Paint Lab: 52 Exercises inspired by Artists, Materials, Time, Place, and Method

136 Pages·2013·29.51 MB·English

by  Deborah Forman

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© 2013 by Quarry Books
First published in the United States of America in 2013 by
Quarry Books, a member of
Quayside Publishing Group
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All rights reserved. No part of this book may be reproduced in any form without written permission of the
copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the
artists concerned, and no responsibility is accepted by the producer, publisher, or printer for any infringe-
ment of copyright or otherwise, arising from the contents of this publication. Every effort has been made to
ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may
have occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book.
10 9 8 7 6 5 4 3 2 1
ISBN: 978-1-59253-782-2
Digital edition published in 2013
eISBN: 978-1-61058-947-5
Library of Congress Cataloging-in-Publication Data
Forman, Deborah.
Paint lab : 52 exercises inspired by artists, materials, time, place, and method / Deborah Forman.
pages cm
Summary: “Paint Lab is packed with unique and experimental techniques and ideas in painting. This hands-
on book is organized into 52 units, which may, but don’t need to be explored on a weekly basis. The labs can FFoorr NNaatthhaanniieell,, wwiitthh lloovvee
be worked on in any order, so that you can flip around to learn a new mixed-media technique or be inspired
by a particular painting theme or application. The underlying message of this book is that, as an artist, you
should learn and gain expertise through experimentation and play. Paint Lab is illustrated with brilliant full-
color images and multiple examples of each exercise. This book offers you a visual, non-linear approach to
learning painting techniques, and reinforces a fun and fearless approach to creating art.” —Provided by
publisher.
ISBN 978-1-59253-782-2 (pbk.)
1. Painting--Technique. I. Title.
ND1473.F67 2013
751--dc23
2013012479
Book layout: tabula rasa graphic design, www.trgraphicdesign.com
Series design: John Hall Design Group, www.johnhalldesign.com
All artwork by Deborah Forman, unless otherwise noted.
Developmental editor: Marla Stefanelli
Printed in China
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UNit 4 WHEN: Capturing Time 70
Contents
Lab 25 Seasonal Panorama: A Color Journey 72
Lab 26 Forms in Motion 74
Lab 27 Quick Gestures: Working in a Series 76
Lab 28 Featured Artist—Faith Evans-Sills: Making Time 78
Lab 29 Pendulum Painting 80
Lab 30 Tempo Painting 82
Lab 31 Metered Color: Linear Rhythms 84
Introduction 8 Lab 32 Collaborative Zen Painting 86
UNit 1 Getting Started 10
UNit 5 WHERE: A Sense of Place 88
UNit 2 WHO: Inspired by Artists 18 Lab 33 Featured Artist—Jennifer Bloom: Pets on Your Couch 90
Lab 34 Words and Places 92
Lab 1 I nspired by Paul Klee: Mark Making 20 Lab 35 Waterworks: Painting by the Sea 94
Lab 2 I nspired by Helen Frankenthaler: Let It Pour 22 Lab 36 Featured Artist—Thomas Sgouros: Remembered Landscape 96
Lab 3 F eatured Artist—Keren Kroul: Dreams 24 Lab 37 Homage to the Square 98
Lab 4 I nspired by Gerhard Richter: Squeegee 26 Lab 38 Featured Artist—Neal T. Walsh: The Weathered Wall 100
Lab 5 I nspired by Kazimir Malevich: Spare Geometry 28 Lab 39 Finding Your Center: Mandala Painting 102
Lab 6 I nspired by Svenska Vaxter: Botanical Illustrations 30 Lab 40 Featured Artist—Alyn Carlson: Landscapes in Flux 104
Lab 7 I nspired by Georgia O’Keeffe: Zoom In 32 Lab 41 Featured Artist—Patty Stone: Aerial Views 106
Lab 8 I nspired by Fibonacci: The Golden Ratio 34 Lab 42 High-Tech Sketchbook 108
Lab 9 I nspired by Frida Kahlo: The Self-Portrait 36
Lab 10 I nspired by Children’s Art: Acetate Monotypes 38
UNit 6 HOW: Finessing Your Color Craft 110
UNit 3 WHAT: Exploring Your Media 40 Lab 43 Value in Grays: Lyrical Abstraction 112
Lab 44 M onochromatic Still Life 114
Lab 11 Lifting Up: Masking Fluid Exploration 42 Lab 45 P ainting with Shades 116
Lab 12 Pumice Ground: Rough Surface 44 Lab 46 A nalogous Colors: Not Using White 118
Lab 13 Featured Artist—Michael Lazarus: Beyond the Canvas 46 Lab 47 Complementary Colors: Red and Green 120
Lab 14 Burlap as a Painting Surface 48 Lab 48 Complementary Colors: Blue and Orange 122
Lab 15 Mask It Out: Stripe Exploration 50 Lab 49 Complementary Colors: Violet and Yellow 124
Lab 16 Textiles as Inspiration 52 Lab 50 Beautiful Chromatic Grays 126
Lab 17 Hard Molding Paste with Stencils 54 Lab 51 Glazing Veils of Color 128
Lab 18 Crackle Paste: The Worn Surface 56 Lab 52 C olorful Cuts: Complex Color Palette 130
Lab 19 Drawing into Painting: Playing with Oil Sticks 58
Lab 20 A Secco: Painting on Plaster Surface 60 Recommended Books and Video 132
Lab 21 Painting on Metal 62
Contributors 133
Lab 22 Sgraffito: Scratching the Surface 64
Photographer Credits 134
Lab 23 Photocopy Transfers 66
Lab 24 Linocut Printing into Painting 68 Acknowledgments 135
About the Author 136
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UNit 4 WHEN: Capturing Time 70
Contents
Lab 25 Seasonal Panorama: A Color Journey 72
Lab 26 Forms in Motion 74
Lab 27 Quick Gestures: Working in a Series 76
Lab 28 Featured Artist—Faith Evans-Sills: Making Time 78
Lab 29 Pendulum Painting 80
Lab 30 Tempo Painting 82
Lab 31 Metered Color: Linear Rhythms 84
Introduction 8 Lab 32 Collaborative Zen Painting 86
UNit 1 Getting Started 10
UNit 5 WHERE: A Sense of Place 88
UNit 2 WHO: Inspired by Artists 18 Lab 33 Featured Artist—Jennifer Bloom: Pets on Your Couch 90
Lab 34 Words and Places 92
Lab 1 I nspired by Paul Klee: Mark Making 20 Lab 35 Waterworks: Painting by the Sea 94
Lab 2 I nspired by Helen Frankenthaler: Let It Pour 22 Lab 36 Featured Artist—Thomas Sgouros: Remembered Landscape 96
Lab 3 F eatured Artist—Keren Kroul: Dreams 24 Lab 37 Homage to the Square 98
Lab 4 I nspired by Gerhard Richter: Squeegee 26 Lab 38 Featured Artist—Neal T. Walsh: The Weathered Wall 100
Lab 5 I nspired by Kazimir Malevich: Spare Geometry 28 Lab 39 Finding Your Center: Mandala Painting 102
Lab 6 I nspired by Svenska Vaxter: Botanical Illustrations 30 Lab 40 Featured Artist—Alyn Carlson: Landscapes in Flux 104
Lab 7 I nspired by Georgia O’Keeffe: Zoom In 32 Lab 41 Featured Artist—Patty Stone: Aerial Views 106
Lab 8 I nspired by Fibonacci: The Golden Ratio 34 Lab 42 High-Tech Sketchbook 108
Lab 9 I nspired by Frida Kahlo: The Self-Portrait 36
Lab 10 I nspired by Children’s Art: Acetate Monotypes 38
UNit 6 HOW: Finessing Your Color Craft 110
UNit 3 WHAT: Exploring Your Media 40 Lab 43 Value in Grays: Lyrical Abstraction 112
Lab 44 M onochromatic Still Life 114
Lab 11 Lifting Up: Masking Fluid Exploration 42 Lab 45 P ainting with Shades 116
Lab 12 Pumice Ground: Rough Surface 44 Lab 46 A nalogous Colors: Not Using White 118
Lab 13 Featured Artist—Michael Lazarus: Beyond the Canvas 46 Lab 47 Complementary Colors: Red and Green 120
Lab 14 Burlap as a Painting Surface 48 Lab 48 Complementary Colors: Blue and Orange 122
Lab 15 Mask It Out: Stripe Exploration 50 Lab 49 Complementary Colors: Violet and Yellow 124
Lab 16 Textiles as Inspiration 52 Lab 50 Beautiful Chromatic Grays 126
Lab 17 Hard Molding Paste with Stencils 54 Lab 51 Glazing Veils of Color 128
Lab 18 Crackle Paste: The Worn Surface 56 Lab 52 C olorful Cuts: Complex Color Palette 130
Lab 19 Drawing into Painting: Playing with Oil Sticks 58
Lab 20 A Secco: Painting on Plaster Surface 60 Recommended Books and Video 132
Lab 21 Painting on Metal 62
Contributors 133
Lab 22 Sgraffito: Scratching the Surface 64
Photographer Credits 134
Lab 23 Photocopy Transfers 66
Lab 24 Linocut Printing into Painting 68 Acknowledgments 135
About the Author 136
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Introduction
I was watchIng my five-year-old son the other Many of the projects are based on experimenting
day at the painting easel in our kitchen. I observed his with varying materials, surfaces, and concepts. Years
enjoyment in the texture of the materials, and an unin- ago I read an article about the work habits of well-
hibited excitement about touching the paint to the sur- known geniuses such as Picasso, Einstein, and Edison.
face of the paper. I imagine his inner dialogue went A common trait among them was that they were ruth-
something like this: “How can I make the tempera flow? less in their risk taking and were not afraid of failure.
What happens if I mix these colors? What happens if I They had a sort of what-if mentality in their endeavors,
use the brush like this, or make marks like this?” Most as they left no stone unturned in their quest of problem
likely, though, there was no dialogue at all, as he was solving. Picasso filled stacks of sketchbooks before his
truly spontaneous in his actions. There is a lot to learn masterpiece Guernica came to be. Einstein also had
from this. Painting harnesses the fun of play. Play is cru- many notebooks filled with failed attempts at equa-
cial to the creative process because a by-product of play tions, and Edison had endless experiments that did not
is pleasure. I believe that the underlying principle of work. They were tenacious in their drive for discovery
pleasure should always be present in the painting pro- and did not let failure halt their attempts.
cess. Play also brings you to the present moment. In this I truly believe that if you allow yourself to play you
age of disconnect due to the prevalence of technology will unleash the painter that has been inside of you
and screen time, painting can be an antidote as it con- since you were that child at the easel years ago!
nects you to your surroundings with the physical world.
Painting brings you to the present moment. Painting
activates your physical sense of self. Painting helps you
to feel alive and connected!
““II hhooppee tthhiiss bbooookk wwiillll iinnssppiirree yyoouu ttoo ppllaayy aanndd ttaakkee rriisskkss
wwiitthhoouutt tthhee wwoorrrryy ooff wwhhaatt tthhee oouuttccoommee wwiillll bbee..””
8 PPaaiinntt LLaabb 9
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Introduction
I was watchIng my five-year-old son the other Many of the projects are based on experimenting
day at the painting easel in our kitchen. I observed his with varying materials, surfaces, and concepts. Years
enjoyment in the texture of the materials, and an unin- ago I read an article about the work habits of well-
hibited excitement about touching the paint to the sur- known geniuses such as Picasso, Einstein, and Edison.
face of the paper. I imagine his inner dialogue went A common trait among them was that they were ruth-
something like this: “How can I make the tempera flow? less in their risk taking and were not afraid of failure.
What happens if I mix these colors? What happens if I They had a sort of what-if mentality in their endeavors,
use the brush like this, or make marks like this?” Most as they left no stone unturned in their quest of problem
likely, though, there was no dialogue at all, as he was solving. Picasso filled stacks of sketchbooks before his
truly spontaneous in his actions. There is a lot to learn masterpiece Guernica came to be. Einstein also had
from this. Painting harnesses the fun of play. Play is cru- many notebooks filled with failed attempts at equa-
cial to the creative process because a by-product of play tions, and Edison had endless experiments that did not
is pleasure. I believe that the underlying principle of work. They were tenacious in their drive for discovery
pleasure should always be present in the painting pro- and did not let failure halt their attempts.
cess. Play also brings you to the present moment. In this I truly believe that if you allow yourself to play you
age of disconnect due to the prevalence of technology will unleash the painter that has been inside of you
and screen time, painting can be an antidote as it con- since you were that child at the easel years ago!
nects you to your surroundings with the physical world.
Painting brings you to the present moment. Painting
activates your physical sense of self. Painting helps you
to feel alive and connected!
““II hhooppee tthhiiss bbooookk wwiillll iinnssppiirree yyoouu ttoo ppllaayy aanndd ttaakkee rriisskkss
wwiitthhoouutt tthhee wwoorrrryy ooff wwhhaatt tthhee oouuttccoommee wwiillll bbee..””
8 PPaaiinntt LLaabb 9
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11
Getting
Started
In thIs book you will find a wide array of projects and exploration of
materials. Many of the projects are idea based; therefore, your preference for tt
paints and materials can easily be plugged into the lab. The labs are merely
structures to define and enhance your space to play and experiment. If you II
find yourself missing a specific material, substitute something else! Enjoy nn
the process. And don’t worry about the outcome. This chapter reviews some
of the basic materials you will be using.
uu
10 PPaaiinntt LLaabb 11
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11
Getting
Started
In thIs book you will find a wide array of projects and exploration of
materials. Many of the projects are idea based; therefore, your preference for tt
paints and materials can easily be plugged into the lab. The labs are merely
structures to define and enhance your space to play and experiment. If you II
find yourself missing a specific material, substitute something else! Enjoy nn
the process. And don’t worry about the outcome. This chapter reviews some
of the basic materials you will be using.
uu
10 PPaaiinntt LLaabb 11
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Work Area Basic Materials
Here is a list of general supplies to get you started:
You can work anywhere that is comfortable for you.
This can be on a tabletop or upright at an easel. Lighting • 18"  24" (45.7  61 cm) heavyweight drawing pad
is important, especially for perceiving color, so make • 180 lb inexpensive watercolor paper sheets
sure you have a good amount of natural light, or install • 9"  12" (23  30.5 cm) sketchbook
extra lighting as needed. Clip lamps are very helpful and • black construction paper
can be purchased at the hardware store. • thin acetate sheets
• prestretched and primed canvases (various sizes)
Substrates or canvas boards
Many of the exercises explore innovative surfaces to • 2b and hb pencils
work upon, but basic supports for this book include • white plastic eraser
prestretched canvas in a variety of sizes. Canvas boards • glue sticks
are also great supports. Paper is also a wonderful sur- • pad of palette paper (small scale)
face to work on, and I recommend watercolor papers or • 2 metal palette knives
any high-cotton-content “rag” paper. These come in a • scissors
variety of weights, from 180 lb to thicker. Explore the • 18" (45.7 cm) ruler
paper department in your local art store—it’s fun! • craft knife with blades #1 and #11
There are several online specialty art retailers, many of • rubber-tipped stylus
which are staffed with very knowledgeable personnel
who can guide you in making selections.
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