Starting May 24th - July 5th, Thursday evenings, 6:30 - 9:30 pm. (8 meetings)
Scheduling will becoming soon, stay tuned or call the Kline today for more information
Now on Youtube, you can preview the introductory lecture to this course and get an idea of what it is all about. The itself video has already had tens of thousands of views.
Venetian Figure Painting
https://www.youtube.com/watch?v=SUW8BakSJig . Over 70,000 views so far!
This studio course aims at reconnecting with the academic tradition of Western Art. The Late Renaissance Venetian development of Indirect Oil Painting, light over dark, was pivotal to that tradition. Virtually every European painting, up until the Impressionists, was some variation on the Venetian technique. This Painting course takes a structured, step-by-step, approach through the three tiers of Indirect Painting: drawing, value, and color. The focus is on the order of painting: glazing dark over light and scumbling light over dark. The course project explores classical closed-form and Baroque chiaroscuro effect. From a live nude model in a single pose, students will first create a working drawing on paper, transfer it to canvas and finally create a finished painting. This unique course is challenging but equally fun and rewarding. It covers material rarely found elsewhere. After this course you will never look at master paintings the same way again.
Working from a live model, in this class we develop a single figure from the sketches, to a definitive drawing with attention to anatomy. We transfer it with a grid to a toned canvas. Then we develop the grisaille under-painting and finally lay in the color to to create rich, deep tones of a refined master painting.
Coming in Fall Quarter 2018 Saturday mornings (to be scheduled)
Check the UCLA Extension website for schedule and enrollment: www.uclaextension.edu
This studio course aims at reconnecting with the academic tradition of Western Art. The Late Renaissance Venetian development of Indirect Oil Painting, light over dark, was pivotal to that tradition. Virtually every European painting, up until the Impressionists, was some variation on the Venetian technique. This Painting course takes a structured, step-by-step, approach through the three tiers of Indirect Painting: drawing, value, and color. The focus is on the order of painting: glazing dark over light and scumbling light over dark. The course projects explore classical closed-form and Baroque chiaroscuro effect. Students will paint a copy from a master, a portrait, and a live model. This unique course is challenging but equally fun and rewarding. It covers material rarely found elsewhere. The instructor will mentor the students according their level of experience and artistic objectives. He will help the students build artistic strengths in the time-honored spirit of the artists’ atelier.
This is a sample of the master copy project that we follow in this course.
You purchase this PDF. It is the step-by-step Master Copy of a Titian used in my UCLA Ex class. With simple instructions it takes you through the three stages of painting: Drawing, Value and Color, it focuses on creating a sense of atmosphere through the order of painting with glazing and scumbling.
Classes not currently scheduled, see UCLA Extension catalog
Check the UCLA Extension website for schedule and enrollment: https://www.uclaextension.edu
Drawing is the foundation of all art making. If you can measure, you can learn to draw! The aim of this beginning course is to link up with the classical academic tradition. Western art has long followed a rigorously disciplined path towards idealized representation as the fundamental building block of artistic expression. The aim of this course is for students to experience the technical rigor of that tradition. Working first from art plaster casts, students explore the essentials of line, form and value, and then move on to more complex human forms. Finally the students will work from a live model. Students will also work on great master copies to learn how to instill life, mood, and emotion into a composition. The course covers the various aspects of comparative, and relational, and structural measuring to achieve accurate representation.
Check it out now on the online catalogue: UCLA Extension
This course is for students who have taken a figure drawing and beginning painting class (acrylics or oils). It focuses on the fundamentals of figure painting: finding movement, form, proportions, and the anatomy of the figure and imbue it with the liveliness, light and atmosphere that only painting can give. Instruction covers the use of monochrome, grisaille and full color palettes, and the relative color mixing and brushing techniques. Working directly from models, the course begins with quick painting sketches and progressively moves on to more challenging exercises with longer alla prima poses and culminating in a multi-session pose for a finished painting. The instructor will encourage students to develop their own expressive interests.
Course in Development
Eighteenth Century Portraiture
Eighteenth Century painting was similar to our own moment in art history in that they were interested in rediscovering the techniques of the old masters. This seems surprising to us as we see them as "old masters". But they didn't see it that way. Joshua Reynolds was one of the most prolific and articulate experimenters of his time. They were all of course influenced by the indirect methods of the Italian masters. But I surprised to discover that Reynold's technique was in a certain sense the flip side of the typical Venetian technique in that he worked from cool to warm as opposed to warm to cool. The results were equally rich. Below is a copy of a Reynolds portrait (a detail) that follows the progression of his technique. He starts with a cool gray ground. The first four steps use only black, white, and carmine. Only towards the end does he introduce yellow ocher, Naples yellow, vermilion and Prussian blue for the back ground. He famously used abundant megilp and wax mediums and bitumen, some times to disastrous effect for conservators.