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

Friday, April 11, 2014

Dan Thompson Color Study Portrait Demo


Before our spring break, Dan Thompson gave us a 3 hour color study demonstration. In the study, Dan demonstrated side by side on the same canvas, the two key components of form we've been studying independent of each other up until this point - form and color.

In the first stages, Dan proceeded to block in the model's head and first color notes in the same manner that we have been practicing the last 4 weeks, described in my last blog post here.

Dan painting Dan!

The first pass of color notes on left, and first planes of head in grisaille on right. 
The 3rd pass of color notes. Note the unified lights and shadows. 

After 2 or 3 passes of adjusting his color notes, Dan worked in grisaille during the model's breaks, to construct a planar head. This head, based on the sculptures we had made in our first semester, served as a guide in breaking down the innumerable color variations seen in nature, into a coherent and dimensional form.

Dan in action

The finished demonstration

By acquainting ourselves with the forms of the head in the first semester through hands on sculpture, and opening our eyes to light key and color in the second, the simultaneous demonstration of grisaille and color study brought Dan's lesson home beautifully- that every plane change is a color change, and every color change, a plane change. The better your perception and understanding of both color and form, the more intelligently you can interpret and break down form with convincing solidity and realism.


Thursday, April 10, 2014

LOL 
Level One played a prank on our beloved instructors Natalie Italiano and Joe Dolderer.

For the last seven weeks we have had an assignment to copy a master painting in the grisaille technique, that is to paint the values in a reduced scale of five tones.  Usually we use burnt sienna and ultramarine blue and a number 4 Silver bristle filbert on a toned canvas or canvas paper.

As usual we hung our homework up on the board and gathered around to see each other's efforts and critique the work.  We especially enjoyed our instructors reactions....
to Picasso.


 To copy Picasso's self portrait was revealing in that it was so blatantly primitive.  There were no real values to speak of and the flatness of the picture plane was painfully boring to us after having drawn from the model every day seven hours a day for the last nine months.  It takes years of practice to learn how to see and draw accurately.



  Antonio Mancini 1852 - 1930, Italian
We studied Mancini's realist subject matter and dark palette, we learned a lot about painting the mouth by copying this painting. 

And we didn't get in trouble at all.