Tuesday, September 10, 2013

Impressionistic Paintings Techniques (Part 1)

Dr Abe V Rotor  
Living with Nature - School on Blog
Paaralang Bayan sa Himpapawid (People's School-on-Air) with Ms Melly C Tenorio 
738 KHz DZRB AM Band, 8-9 evening class, Monday to Friday
Fiery flowers emerge from below to meet the sun, only to wither soon after the bees have done their chores.  Wither, one by one, younger flowers succeeding, a cycle of life and life giving, progenies born one after another. How could you paint such a cycle but by impressionism?  Impressionism leaves much of what is to be said.  For the mind is richer where it is left with space to explore, and meaning to seek. It is not easy to depict a phenomenon on a single canvas when it takes immeasurable time and innumerable stages to complete.  Step 1: start with the flowers, large and unarranged.  Step 2: apply thick dark green and light green in ascendant strokes, heaviest at the base.  Step 3: Add flowers at the center to give focus.  Step 4: add light green ascendant lines as foliage.  
Acrylic painting on glass in three dimensions: seaweeds, fish and the deep. There is apparent movement, yet there is peace among the creatures living in co-existence. Step 1: dark background.  Step 2: fish and other red colors.  Step 3: seaweeds, transferred from separate impression.  Step 4: details like air bubbles.  Step 5: fixing with lacquer spray. Step 6: framing, or "edging" (liston)    
Mural (5 ft x 10 ft) acrylic. Repetition has a powerful effect - it serves as boundary yet gives a sense of depth a feeling the viewer is at the edge of a forest.  The source of light however, is from inside the forest.   Step 1: stretch canvas on 2"x 3"x 10' kiln dry lumber. Step 2: use white latex to seal canvas surface. Step 3: use palette for the trees.  Step 4: dub premixed yellow and blue for vegetation.  Step 5: details like flowers, sunbeam, and red to break monotony. Note: Don't use fixative, let the painting as is, just protect it from direct sunlight. 
Hazy, light and soft to the eye and touch.  How is this done in contrast with the still life previously explained above? Here the colors used are first mixed with white on the palette, never on canvas. Choose the hues and keep the contrast low so that the boundaries are smudged, with pleasing effect. There is a tendency to end up with muddy appearance.  Maintain restraint, give that "cloud nine" look.  It fits well on a wall where peace and quiet reign.  It invites relaxation. 

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