PAINTING PROBLEMS TO MASTER, in logical sequence, though not necessarily in order of difficulty. Any ONE of these problems is worthy of extended study.
Preparation of painting surfaces: canvas, panel, and paper
Laying out a palette, mixing of colors, and laying out “strings” of color
Making a color wheel of your palette colors with value scales
Drawing with the brush, dry brush, palette knife, wet into wet techniques, and cleaning up
Monochrome painting to study value relationships in light and shadow
o Paint a still life of white objects
o Paint a still life of white, gray and black objects
o Paint a still life of multi-color/value objects in monochrome
Warm/Cool painting to study the color in light and shadow
o Paint a still life of white objects under warm light
o Paint a still life of white objects under cool light
Reflective and Transparent subjects such as water, mirrors, metals, and glass
o Paint a still life with reflective surfaces
o Paint a still life with translucent/transparent objects
Master Study of a still life to refine our aesthetic preferences in technique and subject
o Paint a master study of a still life in monochrome
o Paint a master study of a still life in full color
Mixing color for translucent flesh tones
o Paint an alla prima portrait from life
o Paint an alla prima full figure from life
Interaction of Light and Local Color: explore how local colors shift under colored light
o Paint a still life of multi-color/value objects under warm light
o Paint a still life of multi-color/value objects under cool light
Mutual Intensification of Neutralized Complementary Colors: learn how to make a neutral palette vibrant, (a must for figure and landscape painters.)
o Paint a still life of neutral colored objects
o Paint a figure or portrait intensifying the flesh palette
Monochrome Wipe out self-portrait: focus on brushwork
o Paint a self-portrait in monochrome, adding and subtracting from a toned ground with a variety of painting implements
Self-portrait: artistic and personal journey
o Paint a self-portrait in full color making a visual statement
Master Study of a portrait
o Paint a master study of portrait that meets your aesthetic standards
Edges
o Paint the still life using a process that invites hierarchical and intentional manipulation of edges.
Composing the still life—Planar Composition
o Plan and paint the still life while paying particular attention to mapping out the visual path you want the viewer to take over the surface of the picture plane.
Trompe l’oeil Still Life
o Paint and plan a planar composition to create a meaningful still life while learning the tricks of trompe l’oeil, literally "trick the eye" painting.
Composing the still life—Spatial Composition
o Plan and paint the still life while playing particular attention to mapping out the visual path you want the viewer to take into the illusory space of the picture plane.
Master study—the landscape and atmospheric perspective
o Paint a master study to learn how the artist created deep space in the landscape through spatial composition, mutual intensification of neutralized complements, and use of atmospheric perspective.
Choosing the formal strategies that best suit your artistic goals and aesthetic preferences.
Writing an artist’s statement that accurately describes your work and your goals.
Preparation of painting surfaces: canvas, panel, and paper
Laying out a palette, mixing of colors, and laying out “strings” of color
Making a color wheel of your palette colors with value scales
Drawing with the brush, dry brush, palette knife, wet into wet techniques, and cleaning up
Monochrome painting to study value relationships in light and shadow
o Paint a still life of white objects
o Paint a still life of white, gray and black objects
o Paint a still life of multi-color/value objects in monochrome
Warm/Cool painting to study the color in light and shadow
o Paint a still life of white objects under warm light
o Paint a still life of white objects under cool light
Reflective and Transparent subjects such as water, mirrors, metals, and glass
o Paint a still life with reflective surfaces
o Paint a still life with translucent/transparent objects
Master Study of a still life to refine our aesthetic preferences in technique and subject
o Paint a master study of a still life in monochrome
o Paint a master study of a still life in full color
Mixing color for translucent flesh tones
o Paint an alla prima portrait from life
o Paint an alla prima full figure from life
Interaction of Light and Local Color: explore how local colors shift under colored light
o Paint a still life of multi-color/value objects under warm light
o Paint a still life of multi-color/value objects under cool light
Mutual Intensification of Neutralized Complementary Colors: learn how to make a neutral palette vibrant, (a must for figure and landscape painters.)
o Paint a still life of neutral colored objects
o Paint a figure or portrait intensifying the flesh palette
Monochrome Wipe out self-portrait: focus on brushwork
o Paint a self-portrait in monochrome, adding and subtracting from a toned ground with a variety of painting implements
Self-portrait: artistic and personal journey
o Paint a self-portrait in full color making a visual statement
Master Study of a portrait
o Paint a master study of portrait that meets your aesthetic standards
Edges
o Paint the still life using a process that invites hierarchical and intentional manipulation of edges.
Composing the still life—Planar Composition
o Plan and paint the still life while paying particular attention to mapping out the visual path you want the viewer to take over the surface of the picture plane.
Trompe l’oeil Still Life
o Paint and plan a planar composition to create a meaningful still life while learning the tricks of trompe l’oeil, literally "trick the eye" painting.
Composing the still life—Spatial Composition
o Plan and paint the still life while playing particular attention to mapping out the visual path you want the viewer to take into the illusory space of the picture plane.
Master study—the landscape and atmospheric perspective
o Paint a master study to learn how the artist created deep space in the landscape through spatial composition, mutual intensification of neutralized complements, and use of atmospheric perspective.
Choosing the formal strategies that best suit your artistic goals and aesthetic preferences.
Writing an artist’s statement that accurately describes your work and your goals.
