Professional Documents
Culture Documents
Diego Larguia: by
to Paint in Oil
Simplifying the painting process makes it easier
to work and make judgements about color mixing,
paint application, and edge control. Here’s how
Diego Larguia does that
in classes on still life and
D
landscape oil painting. uring a recent course on beginner oil painting
taught by Diego Larguia at the New Orleans
Academy of Fine Arts (NOAFA), the instructor
recommended that students follow an exercise of painting
folded pieces of colored paper so they would learn to sim-
plify the process of judging relationships between shapes,
values, and colors.
3
techniques
The Power of by
I
f one believed in ghosts, the spirits of some of the
major names in turn-of-the-century art would certainly
be wandering the halls of Sam Vokey’s Boston studio.
When Fenway Studios was built in 1905, its forty-six units
housed many famed members of the Boston School of
painters. Vokey recently moved into a spacious third-floor
unit that once belonged to Edmund Tarbell (1862–1938),
an artist Vokey greatly admires. This is the third Fenway
studio Vokey has occupied, and he describes it as “the
créme de la créme of studios.” Modeled on a nineteent-
century Parisian atelier, his new domain is entered via a
balcony and stairs. A wall of fourteen -foot windows floods
the main high-ceilinged room of the studio with north light.
A fireplace stands at one end, and tucked away under the
balcony are a small kitchen, bathroom, and office/bed-
room, which boast French doors that open into the studio.
Not only does Vokey work in a studio filled with the spirit of
the Boston School, the artist also embraces the School’s
aesthetics in his painting. After graduating from Bowdoin
College, in Brunswick, Maine, with a minor in studio art,
Vokey received a five-year scholarship to the R.H. Ives
Gammell Studio, in Boston, an atelier that emphasized
working in natural light directly from life. It was there that
Vokey became familiar with the methods of the Boston
School.
Opposite page:
Mango, 2003, oil, 20 x 16.
Private collection.
5
color
Joyce Washor: by
Small Scale
A New York oil painter showed how opposites on
the color wheel blend to make harmonious still lifes in
miniature.
I
n Joyce Washor’s workshop last December at the
Scottsdale Artists’ School, in Scottsdale, Arizona, she
provided all the information needed to paint minia-
ture still lifes in oil like hers, from her paint mixtures to the
smallest technical hints and tips. But the participants did
not walk away with only a good understanding of how she
makes her 27⁄8” x 33 ⁄4” paintings successful summations of
classic still-life arrangements. Over the course of the five-
day workshop, it became clear that many of the lessons
learned were applicable to painting in other formats and
genres. The surface size may have indicated miniatures,
but the instruction encompassed big concepts.
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contents Paint Confidently
Basics:
with Oils!
A
• The Properties and Techniques
of Oil Paint merican Artist Guide to Oil Painting provides an easy-to-use
• Betty Kaytes: Start with a Still Life overview for every artist interested in this time-honored, inimitable
• Diego Larguia: 15 Tips on medium. This compilation of the best oil-painting articles from
Learning to Paint in Oil
• Michael Chelich: How to Develop American Artist magazine offers a thorough learning experience for
an Effective Composition working with oils. Inside you’ll discover:
• Jeffrey Legg: Summarizing What
You See and What Matters Most
to Your Painting • Foundational support from pros such as Joysce Washor, Brian
Keeler, Jeffrey Legg, Diego Larguia, and Michael Skalka
Techniques: • Information on the unique properties and techniques of oil
• Tony Curanaj: Knowledge and paint, along with advice on supports, canvas types, preparation,
Structure Allow Freer Painting solvents, and varnishes.
• The Power of Design • Specific techniques for still life and landscape painting, as well
as demonstrations in color mixing, paint application, and edge
Color: control.
• Joyce Washor: Complements • An extensive review of the principles of composition as well
and Small Scale
• Stressing the Relationships of
as and through demonstrations and comparisons on how to
Colors, Not Lines or Values critically evaluate paintings
• Brian Keeler: Building Strong • How to work with the complexities of color and color
Color Relationships Over Solid relationships.
Drawings
Each in-depth article shares tips, exercises, and practical examples to take
the mystery out of the medium.