Fridays 7pm-9pm Age 14-Adult/Senior 8 weeks. $250. Teacher: Quinne Fokes. January 11-March 1. Fundamentals of Painting
8 weeks. $250. Teacher: Quinne Fokes. January 11-March 1.
Fundamentals of Painting
If painting were a language, color would be part of the alphabet (as are drawing and composition). How to tackle such a complex topic? Start with the basics. Students will learn the basics of color theory in a fun and engaging manner, and create beautiful images to serve as tools for informing future painting efforts in or outside of a class. We will work with acrylics, or gouache as an alternate. (Both of these dry faster than oils; if you already have oils we can accommodate.) Hands on, and working with objects found in nature as subject matter. Each class builds on the next. This skills building class is style agnostic, and intended to provide skills to help you on your creative journey. Each course builds on the previous one. “Whatever your experience, I’ll meet you where you are!”—Quinne Fokes
Note: If you’ve already taken Fundamentals of Painting You are welcome to sign up again. The instructor will help you to build on your skills, introducing you to additional concepts and techniques.
Week 1: Getting started with subtractive color, making friends with your paints: experimenting with tinting, shading, layering and mixing. Exercise: using a row of ten squares create a gradation from warm red to white. Next, repeat with cool red to white, then warm and cool blue, then warm and cool yellow. Discuss primaries, secondaries, tertiaries.
Week 2: Build your own color wheel with both shades of colors and tints of colors. Leave room for at least 4 rows showing the transition from one complementary color to another. Ideally, do this with cool and warm complements. Discuss diagramming of color relationships as a tool to guide future paintings.
Week 3: Continue, and introduce project using an object from nature to create a design. Transfer the design 4 times, and choose a base color. Use your base color to create four color schemes around the same base color (monochromatic, complementary, analogous, triadic) to create a composition.
Week 4: Your symphony in white; white cup against a white background. Discuss color key by value; create a high key (by value) painting. (hw- do the same in a low key by value)
Week 5: Saturated still life: very saturated objects. Discuss color key by saturation; create a high key (by saturation) painting. Consider how the white of canvas reflects through thin, transparent layers. (hw- do the same in a low key by saturation)
Week 6: Tonal Unity: yellow and blue in shadow, and in light. What happens?
Week 7: Simultaneous contrast and color in context. Grey platter still life.
Week 8: Composing with color temperature. Two hue composition.
Smock: over-sized shirt, apron
Gloves, not required
Graphite: graphite pencils, 6B, and 2H (or other hard pencil), sharpener
Paint: Colors for acrylic matte medium or gouache
A warm and a cool red: examples: cadmium red light and alizarin crimson
A warm and a cool yellow: examples: cadmium yellow light and lemon yellow
A warm and a cool blue: examples: cerulean (or cobalt) blue and ultramarine
Flake or titanium white
optional (burnt umber)
optional (yellow ochre)
Brushes: for acrylics, (Flats, one large and one medium to start; others as desired)
Containers: for water and medium
Palette: a white plate or clear piece of plastic works well; plastic boxes with a top are an option as is a traditional curved palette
Moistener: spray bottle for water
Surface: heavy paper (Canson, for example), or matt board, gessoed.
Or prepared, gessoed surfaces such as stretched canvas or masonite, at least 14x20" (for color wheel and complement grids) or large smooth white ceramic tiles.
Rags or paper towels
*A table top easel, easel, or drawing horse will make painting much easier; please bring one if you have one! Tables are provided. Note: If you already have water color, oil or another paint medium, we can work with those; remember to bring appropriate surfaces and brushes for your paints.
Note 2: If you would prefer to work with dry media such as soft pastels or colored pencils, those can work, too, though application may take more time.