Color Theory, Design & Composition

Note: Just below is a description of the Color Theory, Design & Composition Class as taught in Johnnie's Studio. Further below, or at the link above, you will find information about the Home Study Option for this class.

       
(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).

HOME STUDY OPTION


Optional: Tuition for Home-Study fulfillment of this course - $300 (tuition does not cover the price of the videos) The entire Illuminations! Series of videos were filmed to document material offered in this introductory class and serve as a good reference, reminder or preparation for the volume of this week's study. The purchase of the first ten (DI-1 — DI-10) DVD's in the series, proof of completed color theory and homework exercises, plus passing a written test on the material, will be accepted in lieu of attendance of this class for those who need credit for this workshop in either Teacher Certification or Mentoring programs.

STUDENT LEVEL: Beginner - Advanced

Get Enrollment Form Here

Note: The following is a description of the Flemish/Bistre Old Master Method, Part 1 Class that is taught in Johnnie's Studio. Further below, or at the link above, you will find information about the Home Study Option for this class.

"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

Get Enrollment Form Here

1. $500 Home-Study Old Master Flemish tuition (price of videos is not included in the tuition fee)

   • Complete two paintings in this style within 90 days of starting the course. 

   • Purchase required of two videos from Liliedahl Fine Art Studio featuring projects painted in this style:
     
     a. "Shadows", after Waterhouse
     b. "Courtship", original by J. Liliedahl (to be released mid-2006)

   • Upon enrollment, you will be sent a set of printed set of instructions on how to proceed with your painting projects, and when to submit materials that show your painting-in-progress. You will also receive a set of printed photographic references to use along with the videos to paint your projects. To give home-study students the greatest amount of critique and instruction, Johnnie will review each stage and provide individual instruction on changes or improvements before moving to the next stage of the painting(s). You should expect this process to take several weeks on each painting, to allow for critique and feedback at each stage. You may work on both paintings simultaneously, or consecutively. Both paintings must be completed within the 90-day period.

   • Paintings must be drawn entirely by hand, using the grid method, and painted on the canvas size of the original paintings. Designs may not be traced or projected onto the canvas. Drawings on canvas must be approved before application of paint in the next stage.

   • Paintings must be photographed at each stage and receive approval before moving to the next phase. All photos and communication must be made via e-mail. Photographs must be taken with a digital camera to the specifications you will receive in your initial instructions. A guide will be provided to tell you how to photograph your work as it progresses, and how to assure that the colors in the photograph are true-to-life.

   • You may purchase the videos and view them before committing to the course by mail. No refund on videos if you decide not to pursue the course by mail. Once you commit to course, you will have 90 days from the date of tuition payment to have the paintings completed. You must be prepared to start the paintings immediately upon payment of the tuition. The first photographs will be expected to arrive within 14 days of the start of the course.

   • Courses not completed within the 90-day period will not receive credit for the course.

   • Paintings completed using the videos prior to enrollment in the course will not be considered for fulfillment of this requirement.

Get Enrollment Form Here

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

Note: The following is a description of the Venetian/Grisaille Old Master Method, Part 2 Class that is taught in Johnnie's Studio. Further below, or at the link above, you will find information about the Home Study Option for this class.

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


"The Lady of Shalott", after J. W. 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.

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

HOME STUDY OPTION

1. $500 Home-Study Old Master Venetian tuition (price of videos is not included in the tuition fee)

   • Complete two paintings in this style within 90 days of starting the course.  Purchase required of two videos from Liliedahl Fine Art Studio featuring projects painted in this style:
     
     "The Lady of Shalott", after Waterhouse
     "Lady in White", original by J. Liliedahl (new in mid-2006)

   • Upon enrollment, you will be sent a set of printed set of instructions on how to proceed with your painting projects, and when to submit materials that show your painting-in-progress. You will also receive a set of printed photographic references to use along with the videos to paint your projects. To give home-study students the greatest amount of critique and instruction, Johnnie will review each stage and provide individual instruction on changes or improvements before moving to the next stage of the painting(s). You should expect this process to take several weeks on each painting, to allow for critique and feedback at each stage. You may work on both paintings simultaneously, or consecutively. Both paintings must be completed within the 90-day period.

   • Paintings must be drawn entirely by hand, using the grid method, and painted on the canvas size of the original paintings. Designs may not be traced or projected onto the canvas. Drawings on canvas must be approved before application of paint in the next stage. Paintings must be photographed at each stage and receive approval before moving to the next phase. All photos and communication must be made via e-mail.

   • Photographs must be taken with a digital camera to the specifications you will receive in your initial instructions. A guide will be provided to tell you how to photograph your work as it progresses, and how to assure that the colors in the photograph are true-to-life. You may purchase the videos and view them before committing to the course by mail.

   • No refund on videos if you decide not to pursue the course by mail. Once you commit to course, you will have 90 days from the date of tuition payment to have the paintings completed. You must be prepared to start the paintings immediately upon payment of the tuition. The first photographs will be expected to arrive within 14 days of the start of the course. Courses not completed within the 90-day period will not receive credit for the course.

   • Paintings completed using the videos prior to enrollment in the course will not be considered for fulfillment of this requiremen

Get Enrollment Form Here