Still Life Tempera Painting

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Still Life Painting With Tempera

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Introduction to the medium and the subject for high school Art 1 students

Transcript of Still Life Tempera Painting

Page 1: Still Life Tempera Painting

Still Life PaintingWith Tempera

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Still life is a traditionalsubject in painting and

drawing They can show off an artist’s skill in realism

Romans painted them in fresco on the wallsof their homes, often as background

Netherlands artists in 1600s created a fashionfor them as a stand-alone subject

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Paint• Ground: receiving surface

• Pigment: coloring agent

• Binder: the “glue” that determines painttype

Acrylic: liquid plasticOil: linseed (flax) or other veg oilCasein: milkWatercolor: agar gumFresco: water and plasterTempera: egg yolk

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Did you say Egg Yolk?!!

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Well, yes, but… our schooltemperapaint isREALLY anopaque (notsee through)


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And now some examples oftempera still life paintings

No, not by one of ourstudents…

Groundhog Day by Andrew Wyeth

Posted on Leah Waichulis Fine Artblog. That’s how these thingsget around.


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Still Life Paintings by Ms. Henson’s 8th grade

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Karen HensonIs a K-8Art teacherIn Longmont,Colorado

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Still Life with Apples, Jame Hayes

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Jame C. Hayes was born inKeokuk, Iowa.He was educated at theUniversity of Iowa, earning aB.F.A. in painting anddrawing and a M.A. in ArtEducation.Jame primarily works onmedium to large scalepaintings and drawings.Jame works in various mediawith drawing and primarilyacrylics for painting.James' works are held inmany private collections.Jame does custom worksupon request.Jame works in many themeswith baseball mitts andtornadoes being his currentlong term themes.Jame currently teachesJunior High art and residesin Muscatine, Iowa.

Jame C. Hayes

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Ioana Prisacariu, Oslo Area, Norwaygraphic designer (multimedia and web publishing)

Little Peasant

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Requirements for Tempera Still Life Painting

•Use 18 x 24” white bond paper and tempera paint: r, y, blu, bla, wh only

•Start with an underpainting in water-thinned tempera working out shapes,colors, placement of shapes from observation. Do not pencil start withpencil.

•Develop the painting by mixing colors on both palette and ground andapplying background to foreground, large to small shapes, thin to thick paintconsistency, large to small brushes, details and linework last.

•More mixed colors are better than unmixed colors; keep colors clean notmuddy (accidental blends of 3)

•Look every few seconds at the still life set up in order to adjustcomposition for value, proportion, placement and details. Pay as muchattention to background as foreground or zero in on the set up.

•Remember: changes in a painting demand more changes, depending on whatyour eyes see at this stage.

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Still Life Tempera Painting

Presentation by

Sandra Whitmore

October, 2011