powerpoint 3b painting techniques traditional techniques and painting styles
methods of painting • painting techniques • the meaning and uses of various techniques • applying these techniques • exploring themes with techniques • painting media • watercolor • gouache • oil • acrylic • styles in painting • naturalism • impressionism • expressionism • abstract art • nonobjective
washes, wet-in-wet and wet-over-dry • method and practice • a translucent or watered down pigment applied to a surface • washes are applied to either dry or wet surfaces • wet-in-wet are applied to wet surfaces; colors are wet and applied into one another • wet-over-dry are applied to dry surfaces; a dried color serves as the basis and a wet color is applied on top • how it is applied • flat washes are applied to dampened papers or canvases and light pigment is dragged across • washes are usually applied with flat, wide or fan brushes and/or sponges • variegated washes are different colored washes which bleed or melt into one another • graded washes blend two colors together creating a gradient • granulated washes use two or pigments that naturally separate and are left to dry on their own, undisturbed
blending • method and practice • achieving gradations, that is soft transitions from one hue to the next • how it is applied • using a flat bristle brush, apply acrylic paint to the canvas and then, working very quickly, apply a wet brush to smear the colors together • using a fan brush, apply various colors to each part of the brush and then drag it across the canvas • wet-in-wet techniques for watercolor allow for subtle blends • drybrushing and scumbling work well for acrylic, tempera and gouache • oils are naturally “buttery” and smear well but can become muddy if over smeared
glazing and staining • method and practice • a translucent surfaces of color which are built up with subsequent translucent colors • colors blend together as the undercoats show through the top layers of pigment • how it is applied • in oil, glazing is achieved by mixing more turpentine into the pigment • in watercolor and acrylic water is used to create a glaze (similar to a wash) • diluted paint can be used to stain the canvas or paper as opposed to an opaque color
alla prima • method and practice • working wet-in-wet and directly onto the painting surface with rapid brushstrokes • very spontaneous, usually without a preliminary drawing • how it is applied • in watercolor, alla prima is ideal for spontaneity with its fast, fluid strokes • in oil and acrylic, alla prima is achieved by diluting the media in turpentine or water and allows the previous layers of color to show through
backrunsand other wet techniques • method and practice • wet techniques such as backruns, blowing, dripping, drizzling and splattering create hard edges when the pigment dries • drip or splash pigment into a wash that has not completely dried but has lost its sheen • how it is applied • paint is displaced across the wash (a coat of clear water or heavily watered down pigment) by dripping pigment • can create trails and blotches when flicked, blown or drizzled
broken color • method and practice • broken color refers to any application of paint in separate strokes of pure color without blending • how it is applied • daubing: hasty or crude strokes • pointillism: small dots of pure color to create optical effects of implying shapes, line and color mixing • feathering: light, loose, diagonal strokes which resembles “feathers”
drybrushing • method and practice • an area of color, that is already dried, is lightly “dusted” with a brush loaded with barely wet pigment • the bristles of the brush create an impression with the pigment • how it is applied • in watercolor, less water is used with a pigment-loaded brush (flats or rounds) and is blotted to remove extra moisture • in acrylic and oil the rough texture of the canvas lends itself to drybrushing, which usually brings out this natural texture
naturalism • defining aspects of the movement • paintings should adhere as closely as possible to the look of the natural world • these images are said to look “realistic” although this should not be confused with realism which was actually an offshoot movement in its own right • how it is applied • imitate the natural world as closely as possible using various methods and techniques • emphasize lighting, chiaroscuro, form/mass, and texture • often employs atmospheric perspective and natural color mixing
impressionism • defining aspects of the movement • broke the rules of established art, at the time • possibly a backlash against the advent of photography as it was considered futile to paint realistically when the camera can do it better • concerned with the distribution of light and color in a natural setting • how it is applied • feathery, loose strokes and daubs of pure color placed next to one another • painted en plein air, outside of the studio in the scene on location • grays and dark tones are created through the mixing of complimentary colors as opposed to shades made with black • opaque colors without glazing
expressionism • defining aspects of the movement • concerned with the inner or personal world as opposed to the outside world • backlash against impressionism and naturalism • reality is internal and emotional as opposed to natural or empirical • often has an emotional dimension • how it is applied • arbitrary color choices • juxtaposed compositions consisting of symbolic and objects which could be subjectively interpreted
abstract art • defining aspects of the movement • complete refusal of naturalism • objects and figures are reduced to visual symbols often simplistic, stylized and/or geometric • only vaguely references nature • includes movements like fauvism, cubism, modernism, surrealism and derives from post-impressionism via the simplification of natural forms into simpler shapes • how it is applied • uses a visual language of color and form • becomes more like music through pure elements and the use of time • work is conceptual and meaning is derived from timeless and universal symbols like those found in geometry
nonobjective • defining aspects of the movement • does not refer to any physical object or figurative object in nature • does not represent or even symbolize any actual object/figure or scene • breaks through abstraction to complete minimalism • how it is applied • explores pure color, pure form, motion and time • rejects the external world • interplay of static and dynamic elements
things to ponder… • the art movement paradigm • like other disciplines, art can be divided into paradigms • a paradigm is a set of practices, beliefs and theories concerning a discipline • paradigms are specific to time periods, to cultures and to groups of artists • evolving art • paradigms are often seen developing from previous paradigms by rejecting or modifying the prior era’s tenants • can you see a linear connection between the different styles and movement in painting? • can you see how practices and methods in drawing led to the development of painting techniques? • can you see the connection between the development of oil painting, watercolor and acrylic painting?
