Download - depicting S P A C E
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depicting
S P A C Eand creating harmony in that space
with a DOMINANT COLOR
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Tools to create (deep) SPACE
• Overlap• Disproportionate Scale• Transparency• Interpenetration• Line Variation, Cross Contour, Chiaroscuro• Perspective
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1. Overlapany time one object obstructs the full view of another form
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Das Modewarengescheft by Edgar Degas, 1885, oil on canvas, 99 x 109”
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Interior with a Bowl with Red Fish By Henri MatisseApproximately 1913
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2. Disproportionate Scalewhen one object is drastically larger or smaller in scale
compared to other dominant objects
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Young Spartans Exercising by Edgar Degas, 1860, Oil on canvas
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Pianist and Still Life by Henri Matisse, 1924
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3. Transparencywhen the opacity visibly changes throughout a work – some areas may reveal the ground color, applied
very thinly, in comparison to other areas being thickly painted
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Mr. and Mrs. Manet by Edgar Degas, 1868-1869
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Henri Matisse
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4. Interpenetrationwhen one object seemingly passes through or
disappears inside another object
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Glass & Shells by Janet Fish, 1990
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The Goldfish by Henri Matisse, 1912
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5-7. Line Variation, Cross-Contour & Chiaroscuro
Line Variation = change in width, orientation, brush stroke Cross-Contour = line traces the contours of a form
Chiaroscuro = Light to Dark rendering of value across form
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Dana Gordan by Alice Neel, 1972
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Orange Cloth with Orange Poppies by Janet Fish, 2000, 48 x 60”
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8. Atmospheric PerspectiveObjects in foreground: most VIBRANT & DETAILED
Objects in middle ground: middle gray, mid-resolutionObjects in background: DULLEST, LIGHTEST, FUZZIEST
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Caspar David Friedrich, Das Eismeer – Sea of IceOil on canvas, 50 x 38.1” 1823 - 24
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Caspar David Friedrich’s Kreidefelsen auf Ruegen – Chalk Cliffs on RugenOil on canvas, 35.6 x 28” 1818
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9. Linear Perspectivewhen all lines seemingly converge to one
“vanishing point” on the horizon
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Edward Hopper
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Complex Environments:
Interior spaces including the Figure
A few more images for PAINTING II . . .
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Establishing aFigure / Ground Relationship
• Figure = the main subject. Also considered the “positive” space
• Ground = the environment surrounding subject. Also considered the “negative space”
• Ground should not be an afterthought• Address figure & ground simultaneously• Pay attention to edges & proximity
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Frau in dern Badewanne by Edgar Degas, 1886, Pastel, 70 x 70”
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New York Restaurant by Edward Hopper, 1922, Oil on canvas
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The Living Room by Balthus, 1960’s… Oil on canvas
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Tapestry or Embroiderers La Tapisserie ou Les Brodeuses by Edouard Vuillard, 1895
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For EVERYONE:• You will be in conversation with a partner today
sharing feedback about depicting space and constructing a dynamic composition
• Throughout class today I’ll announce: “PARTNERS” & that’s when you can have a brief dialogue about each others paintings in progress
• Painting II please partner up with a Painting I student. Introduce yourselves (we may need one group of three)
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For EVERYONE:• Everyone is painting from the same still
life / installation over the next couple of weeks in-class
• Painting II: Must have main view of figure, so adjust yourselves accordingly.
• Painting I: minimal to no view of figure, so adjust yourselves accordingly around still life.
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PAINTING II: “game plan”• Draw 2 thumbnail sketches –
locating distinct: foreground,middleground & background
composition should EMBED FIGURE in environment
• Begin by painting loose, gestural framework of space, establishing Figure/Ground Relationship aiming to build them simultaneously
• PALETTE: select a dominant color and incorporate into every color you create on palette
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PAINTING I: “game plan”• Draw 2 thumbnail sketches in sketchbook –locating
distinct foreground, middleground, & background
• Begin by Painting (rather than drawing on canvas) loose, gestural framework of space DARK to Light, THIN to Thick
• PALETTE: select a dominant color, for instance: LIME GREEN. Mix LIME GREEN into every color created on palette, including the RED chair seen in the still life, the Violet Drapery etc. All colors must have a trace of LIME GREEN mixed into them.