Wednesday, June 4, 2014

Color Study At Studio Incamminati, Week Four

As we work on these color studies week after week, we get the hang of it. Fun to do because there is no concern, really, for the drawing of the boxes. It does not matter if the proportions are off. This is about seeing large color and value relationships and learning which colors to mix together to get an approximation of what we are seeing. Remember, when you are doing your color study you are not trying to match the color you see, but rather, recreate the illusion of the quality of light and color relationships.

In order to set up your own color study still life, you will need many painted boxes of all sizes, pretty colored drapes, a good light source (we use halogen Home Depot lamps) and a dark room to work in. You could also set it up outside and do it in the sunlight, like Henri Hensche did. To start, however, perhaps artificial light will be easier because it will not change over the course of three or six hours.

It gets really exciting (to us, anyway) when the boxes in light and shadow start creating a sense of space and atmosphere, an illusion of depth, as it were, and yet all we were trying to do is see the color relationships accurately. What is behind? What is below? What is above? What is beside?


After three hours of working from these halogen light sources, our instructors, Natalie Italiano and Joe Dolderer, place colored gels over the lamps. This changes the color and the light drastically, as you can imagine. The following pictures have two studies on them, one in halogen light and the other in the effect of the bluish greenish gel.


It is important to start with the brightest color you see when you are making your first pass into your color study. It is much easier to dull a color already up there than make it, and all the surrounding colors, brighter. So start bold and brash and end up very lyrical and poetic. See how you can develop this very new art form.

In my name, Michela Mansuino











Monday, May 12, 2014

Color Study at Studio Incamminati



COLOR STUDY - LEVEL ONE

Remember that moment in the film "The Wizard of Oz" when Dorothy steps out of her black-and-white world by opening her front door and gazes into the razzle-dazzle color world of Oz?  Well, that is what it will be like when you take your first year at Studio Incamminati and, after nine months of charcoal gesture drawings and value studies, you embrace a palette of 23 colors and look out onto a stage of painted boxes.

We are told that, rather than match the color you see, you must push the relationships of color to give the full effect of the light on form. This is the same concept with value study. It is not about matching the value you see, but experiencing that value in the context of a light situation.

Our course description, below, will clarify the objectives.


Start with one box.


Push the realm of color as value.




Course Description

The purpose of this class is to gain an understanding of color relationships and pigments, and to gain the ability to recreate the illusion of light on form through a series of simple exercises called color studies.  For this semester, these introductory color study exercises will involve painting colored boxes and simple still life objects under artificial light.   
Emphasis is placed on understanding the various elements, i.e. value, hue and saturation, that influence color relationships.

Outline
Students begin each color study by establishing simple light and shadow masses in grisaille. They will then build the painting with simple shapes of color that capture and recreate the relationships of the lighting situation. The semester will begin with simple exercises utilizing boxes or objects that have planes and strong color, and will increase with complexity as the semester progresses and as the student demonstrates readiness. 




We have been told that we will do at least one hundred of these.


There are three passes. The first time around you will be getting your first impression of the relative value, reaching for the boldest statement of color and the least amount of mixing.  In fact, mix on your canvas.


The second pass would be an alteration of the values to more approximate the situation.


The third pass would be a hue and temperature decision and another calibrating of the values.

For reading on the matter, a book on 










Friday, May 2, 2014

A Portrait Demonstration by Kerry Dunn

Hi again,
As some of you may be aware, I have been taking an extra class in Studio Incamminati's Continuing Education Program for the past ten weeks. Portrait Painting with Kerry Dunn has been informative and enjoyable, and I have certainly gotten a lot out of it. As it turned out, one evening circumstances called for a short notice change of plan, and Kerry agreed to provide us with a three hour portrait demonstration. As a student who frequently gets to see 20 and 40 minute demos emphasizing of portions of the process taught at Studio Incamminati,, it was a treat and a valuable lessons to see a longer demo tying the various stages together. I thought I'd share the demo with you as it progressed, in 20 minute intervals.







I was pretty astounded at how Kerry started with what looked like so little, and still managed to pull form and substance from seemingly out of nowhere. 
I hope you enjoyed this sneak peek,
Until next time,
Jason P. Jenkins

Monday, April 28, 2014

Color Study with Natalie Italiano


Today level 2 continued our recent foray into painting color studies of the figure in natural light.
Natalie set a lovely pose and put up some fun and tricky colors. Here are the results of our labor!
-Alexander Soukas


Sharon Mchugh
Jarred Fisher 
Tom Plassa
Alexander Soukas 
Grace Jackson

Nell O'leary

Tuesday, April 22, 2014

A Demonstration on Painting the Features with Peter Kelsey

Hi again,
Recently, it was Spring Break at Studio Incamminati. For some, a chance to rest up, and for other it is a chance to travel, or visit family. For me, it was a chance to take an intensive workshop on Ecorche Drawing and Anatomy with Peter Kelsey. The workshop itself was fantastic, and provided an opportunity to go deeper and get more specific than we did during the Ecorche and Anatomy portion of the full-time program. I brought all my left-over question with me, thought of more on the spot, and got all of them answered. For an anatomy enthusiast like me, it was a brilliant experience and I thoroughly enjoyed every minute of it.
As a bonus, and in a display of generosity with his time and his knowledge, Peter Kelsey stayed late one evening and offered a three hour demonstration on painting the features in oil. The demonstration was open to the public, and I for one, eagerly ate it up. Here it is, as it progressed.





The demo was thoroughly enjoyable, and very much appreciated.
Until next time,
Jason P. Jenkins

Monday, April 14, 2014

Open House Spring 2014 Demos

Hi Again,
Recently, Studio Incamminati had is annual open house. During the open house the facilities are open to the public, tours are given and questions are answered. It is a great time to meet with the community and potential future students, and satisfy any curiosity about the school and the program, and to get a look at the studios and student and faculty work.
We also had guests from New Wave Art, Strathmore, Gamblin, and Silver Brush, sharing information about their wares and generously distributing samples. Coffee, and remarkably good cookies amongst other fare was provided, and stimulating conversation abounded.
Center stage however was held by faculty, alumni, and student demonstrations from the live model. One of the precepts at Studio incamminati is, in order to learn, it is often optimal to ioslate one skill in an exercise, and in isolation push it, even to the neglect of other skills, to the brink of its breaking point (and possibly beyond), in the service of learning its limits and its capabilities. Then in can be reintegrated with other the other skills and employed with greater knowledge, assurance, authority, and proficiency. In a manner of speaking, that is the difference between study and performance, and as Henry Hensche said, "we must have both." In the demonstrations at the open house, each artist took one skill each , and demonstrated them as the school teaches them in exercises.
Duotone by Sakiko Shinkai

Duotone by Stephen Early

Color Study by Joseph Dolderer

Charcoal by Josh Breslin

Portraiture by Katya Held

Color Study by Leona Shanks

Grisaille by Rob Goodman

Charcoal by Peter Kelsey
The open house was a good experience for all, and the demos were an enlightening experience for me as a first year student. I highly encourage prospective students, artists and art lovers, and the community at large, to come by next time, and see what we are all about. Perhaps we'll see some of you there next year.
Thats it for now,
Jason P. Jenkins