ERAS WORKSHOPS AT CHAPEL PARK


Wilson ONG Workshop

January 16th/17th, 2009


October 8th, 2011

We are very lucky to have Wilson Ong living in our area, and many of us are privileged to be able to take weekly lessons with him at the Senior Center of the Arnot Mall on Monday & Tuesday afternoons. 


(Contact: erasart@erasart.com for more info).

Click here to visit Wilson's web site and information on the books he has illustrated and where they can be purchased.)

 

*These pictures and notes were taken by Jackie Satterlee who is responsible for any errors. For corrections please contact me at  erasart@erasart.com

 

 

COLORS -

Across the top of the palette:

  1. WHITE - Permalba white is his preferred white. ( Titanium white is cooler and Zinc white is warmer)
  2. Cadmium Yellow Light
  3. Cadmium Yellow Medium
  4. Yellow Ochre
  5. Cadmium Orange Light
  6. Cadmium Red Light
  7. Burnt Sienna (good for flesh tones and under-painting in green  landscapes)

Down the left of the palette:

  1. Alizarin Crimson (one can also use Rose Madder or Venetian red)
  2. French Ultramarine Blue
  3. Burnt Umber
  4. Asphaltam (This color was used by the painter Gericault in The Raft of the Medusa.  It needs to be mixed)
  5. Ivory Black

Across the bottom of the palette:

  1. Veridian Green
  2. Sap Green (for landscapes) Not of the palette pictured above)
  3. Cerulean Blue (good for flesh and skies)
  4. Cobalt Blue (good for outdoor painting-skies)
 

Wilson grew up in the San Francisco Bay Area and went to Brigham Young University, receiving a B.F.A in painting and drawing. He furthered his studies at the Art Students’ League in New York City, NY studying with nationally renowned figurative artists Ted Seth Jacobs and Harvey Dinnerstein.

In addition to his professional art, Wilson was a full-time art instructor and department chair for nine years at the Waterford School in Sandy, UT. His students garnered numerous national and in state awards during that time. When time alots Wilson teaches workshops for large to small groups.

He presently resides with his family in Corning, New York pursuing his art full time.

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On October 8th, 2011,  Wilson chose to do a portrait demo in the morning of our own Delores Morgan.

   

SETTING UP THE MODEL - A comfortable pose with a good light to bring out some good contrasts.

PAPER -  Wilson uses archival paper (acid free) sealed on the front and back with Gesso. (Most of his supplies come from the Utrech company and Jerry's art supplies)

PAINTS - Today's paints are of better quality than in the past, but it is best to use paints with good tinting strength.  Professional grades have the highest tinting strength (more color/less medium).

MEDIUM - Wilson coats his paper with LIQUIN to help the paint spread more smoothly and dry faster on the paper.  Instead of dipping his brushes in turpentine to clean them, he WIPES off his brush before picking up more or a new color, thus he does not dilute his paint.

 
 
 

 

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  BLOCKING IN THE FIGURE -

Wilson blocks in the the basic form and  features (the skeleton and shadows) with a mixture of saved left over paint (basically yellow ochre, ultramarine blue and burnt sienna). 

It is important to break down the light and shadow areas.

When starting with portraits use 2 colors, or one color and rub our the light areas.

(A Grisaille is when the painting is painted with just black and white.

Focus on VALUE rather than temperature at first.

PROPORTIONS AND MEASUREMENTS - Make sure you double check proportions.  Nose to top of head... Nose to chin.... Nose to ears.

Do not draw the nostrils first.   Put values down first, then reflected light under nose.

After proportion is correct, you can go into details. Start with nose.

 

   
         
FLESH COLOR- this can have many different elements:

(Light : - Burnt Sienna + White + Alizarin Crimson)  It will not look pinkish because it was blocked in neutral colors.

(Shadow: - Alizarin + Ultramarine + Burnt Umber)

You want translucency as much as possible by putting cool colors first then tints or warmer colors.

Add  reflected light and highlights after putting down basic colors. (Highlights show the physical positioning of light source.)

DAY 2 - If the paint dries too much in the next painting session:  you can put a thin coat of Liquin, then match the original color first, then add the new color or highlight.