Paint handling assignments- impressionistic & hard-edge
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Paint handling assignments- impressionistic & hard-edge



A presentation that outlines two assignments on paint handling and how to handle paint. Students are offered a choice between the two styles and are allowed to explore them in a painting. They must ...

A presentation that outlines two assignments on paint handling and how to handle paint. Students are offered a choice between the two styles and are allowed to explore them in a painting. They must follow the individual objectives and criteria for each assignment.



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    Paint handling assignments- impressionistic & hard-edge Paint handling assignments- impressionistic & hard-edge Presentation Transcript

    • Paint HandlingImpressionistic/Hard-edged
    • Impressionist painting- Criteria & Objectives • Students must paint a natural/real subject in the style of the impressionists. • Students may use hog hair bristle brushes, acrylic or water based oil paint, painting supplies, and a photographic reference • Students must use a real photographic reference of a real person place or thing shot in natural sunlight. • Students must use short choppy, quick strokes. Students must change colors every stroke or every set of strokes, only large brushes, size 6 and up may be used. • Students are not allowed to use black, paint can be mixed on the palette or on the canvas. Students may not use black, any use of black to darken a color will be instantly downgraded. • Students may use a support of their choice, canvas is recommended if water miscible oils are to be used. • Students can subjectively match colors, for instance: haystacks are not entirely purple but Monet made them purple to convey shadows. Purple assisted his view of a darker side of the haystack. • The objective of this assignment is to mix darks with only pure colors, paint in in an impressionistic style, and render a subject in natural light.
    • Typical impressionist setup • Stiff bristles, hog hair flats • Held at end of handle • Short quick choppy flicks or strokes • Change colors every stroke or set of strokes • Mix wet into wet • Natural light source • No black • No black • No black • If I see black I will downgrade you
    • Impressionism 1870’s-1880’s
    • Claude Monet, Agapanthus triptych
    • 1 2 3 4 5
    • GivernyWater Lilies Monet, 1906.
    • Claude Monet, self portrait 1840-1926.
    • Claude Monet, Impression, Sunrise
    • Claude Monet, Arrival At Saint Lazare Station
    • Claude Monet, Lady in the Garden
    • Claude Monet, Landsca pe With Thunderstorm
    • Claude Monet, San Giorgio Maggiore
    • Claude Monet, Rouen Cathedral, The Portal and the Tour d'Albane, FullSunlight
    • Rouen Cathedral: The Portal Monet, 1894. Oil on canvas, 3’3” x 2’2”.
    • Monet, Haystacks
    • The Bath Mary Cassatt, 1892. Oil on canvas. 3’3” x 2’2”
    • Mother and Child Mary Cassatt, 1890. Oil on canvas. 3’11” x 2’1”
    • Berthe Morisot, 1841- 1895 In the Dining Room,1886, oil on canvas National Gallery of Art
    • Summer’s Day Berthe Morisot, 1879. Oil on canvas.
    • Wooded Landscape at l’Hermitage Camille Pissarro, 1878. Oil on canvas, 18” x 22”.
    • Pissarro, Old Chelsea Bridge, London 1871, Smith College Museum of Arts
    • Pissarro, Conversation, c. 1881
    • Pissarro, Boulevard Montmartre la nuit, 1898
    • Pissarro, The Boulevard Montmartre on a Winter Morning, 1897, Metropolitan Museum of Art
    • Pissarro, Boulevard Montmartre au printemps
    • Pierre- Auguste Renoir. The Swing. Luncheon at the Boating Party.
    • Renoir Le Moulin de la Galette Pierre-Auguste Renoir, 1876. Oil on canvas, 4’3” x 5’8”.
    • DegasRehearsal on Stage Edgar Degas, 1874. Pastel over brush and-ink drawing on thin, cream-colored paper, mounted on canvas. 21” x 28”.
    • DegasPortrait of Mary Cassatt Degas, 1884. Oil on canvas. 28” x 23”.
    • Degas, Dancers in Pink II
    • Degas, Ballet Rehearsal, 1875
    • Manet Boating Edouard Manet, 1874. Oil on canvas. 38” x 51”.
    • Manet A Bar at the Folies Bergere Manet, 1882. Oil on canvas. 3’1” x 4’3”.
    • John Singer Sargent, The Sketchers
    • John Singer Sargent, Portrait of Lady Agnew of Lochnaw
    • Post-Impressionism Mid 1880’s-1910-ish
    • Georges Seurat, 1884-1886
    • Paul Signac "Le Palais des Papes, Avignon (The Papal Palace, Avignon)", c.1900 - oil on canvas, 73.5-92.5 cm. - Paris, Musée d'Orsay
    • Georges Lemmen
    • Student Examples
    • Hard edge painting- Criteria & Objectives • Students must make a hard edge abstract painting. Their painting must have perfectly hard, straight edges, four colors, each color must be varied in saturation, value, and intensity ten different ways. The design must be decidedly concentric/symmetrical or asymmetrical. • Students must use acrylic paint, four tube colors, black and white, synthetic bristle brushes, masking tape, ruler, and graphite with other painting supplies. Bristol or poster board will be used cut to a small quarter sheet square. • Students must paint with crisp straight edges, no undulations, quivers, stray marks, overlap, drips, bleeding, bristle drags, or errant marks may appear. Masking tape may be used to make crisp edges. • Students must make an informed and decisive choice to pursue a concentric symmetrical design or an asymmetrical design. Concentric is aesthetically pleasing, balanced, and easy to paint as each quadrant is identical. Asymmetrical, while more free requires more planning and balance, odd shapes often result which are harder to paint with crisp edges. • Students must use ten steps of value or ten variations in saturation/intensity. Students must use at least four different tube colors, colors cannot be within the same hue category, for instance a student cannot claim to have used ultramarine and pthalo blue as two separate colors. Students may use white, black, and grey to create various mixtures of their four colors. • The objective of this lesson is to explore subjective choices in value to create an aesthetically pleasing painting, create a geometric abstract composition, and create hard edges.
    • Step by step, how to make a concentric design Example of coloration using ten steps of value, with two out of the four colors
    • Asymmetrical abstract painting, sketch process
    • To paint with masking tape follow these steps 1. Place the tape down along the edges of your design, burnish edges to form a tight seal 2. It is optional but you can further seal edges of tape with acrylic mediums, (we don’t currently own any) 3. Paint a nice even coat of paint over tap edge, peel back at a sharp angle
    • Student Examples
    • Artists that exemplify the assignment’s criteria
    • Victor Vasarely
    • Richard Anuszkiewicz
    • Julian Hoeber
    • Liviu Stoicoviciu
    • Ralph Berko Example of asymmetrical composition with multiple shifts in value, saturation, and color.
    • What is commonly thought of as the hard edge painting style These artists are ordered semi-chronologically from the 30’s on up into contemporary time, most typically hard-edge painting is thought of as happening around the 60’s and 70’s
    • Piet Mondrian
    • Wassillie Kandinsky
    • Max Bill
    • Sol LeWitt
    • Frank Stella
    • William T. Williams
    • Bridget Riley,
    • Charles Biederman
    • Sarah Morris
    • Jaro
    • Artists who use bands or lines of color
    • Gene Davis
    • Dion Johnson
    • Israel Guevara
    • Andrew Kuo
    • Artists who use a lot of geometric shapes
    • Alison Rash
    • James Marshall (Dalek)
    • William J. O'Brien
    • James Kennedy
    • Artists who use very simple geometric shapes
    • Josef Albers
    • Ellsworth Kelly
    • Robert Mangold
    • Sam Gilliam
    • Alain Biltereyst
    • Qian Jiahua
    • Artists who abstract letters, numbers and other symbols
    • Allan Graham
    • Robert Indiana
    • Karlos Carcamo
    • Valerie Jaudon
    • Artists who use organic or natural shapes in a hard edge style
    • Carla Accardi
    • Richard Woods
    • Kate Abercrombie
    • Michelle Hinebrook
    • Pete Smith
    • Todd Pospichal
    • Artists whose color does not remain flat, but looks like hard edge style
    • Yusuke Komuta
    • Renata Egreja
    • Nichole van Beek
    • Laura Owens
    • James Welling, photographs with double exposures