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depicting S P A C E

depicting S P A C E. and creating harmony in that space with a DOMINANT COLOR. Tools to create (deep) SPACE. Overlap Disproportionate Scale Transparency Interpenetration Line Variation, Cross Contour, Chiaroscuro Perspective.

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depicting S P A C E

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  1. depictingS P A C E and creating harmony in that space with a DOMINANT COLOR

  2. Tools to create (deep) SPACE • Overlap • Disproportionate Scale • Transparency • Interpenetration • Line Variation, Cross Contour, Chiaroscuro • Perspective

  3. 1. Overlapany time one object obstructs the full view of another form

  4. Das Modewarengescheft by Edgar Degas, 1885, oil on canvas, 99 x 109”

  5. Interior with a Bowl with Red Fish By Henri Matisse Approximately 1913

  6. 2. Disproportionate Scalewhen one object is drastically larger or smaller in scale compared to other dominant objects

  7. Young Spartans Exercising by Edgar Degas, 1860, Oil on canvas

  8. Pianist and Still Life by Henri Matisse, 1924

  9. 3. Transparencywhenthe opacity visibly changes throughout a work – some areas may reveal the ground color, applied very thinly, in comparison to other areas being thickly painted

  10. Mr. and Mrs. Manet by Edgar Degas, 1868-1869

  11. Henri Matisse

  12. 4. Interpenetrationwhen one object seemingly passes through or disappears inside another object

  13. Glass & Shells by Janet Fish, 1990

  14. The Goldfish by Henri Matisse, 1912

  15. 5-7. Line Variation, Cross-Contour & ChiaroscuroLine 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

  16. Dana Gordan by Alice Neel, 1972

  17. Orange Cloth with Orange Poppies by Janet Fish, 2000, 48 x 60”

  18. 8. Atmospheric PerspectiveObjects in foreground: most VIBRANT & DETAILEDObjects in middle ground: middle gray, mid-resolutionObjects in background: DULLEST, LIGHTEST, FUZZIEST

  19. Caspar David Friedrich, Das Eismeer – Sea of Ice Oil on canvas, 50 x 38.1” 1823 - 24

  20. Caspar David Friedrich’s Kreidefelsen auf Ruegen – Chalk Cliffs on Rugen Oil on canvas, 35.6 x 28” 1818

  21. 9. Linear Perspectivewhen all lines seemingly converge to one “vanishing point” on the horizon

  22. Edward Hopper

  23. A few more images for PAINTING II . . . Complex Environments: Interior spaces including the Figure

  24. 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

  25. Frau in dern Badewanne by Edgar Degas, 1886, Pastel, 70 x 70”

  26. New York Restaurant by Edward Hopper, 1922, Oil on canvas

  27. The Living Room by Balthus, 1960’s… Oil on canvas

  28. Tapestry or Embroiderers La Tapisserie ou Les Brodeuses by Edouard Vuillard, 1895

  29. 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)

  30. 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.

  31. 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 incorporateinto every color you create on palette

  32. 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 GREENinto 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.

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