most occasions, except
for portraiture. Ultramarine blue
differs radically
from Prussian blue
transparency.
is
It
in
most respects except
indispensable for portraiture and
in
landscape
painting. In contrast to Prussian blue, ultramarine
is
purplish in hue.
The Greens.
is
not too strong
Viridian green dries moderately well,
tinting capacity,
landscape and
and
quite transparent. This color
is
is
in
indispensable
in
painting.
still life
The Yellows. Naples yellow
is
a dense color of pale yellow hue. Of
all
the domestic manufacturers, only Permanent Pigments produces the
genuine pigment (earth color)
yellow,
it
opaque, dries moderately
is fairly
has a warm
good covering
tonality.
capacity, but
highest quality, for
when
The Reds. Cadmium red
it
Cadmium
adulterated
light,
weaker
and
in tinting strength,
in portraiture
and unlike Naples
light
has a strong hue and
yellow
it
becomes weak and
loses
its
value.
the most brilliant red on our palette, should is
a pure red oxide of
enormous
density. Colors possessing identical hue, but
These are earth colors and use
well,
dries slowly. This color should always be of
also be of highest quality. Venetian red tinting capacity
most purposes. Yellow ochre
sufficiently strong for
much
are light red, terra rosa, and terra di Pozzuoli. their mild
hue makes them more suitable
than the strong Venetian red.
The Browns. Burnt siena
is
considerable strength.
has the valuable property of becoming very
transparent
when
drying color of
for
It
a rapid-drying reddish brown earth color of
diluted with the
all, is
a
dull,
medium. Burnt umber, the
dense brown
fastest
of considerable tinting strength.
Raw umber is similar to burnt umber, but its tone is cooler, more grayish. Black Color. Ivory black dries very slowly and although color,
26
it
it
is
dense as a
does not have much body.
Purple Color. Alizarin crimson, the most transparent of
all
the colors,
is
also the slowest drier.
Its
use
is
limited to special occasions,
such as
in
painting flowers and draperies.
Several general characteristics emerge from the above descriptions: (1) tinting
strength of colors, which, to a large degree,
covering capacity; colors requiring
(2)
the drying properties which vary with colors— some
many days
to dry, unless
mixed with one
driers, while other colors solidify in a matter of
temperature;
(3)
responsible for
is
hours
at
of the fast
normal room
the quality of opacity and transparency.
come first, the cadmiums next. The rest of the colors are moderately strong. None of the colors on the list can be considered intrinsically weak in tinting In
order of tinting strength, Prussian blue and Venetian red
capacity.
The best dryer
is
umber. Next comes burnt siena and Prussian blue. The
poorest driers are black and alizarin crimson.
In
the quality of transparency, alizarin crimson rates
siena, ultramarine blue, viridian green,
transparent, even
when
place. Burnt
and Prussian blue are
only lightly diluted with the medium.
opaque colors are Venetian hue).
first
red,
The transparent colors are
all
The most
umber, and black (because of referred to as glazing colors
they can be rendered transparent
if
its
dark
because
they are sufficiently thinned with
painting medium.
27
Part
2.
Painting Practice
28
Chapter
5.
Organizing the Palette, Exercises with Brushes and Painting Knives Organizing the Palette Before starting our painting exercises, order on the palette. Here
is
let
us place our colors
in logical
the traditional and most convenient order:
3 z.
3-
*U
?>
\
\
\
%
\
Burnt siena Oil
cup
Burnt umber
Ultramarine blue Ivory black
Viridian green
Alazarin crimson
Prussian blue
All
the colors should be placed as closely to the edge of the palette as
possible, to leave
maximum free space for mixing.
Now with the palette ready for action— that is, with
all
mixed with the Concentrate, as described on page
22,
assigned spaces, and with medium present
concern
will
be
in
the
to familiarize ourselves with the
oil
the colors properly
and placed on
their
cup— our first
working qualities
of
our tools.
Exercises with Brushes
Before attempting to paint a specific motif, students should exercise freely with
all
the brushes, both the sable group and the bristle group,
in
order to gain experience with their working qualities. Exercises can be
done on a piece
of
shellac thinned a
cardboard or heavy paper treated with the commercial
little
with denatured alcohol, to
The white synthetic glue
in
make
it
non-absorbent.
general use today, thinned considerably with
water, can also be used for this purpose.
29
Figure
A.
5.
Marks
of
round sable
brushes
B.
Marks
striper
of script liner
and
Exercises involving random and varied brush strokes are excellent for getting the feel of the tools at our disposal.
done
in
a completely relaxed
These exercises should be
mood with no attempt to
represent any
particular object.
experiment with the sable brushes Numbers
First
1, 2,
and
Always
3.
moisten brushes with the medium before dipping them into paint. This our
first
that the
procedure, and through this procedure the beginner
more the
paint
becomes diluted by the medium,
can be spread by the brush.
In fact,
that
is
of
our sable brushes
only slightly diluted. There
is
will learn
more
the script liner and the striper
not function properly unless the paint
Only the largest
the
until
it
will
operate satisfactorily with paint
one exception, however—
conditioned with Copal Concentrate
easily
a completely liquid condition.
is in
will
is
it
is
if
paint
is
stringy, the small pointed
sable brushes, especially the script liner and the striper, can be used to
produce thin
If
lines in high
impasto as seen
the entire group of sable brushes
demonstrated
in Fig. 5,
it
will
is
in Fig. 5.
tried for the exercises
be found that the Number
1
brush
is
useful
only for short accurate strokes, straight or round, whereas the script liner,
Number 5,
is
useful only for long,
sweeping strokes. The Number
1
brush does not hold much paint and so must be dipped into paint frequently. infinitely
The
more
script liner,
paint
on the other hand,
and therefore will be able
is
to
capable of taking on
produce continuous,
uninterrupted lines.
31
32
.
When experimenting with
the bristle brushes,
that those with short bristles will
much
move even
resistance to the long bristle brush.
If
it
will
stiff
become apparent
paint that offers too
bristles
wear down through
use, the brush should be discarded— short,
worn-down
deposit paint on the canvas, but rather
scrape
will
it
off.
bristles will not I
have often seen
students trying desperately to apply paint to a canvas with an inadequate brush, totally unaware of the reason for their failure.
By painting a variety of strokes on our boards, differently bristle
Fig. 6,
brushes and round sable brushes perform.
brushes not only create a different paint texture
must also be handled turned
like
be used
differently; they
round sable brushes. Their
the brush along
we will find out how
its
broad
side.
in
Bristle
themselves, but they
cannot be effectively twisted and flat
ferrule forces the
The narrow side
of the bristle
hand
to
move
brush can
seldom done.
for certain effects, but in practice this is
Exercises with Painting Knives In
presenting the manipulation of painting knives, Fig.
even
illustrations
seem inadequate. A few
rules,
7,
descriptions and
however, can be
established.
First
we must know when the employment of a
indicated whenever canvas suitable for knife
rigid surface.
surfaces, that
is,
inclined to slide
there
is
indicated.
It
is
rigid
and
this
makes
the use of a
no rapport between the vibrating blade
Neither does the knife work well on toothless
surfaces that are perfectly smooth; here the knife
and
is
used as a support. Painting knives are not
work on panels. Panels are
awkward because
and the
is
knife
slither.
is
This happens because the knife, in
manipulating the paint, cannot force
some of the
paint into the interstices
of the fabric.
33
34
Then, the viscosity of the paint must be taken into account. Viscous paint
has a heavier body and
makes
this
it
particularly suitable for handling
with the knife, as explained on page 22.
In addition to the
character of the support and the viscosity of the paint
the nature of the knife blade must be considered.
overemphasized that the blade must have elasticity.
A
stiff
It
cannot be
just the right
degree
of
blade requires extra pressure which makes the mass of
paint squeeze out from under
does not have the power
to
it.
An
overelastic blade, on the other hand,
move the paint efficiently. Short narrow
blades, useful for certain manipulations, are not as well adapted for
blending and smoothing out large surfaces as the wider and longer blades, see Fig.
To become
3.
familiar with the
working of the knives, students should
practice on pieces of waste canvas placed on a soft support such as a pile of
newspaper. Stretchers are unnecessary.
what said before about canvas and I
In
knife work,
I
order to emphasize
will
repeat that only
canvas should be used when working with knives. The smooth surface cardboard, such as
we employed for exercises with
of
the brushes, will not
provide the proper conditions for exercises with painting knives.
The knives recommend I
pictured
page
in Fig. 3,
for
14.
beginners were described
in
Chapter
Knives that are radically different
1
and
in
construction are not advisable for the exercises suggested here.
The three knives shown should be used
in
succession, alternately
applying more and less pressure to the canvas. Soon
when
the knife
is
held at a certain angle,
the surface, and that a different angle thinly.
However,
it
is
is
it
will
better for spreading the paint
not only a particular angle of the knife that in
is
a large measure,
it
is
the
applied. Pushing a thin layer of paint into the
interstices of grainy fabric requires greater pressure than
on
be clear that
leaves considerable paint on
responsible for the effect achieved, but also,
amount of pressure
it
fabric with comparatively
little
grain.
moving paint 35
When scraping a thin
layer of surplus paint from the surface of a canvas,
hold the edge of the knife at a narrow angle, Exert appreciable pressure and always yourself, rather than
move the
knife
of the knife
clean
it
is
away from
should rest
on the canvas. Knife Number 2 should be used
blending colors,
close to the canvas.
toward yourself. For blending large surfaces, and to
produce smooth surfaces, the blade flat
fairly
flat
or almost
for this purpose.
When
imperative to wipe the blade after every stroke and
off all clinging paint.
To produce strong color effects by means
of a knife,
should be taken up on the blade and, with
little
applied to the canvas with the knife the
in
two or more colors
or no previous mixing,
a few strokes. The longer the colors are worked
more thoroughly they become intermixed— and hence
the duller they will look.
While practicing these exercises, the beginner may observe that he
is
able to produce extraordinary coloristic and textural effects similar to the works of
effects
seen
effects
may result from
intrinsic In
in
skillful painters.
the particular nature of the instrument and the
beauty of the colors, rather than from the virtuosity of the
saying
this,
however, do not mean to imply that mastery I
painting knives can be achieved effortlessly. like to
This could suggest that such
As a matter
in
artist.
the use of
of fact,
I
would
caution students against thinking that isolated effects, often largely
accidental, indicate adequate proficiency. At this point in our progress,
much still remains to be
36
learned.
Chapter
6.
Mixing Colors
A complete showing of colors accompanied by a descriptive is
reproduced
in Figs.
9
and
is
reproduced
listing.
10,
in Fig. 8,
A showing
Charts 2 and
3,
Chart
1,
56 color intermixtures
of
accompanied by a
descriptive listing.
The mixing exercises were prepared
in this
way:
On each square, first two colors, see Chart 2, were thoroughly intermixed. Next, the same colors were only slightly intermixed. Then white was added to the
mixture.
Thus on squares
1
were intermixed— using only two colors edge.
All applications
individual colors
used
to 56 at
the colors on Chart
all
a time, with white on the right
were made with a painting in
1
knife
because the
the mixtures would be less distinguishable
if
mixed with a brush.
There can be no doubt that without an
initial familiarity
with the
characteristics of colors the student would have to rely on guess work.
Fumbling would be the inevitable at this point to repeat a
result.
Therefore
I
think
it
is
advisable
few important facts covering both the limited and
the extended palette.
Limited Palette Blue.
The only blue
this blue
suitable for painting flesh
can also be used
other areas. But
in
in
ultramarine. Of course
is
landscape painting
mixtures with
warm
tones. Prussian blue on the other
hand
colors
it
for greens, skies,
will
and
produce purplish
yields greenish tonalities
and
possesses an altogether much more aggressive hue.
Green. Viridian, the only unmixed green, can be looked upon as a blue-green, inasmuch as is
does not belong
universally useful in landscape
still life
.
it
painting.
to the yellow-green family.
It
and 37
Yellow.
The only yellow suitable for flesh
tints is
yellow ochre;
it
is
also
the warmest and mildest yellow on our palette. Naples yellow, also a
low-keyed color,
is
planes and skies.
hence
it
will
suitable only for atmospheric effects, that
Cadmium yellow (light, medium,
serve well for greens
Red. Venetian red, or
light red,
suitable for flesh tints. flowers, draperies,
The
and the
in
landscapes and
because
like.
of its
Burnt siena
is
distant
very strong;
is
still lifes.
low key
cadmium red
brilliant
or dark)
is,
is
the only red
useful in painting
is
a brownish red used
a
warm
chiefly in landscapes.
Brown. Umber, raw or burnt. Burnt umber
raw umber
used
is
cooler
for flesh tints,
combination. As
tone.
in
and
in
we know,
Umber
is
is
brownish-red,
our only brown color.
It
is
general to darken any other color or color it
yields a black in mixtures with ultramarine
or Prussian blue.
Black. Ivory black
plain black,excellent for
is just
greens
in
mixtures
with yellow.
Purple. Alizarin crimson.
Its
use
is
quite limited;
it
is
employed
chiefly
for painting flowers.
Extended Palette Blue. Phthalo blue
a clear neutral blue not as useful as Prussian blue
is
but interesting to experiment with. Cerulean blue
opaque. Appropriate
Because
green opaque
is
greenish, rather
for skies.
Green. Phthalo green in color.
is
is
of its
not unlike viridian but
aggressive hue
it
is
more
brilliant
of limited value.
and "acidy"
Chromoxide
a dense, dull color, occasionally suitable for portrait
backgrounds and
in
landscapes.
Yellow. Mars yellow and raw siena resemble ochre superficially. Mars
38
yellow
is
more transparent; raw siena
is
darker
in tint.
Both are suitable
in
landscape painting. Zinc yellow has greenish
tonality, valuable for
still lifes.
Mars black
Black. is it
is
much more dense than
ivory black, dries quickly
and
not as generally adaptable. But where powerful accents are required,
can be very
Purple.
Mars
useful.
violet is a
dark red-violet, extremely opaque, and very
interesting to experiment with.
The
principle of color mixing
is this:
always endeavor to obtain a wanted
color effect by employing as few colors as possible. In addition to white,
two or
at the
most three colors should be enough
to
produce any
A combination of four colors (and white) is unusual. Furthermore, the painter mixes many colors together, he could have difficulty remembering how he produced a certain satisfying effect and desirable nuance. if
will find
it
hard to duplicate
this effect at will.
Intermixtures of Neutral Colors
As pointed out I
the
earlier, the
more thoroughly one compounds the colors
more thoroughly the pigment
the duller the total effect
will
mixing of different colors
White added
to
will
particles
appear
to the eye.
On
interspersed,
hence
the other hand, brief
preserve their brilliance.
one or a combination
intensity of the hues,
become
of colors will
and the more white
is
always reduce the
added the more
the color becomes, eventually becoming chalky
in
pastel-like
appearance.
39
Figure
8.
Chart
1
— The Colors
,
see facing page
1.
2.
3.
Naples
ochre
yellow
6.
7.
4.
5.
Mars
raw
zinc
yellow
siena
yellow
8.
9.
10.
cadmium
cadmium
cadmium
cadmium
Venetian
yellow
yellow
yellow
red
red
light
dark
orange
light
11.
12.
13.
14.
Mars
alizarin
siena
umber
Prussian
violet
crimson
burnt
burnt
blue
16.
17.
18.
19.
20.
phthalo
ultramarine
cerulean
phthalo
viridian
blue
blue
blue
green
green
21.
22.
23.
24.
chrome
white
ivory
Mars
black
black
oxide green
15.
41
However, colors;
in
point of quantity used, white outranks by far
hence the standard tube
of white
bought
in art
larger than any of the other tubes of colors. In weight,
eight times as heavy as an equal quantity of
White
is
the other
stores it
some of the
essential in producing neutral tones which,
all
is
much
may be four to other colors.
more
often than not,
make up the major areas of most paintings conceived in the classical style. (As we learned earlier, a neutral tone is one deprived of its high
hue.)
Neutral tones can be predominantly gray, green, pink, or brown,
see it
Fig. 10,
seems
Chart
3.
Under "gray" so many variants can be conceived
practically impossible to
enumerate them
all.
I
suggest that
students, using a piece of white cardboard as described on
produce a variety
of
grays by mixing colors
in
that
page
29,
the following order:
Grays. Prussian blue, umber, and white. Depending on the quantitative relations of these colors, silvery bluish or brownish grays, light or dark in
tone, can
be obtained. Combinations
of
these two colors are more varied
and have a wider range than any other mixtures
that
may yield a gray
color.
Different grays
can be obtained from:
Viridian green, umber,
and white.
Ultramarine, umber, and white.
Green, red, and white.
The
last
combination
differs
from the
first in
that "green"
mixture of a great variety of colors. Regarding red,
on our
palette: Venetian red,
cadmium
we have three kinds
red, burnt siena.
can be used, depending on the occasion.
It
can be a
Any one
of
these
should be rememberd that
green and red are complimentary colors and as such, theoretically, they cancel one another, which means that they lose their will
42
be discussed
in detail
identity.
Greens
below.
Now, however, before we go on
to the greens, let
me
explain
why have I
not mentioned the most obvious gray, namely, the one resulting from a
mixture of black and white. The reason for this little
value for us. Furthermore,
ultramarine and umber,
is
that
when using Prussian
we actually operate with
such a gray has
blue, or
black for either of these
color combinations appears perfectly black until white
is
added. And
in
adding white to these mixtures, both nuances— the brown as well as blue
—emerge subtly,
thus yielding color values such as black and white
could never produce.
43
44
Figure
9.
Chart 2
— Color Mixtures
see facing page
,
1.
2.
3.
4.
5.
6.
7.
Naples
Naples
Naples
Naples
Naples
Naples
Naples
Naples
yellow
yellow
yellow
yellow
yellow
yellow
yellow
yellow
cadmium
Mars
alizarin
burnt
burnt
ivory
Prussian
viridian
red light
violet
crimson
siena
umber
black
blue
green
9.
10.
11.
12.
13.
14.
15.
16.
Naples
ochre
ochre
ochre
ochre
ochre
ochre
ochre
cadmium
Venetian
burnt
burnt
black
ultramarine
red light
red
siena
umber
Prussian blue
17.
18.
19.
20.
21.
22.
23.
24.
ochre
zinc
zinc
zinc
zinc
zinc
cadmium
cadmium
yellow
yellow
yellow
yellow
yellow
yellow
yellow
black
viridian
cadmium
Mars
green
red
violet
30.
31.
32.
yellow
chrome
8.
blue
oxide green
viridian
green
25.
cadmium
alizarin
burnt
red light
crimson
siena
26.
27.
28.
29.
cadmium
cadmium
cadmium
cadmium
cadmium
cadmium
cadmium
cadmium
yellow
yellow
yellow
yellow
yellow
yellow
yellow
yellow
alizarin
burnt
burnt
black
Prussian
ultramarine
viridian
chrome
crimson
siena
umber
blue
blue
green
oxide green
33.
34.
35.
36.
37.
38.
39.
40.
cadmium
cadmium
cadmium
cadmium
cadmium
cadmium
Venetian
Venetian
red
red
red
red
red
red
red
red
Mars
alizarin
burnt
black
Prussian
ultramarine
burnt
black
violet
crimson
umber
blue
blue
umber
41.
42.
43.
45.
46.
47.
48.
Venetian
Venetian
Venetian
Venetian
Mars
Mars
alizarin
alizarin
red
red
red
red
violet
violet
crimson
crimson
Prussian blue
ultramarine
viridian
chrome
black
chrome
ultramarine
viridian
blue
green
oxide green
oxide green
blue
green
49.
50.
51.
52.
53.
54.
55.
56.
burnt
burnt
burnt
burnt
burnt
Prussian
viridian
siena
siena
siena
umber
umber
Prussian blue
blue
green
ultramarine
Prussian blue
viridian
Prussian
ultramarine
viridian
chrome
green
blue
blue
green
oxide green
cerulean blue
1.
2.
3.
gray
green
pink
blue
Figure 10. Chart 3
— Neutral Tones
44.
,
see facing page
Greens. The greens discussed here are prepared with large quantities of white to render them neutral, because
hue
of the mixture
if
only a
would appear too strong
to
little
be called "neutral." have I
referred to the endless variety of grays. Almost the in
regard to green. Green
is
white were used, the
same could be stated
always a result of mixing a yellow color with
brown, blue, or black. This, of course, leads to an enormous range of greens.
Now let's try to enumerate some of them:
Bluish
greens-
Prussian blue, umber,
cadmium yellow, and white.
Prussian blue, umber, ochre and white. Prussian blue, umber, Naples yellow, and white. Additional variations: bluish green can be obtained by using
ultramarine or viridian green instead of Prussian blue.
Grayish greensBlack, ochre, and white.
Black,
cadmium yellow and white.
Black, Naples yellow and white.
Brownish greens-
Umber, cadmium yellow and white.
Pink Tones.
A pink color
results from a mixture of a red,
red, Venetian red, or burnt siena (which
is
such as cadmium
really a brown-red), with either
white or Naples yellow, or both.
When
I
refer to
cadmium
red,
i
mean
specifically the light variety, for the
darker cadmium reds mixed with white
much
like
will yield
purplish nuances very
those produced by alizarin crimson. The brightest "floral" pink
can be obtained from cadmium red and white; with the addition yellow the tone red and white
will
will
siena and white
be
be
will
still
more
duller,
delicate. Pinks
hence more
be the dullest
Brown Tones. A mixture
of white
of
of
Naples
produced from Venetian
neutral,
and those from burnt
all.
and umber will
yield the dullest neutral
grayish brown. Livelier brown tones can be achieved by adding either
46
burnt siena or ochre, or both, to the mixture.
Let
me make a useful observation
here.
My
reference to "dull" or
"neutral" colors should not be taken as a negative qualification, for at
times neutral colors play just as important a role
in
the
make up
of a
painting as the brilliant ones.
Intermixtures of Brilliant Colors
Because white, as stated before, cuts the
intensity of a color's hue,
should be avoided when great brilliance of color
and
"brilliance" are not
necessity be
light,
synonymous,
is
use
desirable. "Intensity"
for a brilliant color
whereas an intense
its
blue, for example,
must
of
can be
of a
darker nuance.
Yellow-orange-red.
Any admixture lower
its
hue.
of
Cadmium yellow
is
the most brilliant yellow color.
another yellow such as ochre or Naples yellow
When
will
mixing cadmium red with cadmium yellow, an orange
will result.
Cadmium
red, light. This is the
of alizarin crimson will allow
admixture
will inject
identical with
it
most
brilliant red,
to retain
its
and only an admixture
brilliance,
although this
a purplish hue. The result of such a mixture
cadmium red medium,
cadmium
or the color designated as
red dark, depending on the amount of alizarin crimson present
is
in
the mixture.
Purple Colors. These are mixtures of red and blue, specifically
cadmium
red and/or alizarin crimson and ultramarine. Mauve or violet colors are
simply purple mixtures combined with white.
Green Colors. The most brilliant green viridian
green and cadmium yellow. Next
cadmium yellow and or
is
ultramarine, or
cadmium yellow and
produce a
lively
green
black.
in
obtained from a mixture of in brilliance is
a mixture of
cadmium yellow and Prussian
Cadmium yellow and umber will
blue,
also
a lower key.
Blue Colors. Both Prussian blue and ultramarine are transparent; therefore
47
they cannot be used without an admixture of an opaque color for
representation of sky, water, distant mountains, flowers, or what have you. However, the admixture of white will not dull these colors. contrary,
it
appear so
will intensify their
fiercely blue that
umber or some other white
48
will
it
On
the
hues. In fact, Prussian blue and white
can hardly be used without dulling
color, as the
also produce an intense
it
will
with
occasion may require. Ultramarine and
opaque
blue,
on the purplish
side.
Chapter
7.
Glazing and Scumbling
Glazing Fig. 11.
Chart
thickness. This
color
will
not
Impasto
4.
the application of colors with appreciable
is
makes the
colors opaque and therefore the underlying
show through
done with more or
less
the impasto. All our exercises thus far were
opaque colors applied with greater or
lesser
impasto (thickness).
If
the underlying color asserts
itself
through the layer of color on top of
it,
the top color of course must be transparent. Referring to transparent colors,
we
stated that blues, viridian green, and especially alizarin
crimson are transparent.
When thinly applied, even without prior dilution
by the medium, these colors
will
be semi-transparent, although
in
the
case of Prussian blue the dark hue tends to obscure the surface on which it
rests.
However, with the exception
can be made transparent
of white, every
any desired degree
to
if
For example, burnt siena, the most glowing color, natural state, but
when
quite transparent.
It
is
it
is
sufficiently thinned
of our colors
sufficiently diluted. is
opaque and
by the medium
it
dull in its
becomes
important to remember that true glazes never
contain white because even a trace of white color
and transparency
one
of a dark glaze.
will
destroy the value
Of course the underlying color must
always be dry before glazing.
Since transparence allows the underlying color to show through varying degrees, to
some extent,
it
follows that the character of this underlying color
influence the overlying color.
its identity.
As a matter of fact,
over yellow, the black
this
will
in
not look black— the total effect will be green.
The same principle applies
to viridian
used as a glaze over yellow— they
green or the blues when they are
will all
be conditioned by the underlying
yellow color to a point where their original hue
unrecognizable.
will,
some instances that the superimposed color For example, when using black, thinned by the medium,
influence can be so great
loses
in
becomes 49
On
previous occasions
I
referred to the brilliance of certain colors.
However, brilliance such as can be produced by means of glazing unattainable
when
clearly demonstrate this fact. Only a
in Fig. 11
is
using a color opaquely. The examples of glazing
reproduced but they are characteristic manipulation of glazes lends
shown
few examples are which the
of the possibilities to
itself.
Scumbling Fig. 12.
Chart
5.
We have defined a glaze as an application of a darker,
transparent color to a light (dry) underpainting.
A "scumble"
is just
the
opposite. This manipulation calls for the application of a lighter color on
top of a darker color
in
such a fashion as to keep the dark underlying
color evident. Thus the light color must be transparent to a certain
degree
in
order to allow the dark color to assert
itself.
Moreover, whereas glazes can be executed only on a dry surface,
scumbling can be applied
(1) into
a wet glaze,
color, (3) into a
wet impasto color, and
underpainting.
In
simply because the colors
will
the
first
when
(4)
three instances
(2) into
a wet thin opaque
onto a dry (but oiled) I
said "into" in the fourth "onto,"
painting a wet color on top of another wet color,
combine
in
a lesser or greater degree. This
painting onto a dry surface; here the two coats of paint
they remain completely independent.
In
not so
when
do not mingle;
cases numbers
scumble cannot be carried out very well with a brush,
is
1, 2,
for the
and 3 a brush would
simply brush away the underlying wet coat. Hence, only a painting knife effective for this manipulation.
is
However, on a dry (but oiled)
underpainting a brush works better than a knife.
Which colors are suitable provided that
it
rests
for
scumbling? Any
on a darker
at
any time as
it
50
in
In
the course of every
whenever the painter mixes a
color into a darker color he "scumbles."
(Fig. 17),
glazes— for
advance— scumbling can be
does not require a dry surface.
painting scumbling enters into play for light
color can be used
color. In contrast to the
which proper conditions must be created
done
light
In
the
still life
thin
painting
these characteristic effects are seen on the basket where a
light
scumble
of
ochre and white was painted
Other scumbles are seen
in
wet glaze
of
umber.
the background where the light color
painted into a solid wet layer of paint. knife
into a
In
was
both instances a painting
was used.
Since
we are now approaching the actual
task of painting,
it
should be
stated that one does not paint— ever— on a truly "dry" surface, painting, the surface
by the medium. This
make the
upon which one works must always is
done
colors spread
to facilitate the
more
easily,
and
to
movement
first
for,
before
be "oiled"
of the brush, to
promote a better
adhesion of paint.
"Oiling"
means brushing
the
medium sparingly onto
the dry surface to be
overpainted. Large surfaces can be oiled most efficiently by lint
free material
there
is
no need
means
of a
such as cheesecloth. However, between underpaintings to oil surfaces
because
in this
case
it
would serve no
useful purpose.
51
Figure 11. Chart 4
— Glazing
,
see facing page
1.
2.
3.
4.
Underpainting:
Underpainting:
Underpainting:
Underpainting:
gray
gray
gray
gray
glaze:
glaze:
burnt siena
viridian
5.
6.
7.
8.
Underpainting:
Underpainting: yellow
Underpainting:
Underpainting:
yellow
yellow
yellow glaze: alizarin
crimson
glaze:
green
alizarin
glaze:
glaze:
burnt siena
viridian
glaze:
crimson
burnt
umber
glaze:
green
black
9.
10.
11.
12.
Underpainting: pink
Underpainting: pink
Underpainting:
Underpainting:
red
red
glaze:
glaze:
burnt siena
viridian
13.
14.
15.
16.
Underpainting:
Underpainting:
Underpainting:
Underpainting:
red
red
blue
blue
glaze:
glaze:
glaze:
glaze:
burnt siena
black
burnt siena
alizarin
Figure 12. Chart 5
—
glaze:
green
viridian
glaze:
green
alizarin
crimson
crimson
Scumbling see facing page ,
1.
2.
1.
2.
ochre
cadmium yellow
ochre and white
cadmium yellow
3.
4.
3.
4.
burnt siena
alizarin
crimson and white
burnt siena
umber
and white
and white
and white
5.
6.
5.
6.
ultramarine blue
cadmium
viridian
green
and white
and white
red
ultramarine blue
and white
'*
n 53
Part
3.
Painting a Picture
54
Chapter
8.
The
Alia
Prima Technique
Now at last we shall be facing our first attempt at before undertaking
the following question should be decided: Shall
this,
we use the alia prima method, or shall we These two methods are
Alia
representation. But
at
our disposal.
paint
on an underpainting?
We shall discuss them in detail.
Prima Painting
This term
means completing
and aiming
when we "underpaint"
coat of gray, or green, or
painting,
one operation, wet-into-wet,
To explain
we employ the red at the red object may be given an
the object to be painted appears red,
once, whereas initial
in
to achieve the final coloristic effects at once.
When
further:
a painting
because
it
is
some
other color. Moreover, alia prima
done wet-in-wet, must be
finished while
it
is still
wet. Therefore the total working period spent on such a painting will
seldom be more than a day. As a
rule,
small panels are used for this
technique; suitable sizes range from about 7 by 10 to 16 by 20 inches.
panel within such modest proportions can be finished In fact, in all
my experience,
every beginner using the
was able to cover his panel during one
in
A
a very short time.
alia
prima method
short morning session (not
always, of course, to the best advantage). Generally speaking, alia prima
work
is
minute
done
in
a sketchy manner, but
if
the artist wishes he can go into
details.
Although stated that an I
operation while
it
is still
alia
prima painting "must" be finished
wet, this not not an inflexible rule. Minor
corrections and modifications can be executed after the painting finished
and
dry, but this
practice will show,
it
is
one
in
should not be done habitually,
for,
is
as the
not a "happy" measure.
The step-by-step procedure
for alia
prima painting
is
as follows:
The Imprimatura For a support, a Masonite panel
is
our best choice. The panel, carrying
the gesso ground as described on page 19, should be given an
55
56
application of a transparent color— the so-called imprimatura— prepared
from any one of these: burnt siena, viridian green, cadmium yellow, ochre, or umber, thinned to watercolor consistency by Copal Varnish.
The five
above are not
principal colors useful for imprimatura listed
arbitrary choices; the choice
More about
intends to paint.
is
governed by the subject matter one
imprimatura, must be dry before work of fact, the imprimatura will
Now this initial
this later.
be dry
is
to the
done on top touch
in
color, the
of it— as a matter
a matter of minutes,
When
Figure 13.
but complete solidification takes at least two days.
A Still Life in Alia Prima. A simple demonstration of
used, see page 24, two drops to one teaspoonful of varnish
glazing and scumbling
solidify the it
is
imprimatura
one day. Because
in
siccative
is
will
of the drying time involved,
a good idea to have at hand a supply of imprimatura-covered
panels
prepared
in different colors,
to paint a picture
advance. Then you
in
will
be ready
whenever you wish, without being delayed by waiting
for the imprimatura to dry.
Damar varnish
is
not suitable for imprimatura, for
sufficiently to resist the solving action of the
(which, as is totally
it
never solidifies
Copal Painting Medium
we remember, contains turpentine) used over
it.
Linseed
oil
inappropriate for this purpose.
Figure 14. Field Flowers in Alia
Prima
Before starting to paint, a drawing of the subject matter should be
done on
either the surface of the white
Vine charcoal
is
best for
this. After
should be used to render
it
gesso or on the imprimatura.
the drawing
is
finished, fixative
see page 20.
indelible,
Next, the panel should be moistened with Copal Painting
Medium
prima work). Do
this just
Heavy
(this is especially suitable for alia
before painting, using a bristle brush.
All
the colors should be
conditioned with Copal Concentrate. This in alia
is
particularly important
prima work for here glazes prevail and the concentrate adds
body and strength
to thin paint
used
for that
purpose.
Figure 15.
A Head
Study
in
Alia
Prima
Now we are ready to begin our work.
First let
us consider the colors
57
of Figure 13
C
Enlargement of Figure 14
C
Enlargement
58
of our panels
When
and chose the one most suitable for the task
painting
fruit
or flowers, for example, the final colors
a high key. Here experience final
color
will
will
is
hand.
will
be kept
in
teach us the following: the key of the
be higher when the color
And, since yellow
at
the brightest color,
of the imprimatura let
is
brighter.
us start painting such subject
matter on a yellow imprimatura.
A Still Life Step-By-Step The apple shown
in Figs.
13 A, B,
cadmium yellow imprimatura Step
1, Fig.
in
C was
painted
one operation on a
in
the following manner:
13A. The entire surface of the panel
viridian green, the red area of the apple
was
was glazed
with
covered by
thinly
alizarin crimson.
Step
2, Fig.
13B. Next, the
shadow of the apple was darkened by
applying ultramarine blue and alizarin crimson to the area.
Step
3, Fig.
alizarin
13C. The highlight
was produced by simply wiping
off
the
crimson color with cheesecloth so as to reveal the underlying
yellow color. For the background, umber, viridian green, and white
were used. The table was painted with an umber by ultramarine
In all, six
in
shadow
the
colors were used
area.
in this
sketch, and the following brushes
were employed: the large round sable brush, the the smaller bristle brushes.
color, strengthened
The
size of the panel
script liner, is
and two
of
9 by 9 inches.
Field Flowers Step-By-Step Figs. 14, A, B,
flowers.
Step
C show
The panel
1, Fig.
14A.
is
indelible.
more complicated motif— a clump
9 by 9 inches. Here
is
of field
the painting procedure:
A charcoal drawing was done on
imprimatura. Fixative it
a
was sprayed on the drawing
a
cadmium yellow
to
make 59
60
Step 2,
Fig. 14B. After oiling the
panel with the medium, the sky was
painted with Prussian blue, umber, and white, with Naples yellow used in
the lower areas.
A glaze of burnt siena and
Prussian blue was spread
on the area where the plants are densely grouped. Then, using a
script
the details were reestablished with burnt siena and Prussian
liner,
blue strongly diluted by the medium.
Step
3, Fig.
14C. This
is
the finished painting.
spontaneously, and, as becomes evident
It
was executed
when comparing A with
B,
the details were improvised rather than methodically elaborated.
This manner of painting imparts freshness and speeds progressin fact,
it
did not take
start to finish.
more than 20 minutes
to
do the painting from
Of course the properly prepared background
made
such rapid work possible. The entire procedure demonstrates painting wet-in-wet rendition.
is
the
method best suited
Were we to allow stage B
impossible to finish the panel
Eight colors,
all
spontaneous
for
to dry in, this
in alia
would have made
Bristle liner
conditioned by Copal Concentrate, were used:
red, burnt siena,
was used for the
Much
and
cadmium yellow,
alizarin crimson.
brushes were used for the
medium and
it
prima technique.
white, Prussian blue, viridian green, Naples yellow,
cadmium
that
initial
delineations.
The final painting was done with
large round sable brushes,
of the original imprimatura
finished painting, as can be seen.
painting in B, and a script
and the
remains
The
in
evidence
hair-fine
done with paint containing large additions
script liner.
of
in
the
impasto lines were
Copal Concentrate.
A Head Study Step-By-Step Figs. 15 A, B, C.
The panel
is
9 by 9 inches.
The imprimatura
is
burnt
siena.
Step
1, Fig.
15A.
The charcoal drawing, rendered
indelible with fixative.
61
Step
2, Fig.
and a
little
15B. The shadows, mixed from white, umber, Venetian red, ultramarine,
were painted
panel with the
after oiling the
medium. The drawing was strengthened, using a small round sable brush and umber strongly diluted with the medium. The color of the
shadows appears
because
rather cool here
it
contrasts with the
glowing red imprimatura of the panel.
Step
3, Fig.
15C. The colors on the light part of the face were obtained
by mixing ochre, white, and a light
little
this part
was
stage the
final
umber. After
and shade were blended together. At
this
painted,
touches
were applied— shadows were strengthened, highlights added, and details of the features elaborated.
The
viscosity of the paint
conditioned by the Concentrate and thinned by the Copal Painting
Medium made
the blending safe and effortless, even
when using
a harsh bristle brush.
Next, the headdress
was
painted. First a glaze of viridian green
spread over the entire surface. Into of
umber and Prussian
blue.
The
this glaze
light
was
went dark accents
pink color of the headdress
a mixture of white and Venetian red. The final colors of
is
the background
are umber, Prussian blue, and white. As soon as these "cold" colors
were spread over the burnt siena imprimatura, the looked
tonality of the
much warmer.
The following brushes were used: The painting was
Number
7 bristle brush
Then a second
bristle
for the drawing.
brush of the same size was used for painting first
brush, wiped clean, served for blending.
The large round sable brush was chosen the eyes, nostrils, and mouth.
were painted with the
started with the
and a small round sable brush
the light areas. Next, the
for details of the
features—
The headdress and the background
bristle brush,
and the
and the headdress were made with the
62
head
final
touches on the head
script liner.
Mountain Landscape Step-By-Step Fig. 16
shows an
prima landscape executed on a panel 12 by 16
alia
inches, carrying on ochre imprimatura.
Step
1.
A charcoal drawing was done on
rendered indelible with
Step
2. In
fixative.
accordance with classical landscape painting procedure,
the most distant plane
was the first to be dealt with— in
the sky. Here viridian green in
the imprimatura and
was mixed with
the upper areas. Naples yellow
was used
a
little
in
this instance,
ultramarine and white
the lower area with
traces of viridian green appearing here and there. The middle ground,
was painted
the mountain section,
some umber; the green,
rest of the
with Prussian blue, ochre, and
ground was done with ochre,
cadmium yellow, and Prussian
and Prussian blue were used and white
for the
for the light effects.
In this painting,
it
blue. For the foliage, burnt siena
dark sections; cadmium yellow
Only six colors, and white, were employed.
obvious that the script
is
viridian
liner
and the
striper played
a dominant role. These brushes and a larger round sable brush were responsible for creating the scaffolding of the composition.
When we examine all our examples done characteristic stands
remains
in
evidence
in alia
prima technique, one
out— glazes predominate and the imprimatura
in
many spots throughout
the entire picture,
unifying the tonality of the whole. Moreover, the treatment
and
this
is
sketchy,
lends an impression of freshness and spontaneity.
63
Comments on First let
the Colors used in our Alia Prima
us consider
Work and flowers.
painting, particularly fruits
still life
Here, our entire palette with the exception of the so-called "non-flowery"
colors— that
is,
umber, black, and ochre— can be used.
backgrounds there
is
no such
In painting
backgrounds
restriction as neutral
will
always compliment colorful elements of the main motifs. However,
depending on one's particular conception,
it
is
feasible to have the entire
surface— background and all— carry strong colors.
Our next example was the head
study.
Here four colors
white were used. Never deviate from this color scheme
in
addition to
when a more
seems desirable because
less realistic portrait presentation
these
all
colors are compatible and can be combined and recombined
or
in
any
manner without danger of becoming muddy. Therefore, for emphasis,
will
I
considered foolproof: umber,
and ultramarine,
red!), ochre,
white and ochre for the glaring, a touch of
repeat that this choice of colors can be light in
red (the earth color, not
cadmium
addition to white, for painting shadows;
light tones.
Should the
umber will lower
light
areas appear too
their key.
With these four colors any desirable tonality can be established by mixing less of
this,
or
more
the ochre and light red all,
a
warm
color
is
color
is
of the other. For example,
when more of
used and less ultramarine, or no ultramarine
scheme will
result.
On
the other hand,
omitted or used very sparingly, a cool tone
when
at
the red
will prevail.
Umber
always darkens colors; ochre livens them up. Ultramarine cools the colors. In the
and
in
presence
of
umber, ultramarine
the presence of red
some ochre
is
added
this
mixed with ultramarine
it
will
gray the colors down;
make the tones appear
nuance,
will yield
will
in turn, will
purplish;
quickly disappear.
a deep black.
It
is
when
Umber
clear then, from the
above, that complexions of any conceivable color can be produced with this
scheme. (When painting black or dark brown complexions as those
of Negroes,
64
light red.)
however, burnt siena should be used instead of the
Figure 16.
Mountain Landscape Alia Prima
in
65
Another matter
chosen colors
that
needs
to
be discussed
is
painting hair.
Our four
require only one additional color to cover
will
hair tones. This additional color
is
burnt siena and
it
all
possible
be used
will
for
painting red hair.
Now.
produce the various colors
to
should be used
in
an addition
and burnt siena
brown
for
umber and ultramarine
we
our selection of
five
colors
the following way: for blond hair, ochre and white
for light tones, with
mixture
of hair,
for
of
umber
for
deeper shades: umber
hair; burnt siena
and ochre
black hair— and
when white
for red hair;
added
is
to this
get a gray color for gray hair.
how about the color of the lips?" Here is my using cadmium red or alizarin crimson— the colors
Students may ask "and advice.
Beware
flamboyant
of
lipsticks.
These give the
lips a
of
hard poster-like appearance.
Venetian red for the middle tone with an addition of white tones and an addition of umber for the darkest parts
in
for the light
shade
will
serve
the purpose well.
And
finally, for
combination
the eyes any desired color can be obtained from a
of the
always be kept in
in
same
mind
colors used
that the light
in
painting flesh. However,
areas-whether
the pupil or, especially, the white of the
is
is
should
the high-light
eye— should be painted
lower key than that seen on the model, for nothing in
it
it
more
in
a
distressing
a portrait than enamel-like eye whites or the piercing look produced
by a glaring pupil.
Our
last
example
in alia
prima painting, the mountain landscape, posed a
different problem, that of treating objects placed in the foreground,
middle ground, and distance. This involves two aspects
of perspective:
the linear and the atmospheric.
Linear perspective refers to the
recede 66
into the
phenomenon
background, the smaller they
has been made about
that the further objects will
look to us.
Much
fuss
this so-called empirical or scientific perspective,
and many a volume was written about early in the 15th century.
importance
in painting.
this
system
The system soon grew
after
to
be
its
of
But the original rigid precepts
invention
paramount
became
modified during the period of the Baroque and eventually
greatly
much
lost
of
the significance and meaning they once possessed.
The second aspect and
is still
of perspective,
valid today.
The
"atmospheric" perspective,
is
simple
principles involved rely on the fact that colors
change their appearance as they move beyond our proximate vision, and
this
change becomes more pronounced with the increase
distance.
Hence even the strongest red
or yellow local colors will fade
out on the horizon to a pale greenish or bluish hue.
distance drains the color progressively of exemplified is
in Fig. 16.
However,
of
in styles
its
In
other words,
intensity. This principle is
where a
realistic representation
not the artist's concern, the principles of atmospheric perspective
are not necessarily taken into account.
Although above referred to "principles," the student, once he becomes I
aware
of the nature of these principles,
need not follow them
blindly.
some vagaries or contingencies of composition, an adjustment of the principles may be justified. In certain instances,
As have pointed out I
because
of
before, alia prima technique— the easiest to master
—is essentially a sketchy procedure. is
discussed
in
A more
elaborate method
the next chapter, "The Underpainting Technique."
67
A
Still
Life Painting
Underpainting
A.
Underpainting
B.
r
-
&-•=•:
on an
Chapter
9.
The Underpainting Technique
What
an •underpainting"? Any layef
is
of
be cc-s :e-e: an --cerpainting: as such,
c
pain: -g
a
mean
a
_;
-a-
:_-::se'_
a
(
of
involved
to
b
in
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