Art Theory | ©Mr Daniel M. Fisher | Artistic Practices, Methods, and Techniques.
- ©Mr Daniel M. Fisher
- 15 hours ago
- 9 min read
"Sight-Size" - This measuring method is where you stand back and measure an object in the real world according to a fixed point - usually a pencil held at an arm’s length and then scale it up or down according to your needs.
"Envelope" - Constitutes the block in phase where you work inside a broad shape, then onto smaller shapes for smaller parts of the image, starting broadly at first until you reach a certain degree of refinement.
"Positive & Negative Space" - Is the area in and around that object which can either advance or recede, the area around the object is what defines the boundaries.
"Implied Line" - is a series of points in the image that suggest a path for the eye to follow.
"Comparative Measuring" - Determining the length or width of an object by comparing it with another, e.g., the length of the torso compared to the size of the head.
"Relational Measurement" - Well coordinated critical points of departure to confirm the locations of other points, orientating the relationships around each other.
"Length and Tilt" - Convexity on the body is a “Fullness” or is outwardly rounded, with a point of origin, an apogee [highest point], and an insertion point at the end. They are either “Continuous” which means they are either fluid and seamless, or “Discrete” which means each form is distinct.
These describe the qualities of every line, which combine to create the inclination and dynamism of every shape.
"Triangulation" - Using two or more points to locate a single new point e.g., “non-parallelism” which is comparing the sides of the same form to make sure they are asymmetrical.
"Caliper Vision" - A process of measuring two points on opposite sides of the form.
"Staging" - The division of planes on a canvas according to Foreground, Middle ground, and Background, or in figurative painting this is the proximity of a character to the viewer.
Divisions either by grids or by diagonals e.g., Thales Theorem or a ground plan of an architectural façade.
[A] To attain true realism, first you must choose a canvas that is the optimal size for the room in which it is to be displayed in, then understand the optimal viewing distance. By doubling or tripling the longest edge once you have found the ratio for the room.
[B] 2”x2” square canvas = 4” or 6” vantage point.
[C] Use this ratio of the vantage point to measure the scene and find the optimal Viewpoint from which to paint the scene from e.g.:
[D] With a 2” side times by a 4” vantage point = 8” from the scene in the real world with a 2”x2” square canvas.
"Line Drawing"
· Alignments are the angles and lines that form positive and negative shapes.
· Landmarks are used to scale and connect disparate parts of an image.
· Proportion is used to create perspective e.g., Geometric and Iso-Metric Perspective.
· Direction of energy of the lines in the composition or “Rhythm”.
· Character is either open or closed or blocking you.
· Personality is either leaning in or leaning away.
"Mass Drawing"
· The “Essence” is the simplest forms the object can be built with.
· Pose is the silhouette formed by the person or object forming one large shape.
· Clothes are either hanging, draping, stretching, or compressing.
· Volume caused by scale, values, and shadows.
"Role" - The relationship the characters have to the viewer and between themselves.
"Vantage Point" - A viewpoint from which the viewer has of the scene.
"Golden Section" - Divide the canvas by 2:62.
"Counterpoints" - Give objects differing spaces from the edges of the canvas, e.g. group objects at uneven intervals i.e. 1,3,5,7,9,11 and of differing sizes and shapes.
"Counter-Change" - Overlapping objects can deceive the eye into seeing recession.
"Juxtaposition" - Opposing design ideas used to create tension.
"Juxtaposition" - The use of opposing design marks used to create balance.
"Juxtaposition" - The change in difference of two or more elements that oppose each other.
"Focal-Point" - A primary area of emphasis that is the most interesting to look at, and secondary areas of emphasis are what supports the main centre of interest.
"Picture Plane" - The flat plane at the end of your vision of a scene and it encompasses the picture you want to paint.
"Selective Focus" - When the object in the centre of your vision is in sharp focus and everything else is fuzzy and out of focus.
"Vanishing Point/s" - Point/s on the horizon line that all the objects slant toward creating perspective.
"Linear Perspective" - One point perspective and defines only the form.
"Isometric Perspective" - Multi-Point Perspective: An oblique view that defines the space the object is in.
"Geometric Perspective" - Based on multi-point perspective containing multiple objects e.g. a Diagram or a Relief.
"Foreshortening" - A lot like Isometric Perspective but distorted to deceive the eye.
"Atmospheric Perspective"
Smaller, Less Detailed, Cooler, Duller, Darker, Softer, Greyer, Fuzzier, Neutral recedes.
AND
Larger, More Detailed, Warmer, Lighter, Sharper, Stronger, Clearer, Brighter advances.
"Armature" - Based on the theory of unified harmonic resonance due to the “Eyes” or intersections of all the angles drawn to form shapes or travel lines, usually from a half, quarter, or three-quarter point from the edge of the canvas.
"Root Rectangle" - The height VS width correlation of the edges of the canvas when you draw a line from the centre of the bottom line to a corner and then drop it down: This forms from a root 1 rectangle a Root 2 rectangle of 1.41 and a Root 3 rectangle is 1.73 and a Root 4 is 2 and a Root 5 rectangle is 2.23 Etc.
"Visual Hierarchy" - Is where you create a primary, secondary, and tertiary focal point to guide the viewers eye through the picture, this can be done using colour, edges, shapes, composition whatever, so long as there is a main area with a few other subordinate areas in the picture.
"Table-Top" - The composition reads from front to back and has deeper recession looking down on top.
"Shelf-Top" - The composition reads from Left to Right and you are looking straight on, with a level eye line.
"Colour Family" - The group of colours together on the colour wheel, e.g., more than one yellow, or more than one blue, or more than one red, with each hue all together under one colour family.
"Hue" - The Local Colour as in Primary, Secondary, Tertiary.
"Value" - The Relative Lightness or Darkness of a colour.
"Temperature" - The colours relative warmth or coolness.
"Chroma" - Saturation: Brilliant or Muddy.
"Chroma" - Luminosity: Pure or Dull.
"Tinting Strength" - The relative colouring power.
Tint is the colour plus white. Tone is the colour plus Grey. Shade is the colour plus black.
Warm colours advance while cool colours recede.
Polychromatic colour is using multiple colours.
Compliments are opposite each other on the colour wheel.
Split Compliments are opposite each other with one either side of the compliment.
A Diad is using two colours that are equidistant from each other on the colour wheel.
A Triad is three colours equally spaced from each other on the colour wheel.
A Tetrad is a contrast of four or more colours on the colour wheel.
Analogous colour uses two colours that are side by side on the colour wheel.
Mono-Chromatic colour is using one colour in a variety of tones.
Achromatic colour is black and white with a variety of grey’s in-between.
The Mother Colour in a painting is the same colour used in all the mixes and is linked to the Atmospheric Key in a painting.
Additive colour mixing is colour mixing using paint whereas Subtractive colour mixing uses light.
Transparency is when the colour from underneath shows through.
Translucency is when the colour from underneath only partially shows through.
Opaque colour from underneath does not show through.
Colour Notes are the patches of colour that go to create form.
A Prismatic Colour is a pure and brilliant primary colour.
Breaking the colour refers to reducing the Chroma by way of mixing it with its compliment on the colour wheel to make it more neutral.
Earth Colour is grey and muddy colour.
Neutral Colours are reduced in Chroma.
Non-Colour is a colour that has lost its Chromatic Identity.
Body Colour is an opaque layer of paint.
Tonal Colour means organising colour and form according to a Gradation.
Colour Contrast is when two compliments are side by side on the canvas.
Successive Contrast is seeing one colour in the compliment of another.
Simultaneous Contrast is the merging of two complimentary colours.
Value Contrasts are lights against darks or vice versa.
Value Massing is grouping together areas of broadly similar light and dark values to create an abstract pattern of shapes.
Refraction is the diffusion of edges, and grades of darker to light and light to darker around the edges of objects in the real world.
Diffraction is the softening of light, form and colour caused by a heavy atmosphere, or lighter structure e.g. tree branches and holes.
The size of the support depends on the scale of the objects to be placed within it, hence the scale and format of a canvas is the first determinant of the mood you want to create in a painting.
The "Abstract Pattern" is the collection of shapes on the canvas.
"Gridding" - Can be used on the reference material to compare the scale of the scene and objects therein to the scale of your canvas and objects therein.
A work of art must be the same size as the object to be called “Life-Sized”.
The Seven Design Ideas:
Unity, Contrast, Dominance, Repetition, Harmony, Balance, Gradation.
The Seven Design Marks:
Line, Shape, Tone, Colour, Texture, Size, Direction.
Extrusions and Expressions are diagrams based on volume, either by adding or subtracting volumes to create a new volume.
A Capriccio is a montage that has been assembled as a digestible fantasy.
A Sketch Copy is very generally matching the colours, tones, and forms of the original, which is used as an exercise in skill and for reference.
An Exact Copy is following the exact process and methods of the original.
The Gesture or flow of the form through the composition otherwise known as the inner curve, this can either be “active” which is bundled up and contracted, or “passive” which is stretched out, usually both exist at the same time on the one form.
A Packed Form is the hierarchical stacking of smaller forms upon larger forms.
A Grisaille Under-Painting is a black, white, and grey initial block in of the composition to establish volume, placement, and values.
Blending Lost and Found Edges: Running a brush along the edge perpendicular to the interchange, where as Hard and Soft edges are running a brush at right angles directly over the interchange, and Feathery edges are circular motions along the interchange.
The Treatment is how “Resolved” a painting is, depends on how much of a finish or otherwise you would like the artwork to have.
Staccato: Short and diagonal.
Slashing: Long and diagonal.
Stippled: wet-on-wet blobs.
Sgraffito: Scratching into wet paint.
Gestural: Bold mark-making done in broad strokes with a large brush.
Velatura: A Translucent wash used to tone the canvas first before painting.
Imprimatura: A lean, transparent, and neutral under painting.
Wash: A thin, lean, and transparent layer of colour.
Glaze: A thick, fat, and transparent layer of colour.
Scumble: A rough, vigorous, and more directly applied opaque colour.
Inside Drawing is the tonal progression on the inside of the form, which is dictated by the Local Tone, Distance from the light source, strength of the light source and whether the surface is glossy/satin/matt. In which there is frontal light, three quarter light, half-light, and rim light.
Sciagraphy: The study of shadows.
Chiaroscuro: Heavy use of shadows.
Penumbra: A lighter halo effect at the edges of shadows.
Atmospheric Light: An all-encompassing secondary light from the sky.
Direct Light: One single concentrated light source.
Halation: Light burning out details then shimmering or reflecting onto other objects.
Reflected Light: Light that strikes one object and then reflects onto another.
Highlight: Is the brightest portion of the object that usually is facing the light directly.
Light Plane: The side of the object facing the light.
Middle-Tone: The slightly oblique side neither in light nor shadow.
Shadow Plane: The side of the object facing away from the light.
Shadow: A dark shape caused by a lack of light entering that area.
©Daniel Fisher, of All Seasons Art Studio, 2023
