Author: Perry

The Reenchantment of Vision: Breaking the Spell of the Rational, by David Ulrich

Still working on this and will be forever. National Museum of American Illustration Dino Valls

Choose a master work, historical or contemporary. What is the work saying? And how? How might you respond? Read the painting. Look for symbols. Consider the context in which the work was produced – time period, geographic location, socioeconomic circumstances, political situation, affiliations of the artist, patronage, etc. You’ll probably need to look at other…

https://handprinted.co.uk/blogs/blog/testing-the-differences-between-lino-blocks

Week 1 Intro Processes Overview Week 2 Relief – Sketches Due Relief – Carving Week 3 Relief – Collagraph building up the printing matrix Field Trip – Frist Museum for the Albrecht Dürer exhibition Week 4 Printing Presses Letterpress Week 5 Printing Week 6 Letterpress – Jim Sherraden Letterpress – Jim Sherraden Week 7 Lithography…

Edmund Burke Feldman, Professor of Art at University of Georgia, proposed the following four steps for art critique. Description Make a list of the visual qualities of the work that are obvious and immediately perceived. Ask students “What do you see in the artwork”? and “What else”? Includes content and subject matter in representational works,…

Egg Tempera

https://hyperallergic.com/191329/an-illustrated-guide-to-arthur-dantos-the-end-of-art/

There are many models for understanding, describing, and communicating color. Albert H. Munsell developed a system that’s very appropriate to our work as painters. In fact, it’s used by geologists to describe soil and rock samples, governments for noting standard colors for signage and such, and is generally a quite adaptable notation system. Follow this…

WalterBenjaminTheWorkofArt

Exhaustion-Exuberance-Jan-Verwoert

Baudelaire_Painter-of-Modern-Life_1863

Week 1 Master Color Swap Week 2 Casein – make the medium Panel construction Traditional Gesso Assigned Study – Tempera/Casein Artists Week 3 Egg Tempera – make the medium Studio Week 4 Critique Assigned Reading – Exhaustion and Exuberance Demo – mounting paper to panel Digital underpainting Week 5 Studio Demo – monotype Week 6…

Painting en plein air is simply French for painting outside. Painting outside gives me a reason to be outside. I confess, I’m a pragmatist and not particularly inclined to be amid bugs and humidity. I do really enjoy being outside painting though, from scouting the location to hiking out with a sense of accomplishment. My…

We’ll start by making the stretcher/strainer frame. We’ll attach fabric to that frame and prime it for use in oil painting.

Paint is essentially pigment and a binder. The pigment is the coloring material; it can come from many sources, rocks – furnaces, chemistry labs. Binder is what holds those pigment particles together and holds them to the surface of the painting. The binder is often referred to as the vehicle. Think of the vehicle as…

If I say “fruit”, each person will have a different and perhaps very specific thing in mind. It could be an apple, a banana, or even my favorite, blueberries. The same is true if I say “box”. What sort of box comes to mind? Is it wooden or cardboard? If it’s a cardboard box, is…

The self portrait continues to be a staple in figurative art. Beyond having your model readily available, painting yourself can be introspective as well as an opportunity for expression and even re-invention. Here’s a link to 30 self portraits from art history. The paintings in the page linked above are all grounded in representation, to…

The vast array of colors available, both in the world and in tubes, can be bewildering. Here, we’ll just use two colors to make a painting, a warm and a cool. Let’s start with Burnt Sienna and Ultramarine Blue.

You’ll select at least three paintings initially and then we’ll get down to the one you’ll copy. Google Arts & Culture is a great resource. https://artsandculture.google.com/ Here’s a fantastic YouTube playlist of an art forger’s television series.

Varnish serves two purposes: to restore a painting to its appearance when freshly painted to protect the painting We’ll make varnish using these components: Synthetic resin – Regalrez 1094 Solvent – Gamsol UV absorber – Tinuvin 292 Modifier for brush drag – Kraton G, dissolved in mineral spirits

We can use mediums to change the handling properties of our paint, thinner, thicker, syrupy, stringy, fast or slow drying, etc. There are just short of a million little bottles of various mediums in the supply stores. As with anything you buy, don’t believe the marketing hype. I have used them all and, believe me,…

Week 1 Welcome Limited Palette Week 2 Materials Delivery/Panel preparation Library – Master Transcription Week 3 Begin Master Transcription Making Paint/Thick Medium Week 4 Continue Master Transcription Week 5 Critique: Master Transcription Begin Container Project Week 6 Continue Container Project Week 7 Continue Container Project Week 8 Critique: Container Project Plein-air – meet for painting…

The video below describes the layers of a painting quite well. Wood panels can be found many places. Furniture grade is a good indication of quality. Plywood is usable, but will absolutely need to be braced on the back to prevent warping. For plywood, Grade A is what you’re looking for and a tight grain…

Paint is really only two things, pigment and binder. You could think of pigment as tiny rock particles. In fact, sometimes that’s exactly what they are. A well made paint will have each of those particles surrounded with a binder/vehicle. I group the terms binder and vehicle because they’re often the same material. The binder…