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2009 AA July_Aug Article

2009 AA July_Aug Article

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Published by: Interweave on Sep 23, 2011
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BestProfessionalPracticesfor
armc
NewJerseyoilpainter
JoeGyurcsak
helpsstudentsunderstandhowusingalimitedpaletteandkeepingthingssimplemakesforapaintingthatlooksunifiedandconvincing.
byBob
Bahr
J
oeGyurcsak,aveteranpainterandartteacher,recentlygaveademonstrationataregionalartsguildinwhichheshowedhowusingalimitedpalettecanhelpunifythelookofastilllifepainting.Gyurcsak,theresidentartistatUtrechtArtSupplies,tookaneventattheBurlingtonCountyArtGuildasanopportunitytoexploreideasbehindapieceheadmired-N.C.Wyeth's
The
DustyBottle,
a1924oilpaintingthat'sinthecollectionoftheBrandywineRiverMuseum,inChaddsFord,Pennsylvania.Wyeth'ssomewhatmysteriouspieceletsahugegreenglassbottlelargelydisappearintothedarknessofthebackground.GyurcsaksoughttorecreatethelowvaluesofWyeth'spainting-andalsoWyeth'smasterfulwayofwringingthemostoutofasim-plecomposition."Anyoldobjectcanbeinterest-ingdependingonhowitislit,"Gyurcsaksays."Wyethreallyshowshowfewobjectsyouneedtomakeapaintinginteresting.Hedidn'tdotoomanystilllifes,buttheoneshedidweregems.I'vewantedtodoapaintingsimilartoWyeth's
34AmericanArtist
foralongtime,andafter
10
yearsoflooking,Ifinallyfoundabottleliketheonehepainted-inanoldantiqueshopinEaston,Maryland."Gyurcsakdecidedtosetupthestilllifearrange-mentonthefloorabouteightfeetfromhiseaselandtoshineawarmlightontheobjects-theaforementionedglassbottle,abrownwarejug,andawhiteplatewithanorangeonit-ontheleftsideatfloorleveLTheobjectssatonapieceofblackvelvetthatcontinuedupbehindthem,creatingabackgroundthateffectivelyabsorbedalmostalllight.Asecondlamp,abalancedlightfittedwithawarmbulbandacoolbulb,shoneontheartist'seaselandtrickledaweaksecondarylightontheobjects'rightside.Gyurcsakhadpreviouslytested
www,myAmericanArtistcom
 
ABOVE
TeaKettle
2007,oilonlinen,20x22.Allartworkthisarticlecollectiontheartistunlessotherwiseindicated.
LEfT
FruitsofLife
2005,oilonlinen,
14
x
19.
OPPOSITEPAGE
TheRemains
2007,oil,24
x
24.July/August200935
 
manyoptionstodeterminetheplacementthatmosteffec-tivelyshowedofftheobjectsandthelighteffects.(Therestofthelightsintheroomwereturnedout.)Heaffixedahome-madecroppingtool-aviewfInder-tothearticulatedarmofamodifiedlampsothattheartist'sviewofthestilllifesetupwouldremainconsistentfromhisplaceattheeasel."1findthatfixingtheviewfindertoastationaryobjectisveryvalu-able,"explainsGyurcsak."Itkeepsyoufromchangingthecroppingdistance.Studentssometimesdon'trealizethattheyareholdingtheviewfinderataslightlydifferentdistanceeachtimetheyholditwiththeirhands,andreducingthevisualareaofthecompositioncangiveyouasimplifiedlook,whichisespeciallyimportantwhenpaintingaquicktwo-hourdemosuchasthisone,"hepointedout.
36AmericanArtist
Theartisthadpreviouslytoneda30"-x-30"Utrechtcot-tonduckcanvasbyrubbingburntsiennaoilpaintandalkydmediumonthesurfacewitharagandlettingitdrythoroughlyoverafewweeks.Asotherartistshavealsopointedout,atoneonthecanvaseliminatesthebrightlightvalueofagessoedsurface(which"closes"thepupilofeye),lessenstheabsorbencyofthesurfaceandallowssmootherpaintapplication,andenablesanartisttoworkfromthemiddleofthevaluerange.Atthestartofthedemonstration,Gyurcsaksketchedtheoutlinesoftheobjectswithburntsiennamixedwithalkydglazingmedi-umandalittleturpentineusingasize8filbertbristlebrush."Delicatesketchingwasnotneededbecausethescenehasadarkbackground-thedrawingcouldbecrud-
www,myAmericanArtistcom

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