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PAINTING BEYOND FASHION Basic painting and drawing principles and techniques from the Renaissance to the present by John Hagan TABLE OF CONTENTS Intro - Learning to look 5. drawing texture design-6 lessons 1. aerial perspective -6 lessons drawing and proportion [2][3] perspective - the basics pattern and texture perspective - lets go outside design and golden mean [2] veils of atmosphere 6. analysis -5 lessons what to paint and why sunrise and sunset analysis of 'girl with pearl earing' reverse sunset and night depth of field clouds, mist and other veils abstract and texture work 2. color - 2 lessons chaos and disorder color the hows and whys 7. practical application -31 lessons color a different approach 3. looking harder - 3 lessons practical painting [2][3][4][5][6][7] portraiture [2][3][4] painting waves[2] demo Alexander [2][3][4][5][6] shadows and transparency 4. light and shade - 4 lessons demo nude [2][3][4][5][6][7][8][9] backlight works its magic framing and selling [2][3][4] side light and turning points 8. personal paintings used here press [here] for giclee prints front light, and artist's light advanced art lessons cascading light and shade Send a short message with the phrase "please e-mail" if you'd like to read news of new free art lessons, new paintings(no more often than monthly) © 2000 All artork is by John Hagan unless attributed or known pre- 20th century masterpieces! NEW Information for new CD releases! LATEST: A full view of all paintings available as prints can be seen by pressing here. FIRST THE PEARL - A LESSON IN HOW TO LOOK AT THINGS An apprentice painter might learn how to hold a brush, mix colors or how to use a palette knife, but it matters nothing if the same person does not learn how to 'look' at things, and to look with the eye of someone who wants to explain the world in terms of paint. After many years of learning to 'look' we come to understand the nature of things and how they relate to each other. This first lesson is an entertaining introduction to give you some idea of what I mean by 'looking'. Don't be too worried if the world I now introduce seems alien at first, because as you progress with the lessons, you will begin to understand that the real joy of painting is not so much occupying your hands, as truly understanding the laws, the lights and shades, and the memories of all the things around you. OK, I think I remember what a pearl looks like. Ah, its been so long between pearls. I will try to construct one from memory, first principles and logic. To begin, let us imagine the largest pearl in the world sits on a red table in a room with a blue ceiling. I am the viewer and I view the perl from the front while behind me is a window. Outside it is a fine bright sunny day. Now if the pearl was someone elses 'eye' we must imagine what it would see!!. It would see me, basic and a little crude - but that dosen't matter at this stage? The window in the same condition. Together ... Add a blue ceiling, some walls and a red table (this is roughly what the pearl would see if it could see). Next we squeeze it into a round shape (with a computer this is easy, in a painting you would work backward.) I am a little disappointed at this stage as it looks rather raw and nothing like a pearl. But, staring failure in the eye, we must proceed (forever faithful to our logic). So lets us rid ourselves of the black edges. Then, since a pearl is not a perfect mirror, I will blur everything ... Now we can and add a little milky screen (I somehow remember pearls are a little milky, aren't they?) Still too much saturated color and dark values - so maybe another yellowish screen (glaze) ... OK ; Now let's cut it out and give it a hard edge ... as it is not made of fur! (later we will look at a lesson on how edge effects texture) ... That's looks better. Now for the suggested table and ceiling But can't I have a string, seeing I made it myself? Why, I'm virtually rich! So why can't a pauper have a millionaire's imagination? I expect any artist can always be rich beyond the dreams of mere mortals, the difficulty becomes one of keeping reality in plain view. PS. I am concerned you may think I am confusing computer graphics with oil painting. I am not as this is a lesson about 'looking'. In either case we must still learn the essence or nature of things before we can make them - using paint or computers. With our 'pearls,' as with the world, that is the starting point, and remember, everything exists in relationship to light and other things nearby. The rest is simple logic - either with a brush or computer. OK, lets look some more into the world of the painter. STUDENT ACTIVITY: Draw and color your own string of pearls using oil pastels or crayons. Hint ... use a toned paper for background. Allow 40min. GO TO ... looking into a deeper, deeper world .....or back to lesson list 1-1 TO CREATE THREE DIMENSIONAL SPACES The rendering of a three dimensional landscape, portrait or still life on a two dimensional surface is to some people a trick, and we know tricks are mostly magic! As with magic some people are content to just observe and wonder at the skill of the magician, others want to know how the trick is done, while a few want to do it themselves. If we lived in a yellow two dimensional world and a blue ball passed through we would experience something like this: Fortunately we don't, instead ... Let us imagine we live in a giant room where the floor is the ground and the sky is the ceiling. I have drawn the room with two rectangles and four lines. Add a door and a window... and we create a space. I shall add some lines to help put tiles on the floor and suggest cornice around the ceiling. Please refer to the lesson in the 'drawing' section called 'room interior CVP' for a more detail and practical instruction. Let us extend a few lines and add some detail. You will note that if you extend the lines forming the top and bottom of the open door they will meet on the same level as the other convergent lines. Given the basic structure you could practice adding things yourself. This example is called 'two point perspective'. Complete the 40min. lesson called 'room interior two point perspective' in the 'drawing' section and keep this page as an introductory theory sheet. Now let's now go outside ... GO TO ... perspective - let's go outside 1-2 SOME 3D SPACES ... CONTINUED Let's go outdoors. Extend a few lines and the blue line now becomes the 'horizon line'. add a few visual clues ... try it