Still Life Tempera Painting


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Introduction to the medium and the subject for high school Art 1 students

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Still Life Tempera Painting

  1. 1. Still Life Painting With Tempera
  2. 2. Still life is a traditional subject in painting and drawing They can show off an artist’s skill in realism Romans painted them in fresco on the walls of their homes, often as background Netherlands artists in 1600s created a fashion for them as a stand-alone subject
  3. 3. Paint• Ground: receiving surface• Pigment: coloring agent• Binder: the “glue” that determines paint type Acrylic: liquid plastic Oil: linseed (flax) or other veg oil Casein: milk Watercolor: agar gum Fresco: water and plaster Tempera: egg yolk
  4. 4. Did you say Egg Yolk?!!
  5. 5. Well, yes, but… our school tempera paint is REALLY an opaque (not see through) watercolor
  6. 6. And now some examples oftempera still life paintings No, not by one of our students… Groundhog Day by Andrew Wyeth Posted on Leah Waichulis Fine Art blog. That’s how these things get around. • wyeth.html
  7. 7. Still Life Paintings by Ms. Henson’s 8th grade
  8. 8. Karen HensonIs a K-8Art teacherIn Longmont,Colorado
  9. 9. Still Life with Apples, Jame Hayes
  10. 10. Jame C. Hayes was born inKeokuk, Iowa.He was educated at theUniversity of Iowa, earning aB.F.A. in painting anddrawing and a M.A. in ArtEducation.Jame primarily works onmedium to large scalepaintings and drawings.Jame works in various mediawith drawing and primarilyacrylics for painting.James works are held inmany private collections.Jame does custom worksupon request.Jame works in many themeswith baseball mitts and Jame C. Hayestornadoes being his currentlong term themes.Jame currently teachesJunior High art and resides Muscatine, Iowa.
  11. 11. Little PeasantIoana Prisacariu, Oslo Area, Norwaygraphic designer (multimedia and web publishing)
  12. 12. Requirements for Tempera Still Life Painting•Use 18 x 24” white bond paper and tempera paint: r, y, blu, bla, wh only•Start with an underpainting in water-thinned tempera working out shapes,colors, placement of shapes from observation. Do not pencil start withpencil.•Develop the painting by mixing colors on both palette and ground andapplying background to foreground, large to small shapes, thin to thick paintconsistency, large to small brushes, details and linework last.•More mixed colors are better than unmixed colors; keep colors clean notmuddy (accidental blends of 3)•Look every few seconds at the still life set up in order to adjustcomposition for value, proportion, placement and details. Pay as muchattention to background as foreground or zero in on the set up.•Remember: changes in a painting demand more changes, depending on whatyour eyes see at this stage.
  13. 13. Still Life Tempera Painting Presentation bySandra Whitmore October, 2011