Genesis Palette(Conversion to other oil brands is given at the end of the lesson.TW: Titanium WhiteGY Genesis YellowGR Genesis RedQC Quinacridone CrimsonUB Ultramarine BlueBU Burnt UmberRS Raw SiennaBS Burnt SiennaBLK Mars BlackViolet V (UB + QC or Dioxazine. Purple)Genesis Gray Values 02 through 07 or mix Black + TW

#806 - White Pitcher and Square JarA Lesson in Genesis Heat Set Oils with Conversions

By Ann Kingslan, MDAPreparationThe canvas is prepared with equal parts of Genesis Black Gesso andGenesis White Gesso to about a Value 04. Do not substitute another brandof gesso or risk adverse chemical reaction. An alternative preparation wouldbe to apply three coats of DecoArt Fjord Blue + Norsk Blue (equal parts).Lightly sand the surface and remove the dust with a damp cloth (not a tackcloth which could leave a shellac residue).

Standard MixesTintsWW Warm White = TW + Tch. GYOR Orange (GY + GY or Pyrole Orange)YT Yellow Tint = G"{ + TWRT Red Tint = GR + TWBT Blue Tint =. UB + TWVT Violet + TWGT Green Tint = YT + BT

Trace DesignDo not transfer the design until after the background and table have beenpainted.

For best results, trace the line drawing onto transparent graphpaper. I like to use Ciearprint Fade-Out design and sketch vellum. This isavailable in most art and drafting supply stores. I suggest using this becauseof the importance of retaining the perspective.

Trace the line drawing in penciL Proof each object by folding thepaper in half and comparing the right side of an object to the left side. If youfold the paper with the pencil side out it will be easier to erase and correctany distortions. You will want to proof the spice tin by folding along thecenterline of the tin.

With the exception of the fmit in the bowl, every object needs to beproofed.

I~ v.erticals arc always vertical! IThe verticals on any still life must be kept at a hard right angle tohorizontaL

SuppliesWingate or Glass Palette PadPalette KnifeDrafting Tape or Blue Painter's TapeTracing PaperWhite Transfer Paper (Avoid Saral as the wax resists the paint)Ann Kingslan BlUshes™C-Thru ™ Graph Ruler or T-Square

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Painting InstructionsDevelop the objects in the following order: First, establish form and shape.Next, apply decorations, characteristics and markings. Then makedimensional adjustments (i.e. values, hues and intensities. Shines andshadows are added last.

Paint the values as show in the Value Placement Guides. Where theguide shows a section that is dark, you may need to blend one or more darksin that area. ]n light sections, you may need to add two or more lights.

Work small sections at a time. Don't cross blend and don't place allthree values intending to blend them after they are placed. Instead, place theMedium value first, and then place the dark value only on the line where itjoins the medium. Blend the dark value into the edge of the medium as it isplaced. When you achieve a smooth transition of Medium into Dark, wipethe brush and place the rest of the dark value into the zo.ne Then wipe thebrush again and place the light value. After all values have been blended,smooth the paint with a mop brush, brushing in all directions with abutterfly touch.

This composition is painted in several stages. Complete the entire firststage before progressing to the next stage.

How to use the codes on the Value Placement Charts:Each object is placed using 1,2 or 3 steps. The first step establishes theform. The second and third steps are embellishments.

Value Placement GuideThese illustrations will show how to create the form of each object. Thelight source is from the upper right, slightly in front. The light areas will beon the right and above the centerline. The dark areas will be on the left andbecome graduall y darker as the object recedes from the light.

Legend:Blank = Medium value, usually placed first.••••• = Light (L) andlor building up to Highlight (HL)//11111 High Dark (HD) andlor going down to Dark (D)XXX= Low Dark (LD)Y Yellow TintB Blue TintRA Red Accent

Mixing ColoursOn page 27and 28 of our book "Focus on Realistic Roses" you will findsome very important colour charts Reference to these charts will help youto create the proper mixes as the information listed in the final column ofthe colour mixing charts refers to these colour swatches.

The formulae given on the colour charts may differ from what is givenin this packet. The colours on the charts in the book are meant to be acomparison guide to achieve the proper hue, value, and intensity. Thetemperature is also a factor.

In most instances, the mixing begins with the medium value of theobject. This medium value (local colour, mass tone) refers to the naturalcolour and value of the object and has no relationship to the numberassigned by the Munsell System of grays numerically designated as 9/whiteto l/black. In practice this medium value is the colour of the object as it isseen in natural light in reference to position and importance of the otherobjects.

The coding of the mixtures will first show the temperature, then thecolour, followed by the value. For example, the medium mixture of acontainer would be Cool White then Value of 5, or CWS. You would thenrefer to the chart. Keep in mind that printed color is rarely an accuratereference but merely a guide to value, hue, etc. Adjust as your instinct andpersonal taste dictates.

Unless otherwise stated, the value scale would progress up and downthe scale from this point. This greatly simplifies the process. ]n some

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instances there is a deviation. You may wish to branch out on your own andtry a bit of another mixture that is on your palette.

Stage OneThe background and table should be painted and heat set before the objectsare transferred. Should it appear difficult to transfer the design, this is asignal that the paint has not been sufficiently dried.

Value Formula MatchMedium BU+UB+R WOr04Light YO + Medium WYD5High Light YO + Medium + Tch. TWDark Medium + BLK WOrD 1

Value Formula MatchMedium UB + BU + TW + RS WBlue5Light Medium + TW + RS WBlue6High Light Light + TW + RS WBlue8Dark Medium + BLK + BU WBlue4Low Dark Dark + BLK + BU WBlue2

Softly blend the background and the rear table line together. If there is aridge of paint build up, blot with a tissue prior to blending. Details may bestarted at this stage and will be enhanced later.

White Pitcher and Inside of Granite BowlWhite is never painted white It is painted in neutral values that reflect thecolours around it. Since this is on the rear plane the medium value is fairlydark but appears lighter when placed on the background. Heat set and painta second time should the first coat fail to cover.

FormulaRS+TW+BUMedium + TW + RSLi ht + TW + RSMedium + RS + BUHi h Dark + RS + BU + UB

MatchWGra 6WGra 7WGra 8WGra 4WGra 3

Orange, Marmalade and ApricotsThe medium value of this mixture leans more to the yellow side. Be sure tocompare how it might radiate on the blue background. If it appears toointense adjust by adding a bit of the blue background light value mixture.

Value Formula MatchMedium TW + RS + Tch OR None --Light Medium + TW + Tch Y None

-

High Light Warm WhiteDark Medium + RS + QC + Teh BU NoneLow Dark Dark + BU + QC None--

The same mixtures are used for the first stage of the apricot but is enhancedwith the reddish mixture at the same time the grapes are colored.

The marmalade inside the jar is applied in a very slip/slap fashion soas to indicate a mushy texture. The texture of the orange and peel is appliedin the final stage. Accent with GR and/or GR + QC.

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Lid of JarThe dark and low dark mixtures from the white pitcher are used for the lid.Use the dark in the medium areas, low dark in the dark and mix BLK + BUfor the low dark on the lid. The lid must remain dark in order to hold backin the rear plane. Pay special attention to the rear of the lid. It should beapproximately the same value as the background.

Add a touch of blue to the background mixes in order to brighten the huesto appear a bit more blue/black. The marking are made with light orangetone.

Grapes - }"irst StageThe grapes are painted initially in values of gray and then glazed in the nextstage. These values can be mixed with BLK + TW or the convenientcolours of the Genesis Grays may be used.

ValueMediumLi htHigh LightDark

FormulaGenesis GraGenesis GraGenesis GraGenesis Gra

Value 05Value 07Value 08----Value 03

MatchWGr05WGr07\VGr08WGr03

Measuring CupThe relationship of the copper mixtures to the blue table could cause thecopper tones to appear more orange on the surface than on the palette. Themedium mixture is quite dull. Note that the light appears on the insideopposite the light source.

ValueMediumLi~

FormulaOR+UB+BU+TWMedium + TW + OR

All items painted thus far should be heat setbefore proceeding to the next stage.

TransferTransfer the rims of the pitcher and the bowl. Transfer lines for the glassand the label on the spice cup.

RimsThe rim on the bowl is Mars Black + BU. Highlight with Warm White.The rim of the pitcher is Mars Black + Tch Us. Should the color appear tooblue, add BD. The blue becomes more obvious when it is highlighted withWw.

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Label on Measuring CupCheck that the label curves in alignment with the curvature of the rims onthe cup. The label is painted in shades of gray and should be in line with thevalue placement of the copper portion of the tin. When the gray is placed onthe orange it may appear bluish. If so, add a bit of BU to dull the blue.Postpone the lettering until the label has been heat set.

The ingredient spilling from the cup is painted in shades of gray.Begin with the darkest value. Use a mop to create the texture. Some of thelight values may not hold and it is then wise to postpone the highlightinguntil later when the paint has been dried.

Glass JarThe leading edge or front corner of the jar will be the most obvious. Not allcomers should show or the jar will not recede into the dark rear plane. Glassreflects objects around them and you will notice that the back edge of thebowl is repeated in the left side of the glass jar. Refer to the photograph forplacement of the WW light areas. There is a bit ofBT + Gray on the leftside and this must be kept subtle to avoid pulling that edge forward.

Grapes, Second StepWhen glazing with the Genesispaint it is not always necessary to use anextender to make the paint more transparent. Mixing the paint continuouslywill render it more fluid, thus easier to use as a glaze. Should moretransparency be desired, pick up a small amount of Genesis GlazingMedium along with the paint.The grapes that appear more bluish are glazed with QC then darkened withViolet. Highlights are either GY or GR. Further highlighting may be donewith any of the tints. Dry brush some of the grape colors and shapes on theinside of the bowl.

The greenish grapes are glazed with GY and shaded with dark gray orRS + BLK. Highlights and tints are as above.

The "frosting" which is actually a type of yeast mold, is applied later.

Membrane of Orange and PeelLoad a small 3/0 brush with Warm White and roughly apply the membrane.Should this color appear chalky add a bit of Orange to the mixture.

ApricotsMix QC + GR and a touch of BU for the blush on these fruits. For variety,streak the color on the rear fruit. Avoid putting too much red in the lightareas and in the crease of the apricot. The color should be more opaque atthe edges and fading as it flows inward. Excess paint can be rubbed off witha tissue or Q- Tip.

Details on Table, Pitcher and Bowl.The distress marks can be placed on the pitcher and bowl. Scrub RS ontothe areas of the pitcher and bowl where you wish to indicate wear and tear.Mix RS +BU and place this mixture in the center of the chips. Repeat theprocess for the table. Reflect some color on the table at this time.

Stage Three

All items painted thus far should be heat setbefore proceeding to the next stage.

Final TouchesRefer to the photograph for placement of shines and shadows. As a generalguide, remember that both shines and shadows should be transparent at theedges, and gradually progress to opaque.

A comprehensive study of shadow theory and technique may be foundin the Lesson Packet "Shadow Study" available from KingslanPublications, Inc.

Shines should progress to a crescendo of colour, opacity, and intensity.If the shine appears chalky, the cause may be too much white in themixture. Start the shine with the last value used for the high light.Gradually add more white and yellow or RS to warm the mix.

Shines take a great deal of experience but when the undercoat is dry,the shine can be removed and reapplied until pleasing.

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ShinesMix: Warm White: TW + Tch. ofYor YO

Cool White: TW + Tch. ofUB or ThaloBlue5The placement of the shines must reflect an upper right hand light source.

Shines should progress from transparent during the first application toopaque when the final color is applied. Mix the paint thoroughly fortransparency, but it is helpful to set the paint out ahead of time and allowthe white to congeal slightly when painting opacity.

Begin with the glazing technique to achieve transparency. Touch thebrush to the surface where you want the light to be the strongest, thenstretch the paint away from this point.

Reinforce the shine by repeating this process until it is appropriateto begin applying the opaque paint. I like to begin with Warm White andswitch to Cool White for the final application.

Should you reach a point where the surface will next accept any morepaint or there does not appear to be any change, then heat set this stage andbegin where you left off. The dried paint on the bottom layer will act asreinforcement.

Please note how the shines follow the contour of the object that isreceiving the shine.

ShadowsShadows should be mainly transparent. Place the shadow as shown in thephoto, and then use a small mop to soften the edges. As with shines, thebrush should be placed first where the shadow is to be the strongest. This isusually close to the object. Please note the shape of the shadows. They donot just follow the edge of the object.Guide for Shadows:o Fall opposite the light sourceo Should be transparento Are a darker colour than what they are cast upono Are darkest where the object touch or nearly touch

o Follow th,e shape of the object the shadow is cast uponReflected light is used more to reflect color than light The eye is more

pleased when it has something to take it from one object to the next,therefore color is repeated on edges. This color is very subtle and in smallamounts.

Refer to the finished photo. All shadows and shines may be reinforcedseveral times, if necessary. A slight haze of Warm White at the edges of theshadows creates a feeling of light and airiness. This can be added if desired.

Finishing TouchesHeat Set the paint a final time before varnishing in order to remove anyaccumulated moisture. Cure for a few hours before applying the finish.JWEtc. Satin Finish Varnish was used and after several coats this waswaxed with Goddard's Wax.

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Genesis (Items in our Kit)--

Archival Winsor & NewtonWhite Soft Titanium White Titanium WhiteGenesis Yellow Cadmium Yellow Mid Cadmium Yellow PaleGenesis Red Cadmium Scarlet Bright RedQuinacridone Crimson Permanent Alizarine Alizarin CrimsonUltramarine Blue Ultramarine Blue Ultramarine BlueBurnt Umber Burnt Umber Burnt Umber --Thalo Blue Cerulean Blue Hue Cerulean Blue HueRaw Sienna Raw Sienna Raw SiennaMars Black Mars Black Ivol)' Black --Glazing Medium Classic Medium Blending & Glazing MediumThinning Medium (for linework)Kimgslan Gibilisco Brush CleanerHeat GunVideo

Not in Kit but available for purchase:Burnt Sienna Burnt Sienna Burnt SiennaPvrole Orange Cadmium Orange Cadmium OrangeSet of Gray Scales Not available Not available

Mix that is Equivalent to: Archival Winsor & NewtonYO + TW + Small amount of BY Naples Yellow Naples YellowYO+UB+BU Olive Green Olive GreenBY+UB Thalo Yellow Green Thalo Yellow Green Lt.

Background Measurements

7 % inches from bottom

+ 1 inch wide

4 inches

1

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Legend:Blank =Medium value, usually placed first.••••• = Light (L) andlor blllilding up to Highlight (HL)1111111 High Dark (HD) and/or going down to Dark (D)XXX= Low Dark (ID)Y Yellow TintB Blue TintRA Red Accent

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