4-wk 10-1 $180

4-weekly2-5 $180

4-weekly 10-5 $280

Drop in one class $55

Drop in 10-5$ 95

Feb 9th

 

4-wk 10-1 $180

4-weekly2-5 $180

4-weekly 10-5 $280

Drop in one class $55

Drop in 10-5$ 95

Feb. 7th

 

Hello Thursday Chesapeake Fine Art Studio Artists,

The class did some nice paintings last week working from flowers. They’ve been an ideal subject in the history of painting, obviously for their beauty, their being the symbolic embodiment of impermanence, etc… But also for those qualities that we painters especially recognize as virtues and challenges: delicacy, symmetry, form, color, texture.

This week, I encourage you to bring:
  • flowers/a flower of your choosing. It could even be artificial. But make sure your setup has a somewhat clear overall form and color simplicity (think peony, rose, dalia, lily, etc) rather than a confusing, dappled arrangement of small flowers. It’s always good to look at others’ successful flower paintings for cues as to what is “paintable”.
  • OR quality photo reference of flowers: high resolution, clear light scheme. It’s always better to work from a lit screen (Ipad or laptop) rather than printed photo reference.
  • A full palette with lots of paint! The emphasis will be on clean colors and an organized palette
  • A variety of brushes, as always, but especially soft or synthetic flat brushes (sable, mongoose, synthetic, etc…). These are favorites of painters who specialize in flowers. It allows you to lay on flat, hard-edged marks ideal for petals and leaves.
We’ll spend some time looking at some great flower paintings by great artists, which might help to both broaden your horizons and to narrow down your desired approach. As always, I’ll share what I know about these artists’ materials and techniques. And we’ll have Jenna model in the afternoon, with different lighting and in different costume.
I’ve devoted a lot of my time spent painting to flowers. Below are some of my past approaches, which range in media and style. Within the framework of correct drawing, relative value consideration, and apparent (not local) color, there is so much room for interpretation!
 
Looking forward to seeing you there.

Palden

Botanical: Drawing-based, refined, illustrative. These were drawn in pencil, then watercolored:
Whimsical: Imaginative, experimental, not bound to strict observation:
Impressionistic: Channeling the visual experience, colorful, brushy:
Classical: Subdued, disciplined, concerned with recreating a “realistic” depiction of the object:

4-wk 10-1 $180

4-weekly2-5 $180

4-weekly 10-5 $280

Drop in one class $55

Drop in 10-5$ 95

Dec.8th 2016

Nov. 16 2016

hai_ous_boat

4-wk 10-1 $180

4-weekly2-5 $180

4-weekly 10-5 $280

Drop in one class $55

Drop in 10-5$ 95

Nov.7th 2016 Palden Hamilton  Go Back to Weely


Hello Class,

Just wanted to send out an email to recap some of what has been going on in class. I try to make a point to illustrate the concepts I teach through mini-demonstrations, as there is a lot in art that can be more easily shown than told. I also want to convey that I practice what I preach in terms of my reliance on Simplicity and my progression from large to small, general to specific, basic to complex, etc…
The first image is the peach demonstration I did before this past class, and continued to work on in the first 15 minutes of class. The progression could be broken into:
1. The drawing, the ever-important foundation of representational painting
2. The block-in, during which the color and value relationships are being honed through observation, thinking about light and shadow, and frequent adjustments

3. The chiseling out of ever more specific forms, making sure color and values stay organized (without muddying)

The second image is of a study I did the next day with you in mind. In all these images, the setup is the first consideration: Are the forms readable, is there a clear light and shadow scheme, am I engaged in the subject matter, etc…? Sometimes this can set the stage for later success or struggle.
I am drawn (as in the work of Jon Redmond) to simple setups, especially in a learning/class scenario. Once one can learn to paint these with strength and subtlety, this will inform more complex pieces. A still life is the ultimate controlled setup in which to tackle the complexities that exist in the visual world…
Local Color (the inherent color of an object, for instance “green” apple) is never the full story. Perceived Color (the color that we are trying to capture in paint) takes into account the temperature of the primary light source, ambient light, the atmosphere of the environment, etc… It’s a mind-bending experience to attempt to capture this. It requires visual scrutiny, and at times logical thinking.
Take, for instance, the shadow side of the teal box in the below study. Using teal out of the tube might be a starting point, but over-reliance on local color will result in an illustrative, cartoonish, perhaps amateurish rendering. When actually looking, I saw that this color was very complex. At times, this shadow plane was
– influenced by the ambience of the room, and subsequently shifted toward purple
– influenced by the reflected light from the table, and subsequently shifted yellow
– deeply recessed from all light, turning a murky non-color
These effects occur in plein air and figurative genres, but are easier to isolate, identify, and learn from in the context of still-life…
The third image is from our afternoon class: Our setup and my drawing demonstration.
Note, again, the setup: Sofia (our gracious model) is posed against a paneled backdrop, which cuts out confusing ambient light. A strong, singular light source illuminates the form. The setup therefor looks like a painting before the painting is even begun, making the artist’s job more manageable.
My drawing is quick, but remnants of all stages are apparent: It starts with the gestural, changing, rough beginnings of the bottom half, and gradates to refinement and delicacy in the upper half. With charcoal we can isolate drawing and value, which are the foundations of form. Note that I’ve simplified light and shadow on the dress, face and hair to a two-toned arrangement. No need for a myriad of tiny value shifts. Asimplified dichotomy of light and shadow is often enough.
Hope these images and descriptions are of use. I’m enjoying the class’s warmth, ability and effort, and looking forward to seeing you on Thursday
Best,
Palden
Palden’s Thursday class Sign up here:  http://chesapeakefineartstudio.com/weekly-classes/