Figurative Black and White Form Painting
Figurative Black and White Form Painting
Instructor: Jason Patrick Jenkins
Wednesdays NO CLASS JANUARY 23
January 16 — March 27, 2019
Time: 6 - 9 p.m.
Tuition: $399

The goal is to render a full sculptural figure that utilizes a full value range, edge control and accurate value calibration to disrupt the flat surface of the support with a convincing illusion of projecting and receding three dimensional space.

Students have the option of working in traditional black and white grisaille, or of working in a limited color palette (options of which can be discussed, or the student can work with his or her preferred limited palette if they have one). By reducing the palette and simplifying the color relationships, the student is afforded the opportunity to spend more time focused on the principles necessary to effectively turn form.

Students begin with freehand linear gesture drawing (with our wet medium: oil paint), using straight lines and angles and a fully extended arm. Then we transition into working with mass by blocking in the shadows and wiping out the lights, in broad but accurate shapes. The importance of these stages should not be underestimated, as they are the most efficient and effective time to establish proportion, placement, gesture, and a sense of gravity in the pose. Each additional step should be viewed as an opportunity to further correct and refine the drawing.

Next. we will begin to break the large, broad shapes we have established into smaller shapes, further refining the figure. In this stage, we will employ anatomy and structural concepts to track forms and drape shadows. Tracking forms simply means following anatomical features from origin to insertion (or to the point where they are overlapped by another form) in order to make subtle shifts to the light and shadow shapes that will serve to make the image more convincing. Draping the shadows is similar in that we follow the edge of the shadow masses to ensure that the are accountable to the forms they are falling across.
At this point we will have established a figure in two false values; one for the light and one for the shadow.

Next we begin to work within the light mass, taking into account the relative angle of the form to the light source, and the proximity of the form to the light source. We will begin by establishing value zones accountable to the proximity, and then by working within those zones to describe the angle. A sphere demo will be used at this point to elucidate these concepts. From here we will work in smaller and smaller shapes utilizing smaller brushes, increasingly subtle value shifts and edge control until we no longer regard our two-dimensional surface as such, but as a three-dimensional illusion instead.

The instructor demos at the addition of each new stage in the process (including the beginning of the first day), in an open forum so that concepts can be introduced, discussed, and clarified in the most effective way possible.

Jason Patrick Jenkins is an alumnus and Fellow of Studio |ncamminati, and a 17 year professional with eight years of formal training. He has studied with Rob Liberace, Dan Thompson, Jon deMartin, and Max Ginsburg among many others, and has practiced in the United States, Canada, and South Korea. Jason is an Art Renewal Center Associate Living Master and a recipient of the Stobart Foundation Grant. View Jason’s gallery.


Workshops Payment and Refund Policies
Due to limited class space, tuition is non-refundable. A credit for tuition may be issued up to
30 days before the first workshop class. No credit will be issued after that time. Credits are valid from one year of issue. Registration and enrollment is first-come, first-served with full tuition due at time of registration.
Continuing Education and Emerging Artists School-year Program Payment and Refund Policies
Due to limited class space, tuition must be paid in full at time of registration. A $100 fee is applied for cancellation up to the first class. No refunds will be issued after the first class.
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