Tuscany Trompe L’oeil V: The Romantic View - …kingslan.com/newsletters/Tuscany V.pdf · Tuscany Trompe L’oeil V: The Romantic View Page 2 ... Harmony adjustments - glazes, accents,

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Kingslan & Gibilisco Publications © 2012Tuscany Trompe L’oeil V: The Romantic View Page 2

Permission is granted to teach this project within a 100 mile radius of teacher’s home studio.Written permission is required beyond this point. Permission is granted to reproduce writtenmaterial verbatim for teaching purposes only (one copy per student) and may not be resold, normay it be rewritten into a different format.

Tuscany Trompe L’oeil V: The Romantic View

A Few Gentle Reminders:

Review DVD: Tips & Techniques of a Master

Review Proving a design prior to transferring

Apply thin coats of paint — two applications ratherthan one thick coat.

Don’t rush. Build the foundation of the painting welland the final development will be easier and moreeffective.

A color is neither right nor wrong in itself. It is howit is used that determines if it is correct. Always testyour value within the context of your painting.Palette right does not mean picture perfect. Onlyjudge in relationship to the painting. Color is apartnership with its surroundings.

Develop objects in the following order:

Form is the first consideration based on righthand light source.Decorations, characteristics, markings

Harmony adjustments - glazes, accents, tints

Dimensional adjustments - Values, hues, andintensities

Texture.

Shines and Shadows are last.

Allow the painting to cure in the mind and eye for a fewweeks before applying the final varnish. Until the “fat”varnish is applied, adjustments may be made.

PreparationWith a fine pored roller brush,prepare the board with 3 coats ofDecoArt Dove Gray. Sand the paintbetween coats 2 and 3. Do not sandthe final coat of paint so as to retainthe “eggshell” type finish.

TraceTrace the design in pencil. Eachsymmetrical (same on both sides)object must be checked for symme-try. With pencil sides out, fold thewine bottle and wine bucket toassure that both sides match. Erasethe side that appears less correctand use the opposite side toretrace. The mandolin and rose areasymmetrical therefore it is notnecessary to prove these objectsfor symmetry.

Transfer #1Tear or cut a small hole in thetracing paper. Place a piece of tapeover this hole, sticky side down.Align the fold lines from theprevious step so that it is perpen-dicular (forms a “T”) with thebottom of the board. Slip graphitebehind the tracing paper. Transfereverything except the detail on thewine bucket, mandolin and sheetmusic. Place tape below shelf line.



Palette Set up and mixingThe original piece was painted with Genesis Heat Set Oils. There is a conversionchart included if you care to use traditional oils.

TW: Titanium WhiteY: Genesis YellowR: Genesis RedO: Orange (or mix R + Y)QC: Quinacridone CrimsonUB: Ultramarine BlueRS: Raw SiennaBU: Burnt UmberBS Burnt SiennaBlk: Mars or Carbon BlackPB: Pthalo Blue 05Vir Bl: Viridian BluePG: Pthalo Green 01Set of Grays: Values of Gray 02-08 (or mix TW + Black)Set of Flesh tone: Values of Flesh 02-08 (or mix BU + RS + TW)

Mixes:Violet: UB + QCWarm White: TW + a small amount of Y

How to use the codes on the value placement guidesEach object is placed using 1, 2 or 3 steps. The first step is the form, the secondand third are embellishments. The codes for the values are:

...... = Light (L) and/or building up to Highlight (HL)/////// = High Dark (HD) and/or going down to Dark (D)xxxxxxx= Low Dark (LD)blank = Medium (M)

Value Placement GuideThese guides are illustrated throughout this lessons and will show how to createthe form of each object. The light source is from the upper right, slightly in front.The light areas will be on the right and above the center line. The dark areas willbe on the left and become gradually darker as the object recedes from the light.

Mixing FormulasFormulae for mixing is given throughout this lesson. You will find that the mixesfor the hue are given first. This is followed by a colour that will raise or lower thevalue. Once the value and colour are mixed, the next addition usually is meant toeither brighten or dull the colour. Finally, a colour may need to be mixed into thepile that will adjust the temperature.

W Soft Titanium White Titanium White WhiteY Cadmium Yellow Mid Cadmium Yellow Pale Genesis YellowR Cadmium Scarlet Bright Red Genesis RedQC or RV Permanent Alizarine Alizarin Crimson Quinacridone CrimsonUB Ultramarine Blue Ultramarine Blue Ultramarine BlueBU Burnt Umber + R Burnt Umber Burnt UmberRS Raw Sienna Raw Sienna Raw SiennaBlk Mars Black Ivory Black Carbon BlackPB Cerulean Blue Cerulean Blue Pthalo Blue 5NY Naples Yellow Naples Yellow RS + TW + YOG Olive Green Olive Green RS + UB + BUBC or PM Purple Madder Alizarin Purple Madder RV or QC + BlkPG Pthalo Yellow Green Cadmium Green Pale UB + Y + W



Wine BottleBase bottle with VirBl, top to bottom edge to edge painting over labels. AddWW highlight and BT pass through light (TW + UB) where indicated onplacement guide.

Wine BucketBlue SectionApply the values as diagrammed on placement guide.Medium: UB + TW + BULight: Medium + TWDark: Medium + BlkLow Dark: Dark + Blk

Brown SectionMedium: BU + TW + RSLight: Medium + TW + RSDark: Medium + BULow Dark: Dark + BU + Blk



Lighter Brown SectionMedium: O + RS + BULight: Medium + TW + RSDark: Medium + BU

Darker Brown Section (pickguard and bridge)Medium: BU + QCLight: Medium + TW + RSDark: Medium + BU

FretboardBase with BS or BU + R

HeadstockBase with BS or BU + R. Shade the outside edges with Blk.

Sound HoleBase wit BU + Blk

Tuners and CorkOn Tuners, base with Medium Value. Add thickness with Dark Value andLighten leading edge of each tuner.Medium: TW + RS + a small amount of BlkLight: Medium + TW + RSDark: Medium + Blk

Sheet of MusicBase with TW + RS + Blk. Wet-into-wet, add bends in paper with a smallamount of Blk. Add light with WW. Add Blk across top of paper to make itrecede.

ShelfMedium: RS + BULight: RSDark/Shadow: Medium + BU

Mandolin(reference photo for all sections except light brown section -digrammed at right)



RosePetalsMedium: R + RS + TWLight: Medium + TWDark: Medium + QCLow Dark: Dark + QC + a small amount of UB

Stem, Leaf and CalyxMedium: TW + Blk + YLight: Medium + TW + a small amount of YDark: Medium + BlkLow Dark: Dark + Blk

Stage TwoTransfer details onto wine bucket, mandolin, wine bottle and sheet music.

Wine Bucket• Add lemons with Y + RS.Add brown markings with BU.

• Add leaves with Medium Green from Leaf scale. Add brown markingsand stems with BU

• Add Vino label and Tendril with Medium from Cork Scale.

• Add writing with Fretboard Value. Add brown markings with BU



Background LandscapeSkyMix the following:Medium: TW + PB + RSLight: Medium + TW

Using a large brush lay in the sky getting graduallylighter at the horizon line. Add clouds with WW andBlue Tint

LandMountain: Base in with TW + Blk or Gray 06. Blendthe top of the mountian into sky’s horizon.

FieldsBase the cool green fields with the TW + Y + UBAdd lighter touches with base mix + TW.

BuildingsBase with WW or Flesh 06 or BU + RS + TW. Add athe light section a light gray.



Mandolin• Add flower decorations with Sheet Music basecoat. Shade with Blk

• Add leaves with Medium Green from Leaf scale.

• Add Tendril with Medium from Cork Scale.

• Add alternating trim with Sheet Music Medium and Fretboard Basecolor. Use a different brush for each color.

• Add bridge and frets with RS + Y

• Add ovals on fretboard with TW + Blk

• Add strings with Light Gray (Value 07). Shade with Blk on left

Wine Bottle• Add trim with Sheet Music Medium and Writing with Fretboard Base

color.• Add Foil label with QC, Shade with Blk. Add Y as the decoration.

• Add Tendril with Medium from Cork Scale.

• Add trim with Sheet Music Medium and Fretboard Base color.

• Add bridge and frets with RS + Y

• Add ovals on fretboard with TW + Blk

Cork• Add holes and writing with Fretboard Base color.

Sheet Music• With a long liner, add music with BU thinned with Mona Lisa Paint

Thinner• First add outside rectangle, then a line through the center then lines

on either side of the center line. Add notes and measure lines. The lines must be parallel to one side of the paper



ShinesPrimary Shine ExplanationA primary shine is the reflection of the light source. It is where the light isstriking the object directly. This shine will be in the center of the previouslycreated light section. Shines begin with a transparent, dull haze behind thefinal shine. This shows that that light spreads out once it strikes an object. Theharder the surface of the object, the less the light will spread. The shine issharper on harder objects. The shine on the oranges, bread and fig will beeither a textural broken shine or dull shine while the shine on the hard shinyobjects will be sharp.

Primary Shine ProcedureUsing a #4 filbert lay in film of WW. This film of paint should be transparentand not extend beyond the initially created light section. Switch to a 3/0spotter loaded with a heavier load of Warm White. Determine where the lightwould strike the object first (upper and right). Lay the 3/0 brush down first inthe area. Coax the paint down the object totally inside of the initial transparentfilm. Stop prior to the end of the transparent film of paint. With a #0 mop, blendthis shine into the film of paint. Reload with Warm White and repeat but thisapplication is contained within the second application of paint. It should begetting more opaque at the point where the light is striking the object directlyand then fading to nothing as it moves away from this section. This is called“pyramiding” a shine. The wide base of the pyramid is the transparent film.The next application moves up the pyramid and is contained within the base.The final or apex shine is at the top of the pyramid. No level of a pyramid canextend beyond the lower section of the pyramid or it would collapse. The sameis true for a pyramid shine.

Reflected Light ProcedureLoad an old brush with Blue Tint (TW + UB). Wipe the majority of the paintout of the brush so as to have merely a dirty brush. This reflected light isplaced on the dark side of the objects. It must go on the exact outside of theobjects as this where the light is striking the object first. Allow the surfacetexture of the board to extract the paint out of the brush. If the paint appears“chalky”, it is lacking in pigment so add more blue to the Blue Tint mixture.

Brick Work Instructions

Cut a kitchen sponge to a “keystone” shape. Cut another sponge in a rectan-gular shape.

Thin down DecoArt Natural Stucco (available at www.kingslan.com) with 30%water.

Wet the sponge,wring out then dip in the stucco. Wipe the sponge on the sideof a tray.

Start with the keystone in the middle of the top of the arch. Press the spongedown firmly and lift straight up. Use the keystone all of the way around thearch until you hit the straight away.

Leave mortar lines between the bricks.Then switch to the rectangular sponge.Finish the border on both sides with this sponge.

For the shelf and the frame, use your palette knife like a trowel and place anirregular application of stucco. This goes on the frame as well.

Let the stucco dry for 24 hours. Paint mortar lines in with Genesis Gray 05 orequivalent acrylic or traditional oil. Stain with a commercial stain or with MonaLisa Paint Thinner and an oil color of your choice. Do not varnish stucco. Itshould be matte.

ShadowsAdd cast shadows with black made with UB + BU. Cast a shadow to the lowerleft from the sheet music onto the shelf, the leaf onto the sheet music, the corkonto the mandolin and the Wine Bucket onto the shelf.

VarnishVarnish the dried piece with Final Coat brand varnish. This varnish can beapplied with either a brush or a stain applicator pad. The first coat mayseparate or bead up. The subsequent coats of varnish will fill in this separa-tion.







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Tuscany Trompe L’oeil V: The Romantic View - …kingslan.com/newsletters/Tuscany V.pdf · Tuscany Trompe L’oeil V: The Romantic View Page 2 ... Harmony adjustments - glazes, accents,