*Color Theory, Design & Composition

*Landscape

*Still Life

*Florals

*Painting Facial Features

*Portraits from the Live Model

*Old Master Methods Part 1: The Flemish/Bistre Method

*Old Master Methods Part 2: The Venetian/Grisaille Method

2010 CLASS SCHEDULE

Color Theory, Design & Composition

       
(Demos & Examples by Johnnie Liliedahl)

Designed to fully immerse the student into the study of oil painting, this week will make you fluent in the language/tools/techniques of the traditional, academic painter. It begins with a thorough exploration of color, value and temperature of a basic, full-spectrum palette. In-class exercises and homework will provide invaluable personal reference materials for the remainder of the student's painting career.

Study the differences in traditional, old master and Impressionist color usage, tonalist vs. colorist, transparent and opaque color theories, ebauche, drybrush, impasto, glazing, scumbling, alla prima and studio technique, and much more. Many students have studied color theory with others, but it usually relates only to modern color theory used by Impressionist painters. Those seeking to learn older methods of color usage, i.e., Rembrandt, Vermeer, Waterhouse, Bouguereau, etc., will find Impressionist color theory woefully inadequate to explain the color usage of these master painters. This workshop compares and contrasts these two vastly different approaches to the study of color. It goes far beyond color mixing and naming of those colors.

The elements of composition and design are demonstrated in the three major areas of subject matter: still life, landscape, and portraits. The importance of this week cannot be overstated, as it lays the foundation for the workshops to follow. Skip this week at your own risk, as the information presented will not be repeated in subsequent weeks, and will be presumed that it is known!

Surface purchase required: 20 pre-printed canvas worksheets to be used for the homework painting exercises (and will be used as reference tools in all the workshops following this one).

Landscape

Sangria de Cristo by Johnnie Liliedahl

La Forge by Johnnie Liliedahl

Each day is broken into segments of lecture, demonstration, and quick-study exercises to reinforce the curriculum content. First-time attendees to this workshop will follow the exercises in the program, completing at least one study per day.

Returning participants may bring their own original photos and work on paintings of greater length, size, and complexity, receiving individual attention and direction during the painting exercises portion of each day.

The goal of this workshop is to give the painter the knowledge of landscape relationships that will inform their own original painting efforts, and separate them from the pitfalls that visually define the amateur painter.

STUDENT LEVEL: Beginner - Advanced

Old Master Methods Part 1: The Flemish/Bistre Method

"The Offering"
Copyright 2004 by J. Liliedahl, All rights reserved


"Shadows", after Waterhouse
Version by J. Liliedahl

The above paintings represent the types of paintings that have been created in previous years in this workshop. They are NOT the subject of the current year.

The entire week is spent on one long project, designed to give the student the experience of the painting process from start to finish.

You will learn to paint original figurative paintings from beautifully posed, photographic resources using the Flemish Old Masters technique. While working with live models is desirable, painters do not always have the time or access to full-time live models, and must rely on photographs, drawings or small painted studies for their composition.

Students have a choice of subject matter:

• Work from student’s own original photograph
  
  Students may have photographs of their own subjects that they wish to paint. Photos must be submitted (and approved) 6 weeks in advance of the workshop, and reference materials will be prepared based on their own original photos.
  


• Work from a costumed model in the studio + photographs
  
  The first day of the workshop, there will be one or two costumed models available to be photographed (depending on the number of students enrolled). Johnnie will photograph the models from a variety of angles, and students will have the option to choose one of the angles. No two students will paint from the same photo position, as this will insure that all paintings are unique compositions, even though they are of the same model. As a result, the workshop paintings may be considered “originals.”
  
  Extensive photo references, in large format (as large as 24x30), will be printed for each student, and instruction will include how to use the various photo references, as part of the class instruction.

The content of this workshop is designed to teach not only the Flemish underpainting technique, but also how to use modern resources to construct and compose a narrative painting. Figurative painters do not rely strictly on the live model when creating paintings that include multiple figures and lavish detail. Teaching the process of assembling the right resources, and how to use them is part of the curriculum of this class.

Photographic enlargements, graphic diagrams, value studies, and color schemes are provided to the students, along with a demonstration of the style of painting by the instructor.

While all the other workshops in the School of Classical Oil Painting have been directed at teaching the painter how to draw, compose, and execute the start of a painting (through small painting studies), this workshop (and the Venetian Old Master Workshop) are directed at teaching the student how to finish a painting.

Painting techniques that produce a high standard of finish are not usually taught in the workshop setting. That is what makes this week unique. Teaching the student how to finish the painting is the goal of the workshop.

The roots of the Flemish style go back to the Renaissance with Raphael, Rubens, Rembrandt, Vermeer and Van Dyke as well-known practitioners of this method. It is based on the use of the bistre, or brownish, transparent underpainting to establish the value or tonal range of the subject. In the hands of the masters listed above, it provided a subtle, warm neutral base as a foil for the brilliant color of Vermeer, the bravura brushwork of Rembrandt, and the sumptuous fleshtones of Raphael and Rubens.


STUDENT LEVEL: Beginner - Advanced

Old Master Methods: Part 2: The Venetian/Grisaille Method

"Lady in White", original painting by J. Liliedahl
Copyright 2004 by J. Liliedahl, All rights reserved


"The Water Maid", after W.S. Pearce
Version by J. Liliedahl

The above paintings represent the types of paintings that have been created in previous years in this workshop. They are NOT the subject of the current year.

The entire week is spent on one long project, designed to give the student the experience of the painting process from start to finish.

You will learn to paint original figurative paintings from beautifully posed, photographic resources using the Flemish Old Masters technique. While working with live models is desirable, painters do not always have the time or access to full-time live models, and must rely on photographs, drawings or small painted studies for their composition.

Students have a choice of subject matter:

• Work from student’s own original photograph
  
  Students may have photographs of their own subjects that they wish to paint. Photos must be submitted (and approved) 6 weeks in advance of the workshop, and reference materials will be prepared based on their own original photos.
  


• Work from a costumed model in the studio + photographs
  
  The first day of the workshop, there will be one or two costumed models available to be photographed (depending on the number of students enrolled). Johnnie will photograph the models from a variety of angles, and students will have the option to choose one of the angles. No two students will paint from the same photo position, as this will insure that all paintings are unique compositions, even though they are of the same model. As a result, the workshop paintings may be considered “originals.”
  
  Extensive photo references, in large format (as large as 24x30), will be printed for each student, and instruction will include how to use the various photo references, as part of the class instruction.

As with the Flemish workshop, the goal of this class is to create an in-depth piece of artwork, painted in the Renaissance style using the grisaille underpainting, glazing, scumbling, and drybrush techniques to achieve a high degree of finish. Most workshops emphasize the start of the painting, drawing, composition, color and gesture. What is usually lacking in these types of classes is the opportunity to put the newly learned techniques and concepts to work in a highly finished composition — while still under the instruction of the teacher.

This workshop takes up where others leave off. The student is guided through the entire process of painting — from first stroke to last finishing detail. There is no hurry to finish because the model is going to take a break or go home for the day. Students will be creating the painting from prepared photographic resources in the style of a traditional, Old Master painter using the Venetian Method. Extensive photographic material to work from is included in the price of the workshop.

Leonardo da Vinci, Titian, David and Ingres all used a style of underpainting that could stand alone as a finished work of art, without any color whatsoever. This method is known by other names, such as grisaille (gray), and verdaccio (greenish-gray). It differs from the bistre underpainting in that it uses opaque mixtures of paint to lay in the entire composition. The monochromatic, opaque underpainting is as detailed as the finished work in color. This method creates an undeniable sense of presence in any painting executed in this manner. While the underpainting cannot be seen, except by the trained eye, its structure, tonal range and brushwork serve to make the finished work in color appear more vivid.

Rarely do you get the opportunity to paint with the in-depth instruction that these Old Master technique classes afford, along with the generous time allotted for execution.

STUDENT LEVEL: Beginner - Advanced

Get Enrollment Form Here

  2010

Painting Facial Features

 
(Demos & Examples by Johnnie Liliedahl)

This class is designed to give the beginning student of portrait painting an in-depth knowledge of the individual features of the face (eyes, nose, mouth) and how they should be observed and painted from three different views (full-face, 3/4, and profile. Students will work exclusively from photographs of models of varying ages, gender and race to practice the painting of features. No previous drawing experience is required.

Use this workshop to be introduced to portrait painting in a low-stress environment. With no live models (who really can’t sit still), you will not have to deal with learning basics while looking at a moving object. The photographs used as reference material put the painter at ease because they are already in a two-dimensional format, making the transition from photo to painting much easier to understand.

By separating the features, students are more likely to learn correct anatomy, especially when they do not have to be concerned with getting a likeness of an entire head at once. Once the painter has a good understanding of each feature in full-face, ¾ and profile, they can move to other classes which use live models to teach painting the portrait.

The last day of the features class will be devoted to painting an entire head from a photograph, putting all the features together in a painting similar to the one shown here. Images above are for illustration only. New full-head photographs for the final painting project are offered each year, and will change by age and gender.

If you are an experienced painter, yet have always had difficulty with a particular feature in getting a likeness, this is the class for you!

STUDENT LEVEL: Beginner - Advanced

Portraits from the Live Model

   
Above All Original Oil Paintings by J. Liliedahl


Original Oil Painting by J. Liliedahl

You need have no experience in drawing or painting portraits to attend this class. The first day will be spent learning to draw the head, and learning critical relationships that will be used as reference throughout the student’s portrait painting career. All drawing will be done in oil.

You will paint from the live model every day, with the first day being devoted to learning how to measure the head to achieve a likeness in full-face, ¾ view, and profile. The structure of the head, its volume and shape will be studied to learn the large light and shadow masses that are common to all human faces.

Students will paint two studies per day from the live model for the next four days. Easel positions will be assigned and students will change places twice a day to assure that everyone in class has painted in at least five different positions with the model: profile light-side, profile shadow-side, ¾ light side, ¾ shadow side, and full face.

These studies will be limited to the bust only, to provide as many "starts" as possible. Painters will have a limited time to work on each study, to develop speed, skill and facility with their tools and measuring techniques. Models will vary in age, gender and ethnicity to provide a wide range of fleshtone colors and age challenges. It will also provide experience in painting any face, regardless of type.

The last three days will be devoted to longer poses. This will provide enough time for the student to design a formal portrait composition which may include hands. Backgrounds will be discussed and how they play an integral part of the portrait composition.

Models will be costumed to provide interesting character compositions for finished, original paintings which students may use in their portfolios, and/or sell as original work. Skills learned in the first five days will be put to the test as students will be challenged to tackle large format canvases and more intricate subject matter.

STUDENT LEVEL: Beginner - Advanced

 

All Original Oil Paintings & Demos by Johnnie Liliedahl

The structure of this class is lecture, demonstration, and exercises painted from the live setup. Each day will begin with a lecture on basic concepts in still life painting, including (but not limited to) design concept, composition of masses, form and cast shadows as design elements, the color of the light source and its impact on observed color, basic shapes and volumes, complex shapes based on simple components, folds and drapery, fruits and vegetables as simple shapes, brush techniques and paint application methods, direct painting and drawing, and linear perspective. Setups will be designed to provide specific lessons on each area of emphasis.

You will learn how to paint glass, metals, pottery, porcelain, and other surfaces, while practicing the elements of composition and design for either classical techniques or impressionist setups. A fresh fruit and vegetable fee will be collected to assure that a generous variety of shapes and colors are available for each student.

Each student will have their own private setup box with spotlight, allowing complete freedom to set up original compositions.

Students who are enrolling in this workshop for the first time will be required to complete the assigned exercises to receive credit for the class. Students who are enrolling for a second or third time may begin working on larger, more complex, original paintings from the first day, and will receive individual instruction during the painting exercise portion of the day.

STUDENT LEVEL: Beginner - Advanced

Florals

 


All Original Oil Paintings & Demos by Johnnie Liliedahl

STUDENT LEVEL: Beginner - Advanced