Notes on Chiaroscuro

Since my last post I've had lots of stuff going on!  A few of the girls and I spent a couple of days in the Hocking Hills....painting, eating really great food and in general having a great time!  My car (new van) has been in the shop for 3 weeks trying to get a new engine.....hopefully I will be able to pick it up tomorrow.  I'm visiting my Mom in West Virginia (arriving at 8 am this moring, I left my home at 4:30 am! ).....she is still very ill and has had a mini stroke this morning. 

I have registarted for  a 10 week online workshop with Daniel Edmondson, http://www.oilpaintingworkshop.com/....I read about him from one of the artist on the Daily Paint Works Blog.  You get 10 lesson via email which includes 2 hours of video, plus photographs and once completed a critique.  You may also contact him with questions or asking general information.  As most of you know I have a very slow internet connection so I've been waiting for the DVD (this is also include) with the workshop.

The last newsletter I talked about chiaroscuro, since I'm in the workshop with David Leffel at the end of February at the Longboat Key Art Center (Florida), I decided I would go back and study Gregg Kerutz's book.  I have read several books on Chiaroscuro and his is the best for getting down to the basic.  As part of my work / study programs I decided I would share the basic information with you.....his book is available at a very good price on Amazon for about $15.00.

Daniel Edmondson

Notes from Gregg Kreutz Book

Problem Solving for the Oil Painter

1. Does the painting have a Focus? Paint with your eyes on the center of interest….when we look at something we always look at SOME THING!

2. Does the painting read? Is there a route that the viewer can follow to the focal point/center of interest. Western cultural reads from left to right….most view a painting the same way.

3. Note: The intensity of a picture is an echo of the intensity with which it was painted. Greg feels that getting something finished on the painting moves you forward to a successful painting. This also help with the vision of the finished painting.

4. Shapes! Are essential tools for the painter, as is the color, value and composition.

5. Are the dominant shapes as strong and simple as possible? Simple shapes carry and make the picture readable from across the room.

6. His start

a. Concept (what do you want to say).rough in the objects. Get their placement.

b. Rough in the background--- helps check the values. Also checks the composition.

c. Paint background the correct value! What is the light path?

d. How does the painting read? Pump up the focal area!

e. Make the center of interest as intense as possible – halo, intense reflected light, this makes the center of interest more intense and bigger.

I will post more notes next week, check back!