Tuesday, March 20, 2018

Theodore Lukits and his Theory of Color

Artist Theodore Lukits (1897-1992) lived in Los Angeles, where he ran a school of painting.

Theodore Lukits (on ladder) and Dean Cornwell (below right)
Lukits had once served as an apprentice to Dean Cornwell (1892-1960). Los Angeles artist David Starrett has made a few short videos to share what he learned from his studies with Lukits in the early 1970s. Youtube Link.

Students were limited to working with white, cadmium yellow pale, cadmium red, a cool red (Ed. note quinacridone red), Phthalo (Monastral) green, and ultramarine blue.

From those colors students would make a color wheel, tinting the colors in the center of the circle with white and darkening them with adjacent colors, but not with black.

Drawing by Theodore Lukits 
As Starrett points out, Lukits placed a lot of importance on understanding drawing and value before embarking on color.

Painting by Theodore Lukits
To start out, students were expected to create 3-month-long graphite drawings of casts, and then they could paint the casts in color, still focusing on value primarily.

Youtube Link. Once they understood value, they painted from still life setups, which were often lit with brightly colored lights.

Painting by Theodore Lukits
Lukits liked painting with strong color oppositions, both of local color and of light colors. Sometimes he would drape a red vase with a green veil, or put two strongly colored objects next to each other.

Lukits discouraged the use of earth colors, which he called "tobacco juice" colors. He argued that you didn't need them because you could mix any color from the few basic hues. (Youtube Link)

Painting by T. Lukits
Lukits himself studied in Chicago under Carl Werntz (1874–1944), William Victor HigginsKarl Albert Buehr (1866–1952), Wellington J. Reynolds (1866–1949), Harry Mills Walcott 1877–1930), Edwin Blashfield (1848–1936), Charles Webster Hawthorne (1872–1930), and George Bellows(1882–1925). He also traveled and studied with Alphonse Mucha (1860–1939) when Mucha was developing the Slav Epics.

Lukits students include not only David Starrett, but also Peter S. Adams, Tim Solliday, and Frank Ordaz.
Previous posts featuring David Starrett

Monday, March 19, 2018

Woodless Pencil Test

I decide to try out a woodless water-soluble pencil. A woodless pencil means the whole pencil is made out of the lead, rather than surrounding the thin lead with a casing of wood.

Matthew Schreiber, Bulgarian Accordion. Listen to one of his tunes on YouTube
The pencil I'm using is called a Cretacolor Aqua Monolith. You can buy them individually for about $2.00-$3.00 each. I'm just using the ivory black one here, but it comes in a set of 12 colors, which retails for about $24.00-$30.00.

I'm using a water brush to blend the pencil, and I'm drawing in a Pentalic watercolor journal. The watercolor paper is robust enough to handle some scrubbing.

Some thoughts: 
1. A woodless pencil sharpens like a regular pencil, but you have to waste the pigment on the whole tool to get the sharp point. 
2. The Cretacolor Aqua Monolith is round in cross section, so it would tend to roll off a table. If it accidentally falls to the ground or slips out of your hand, it's likely to break.
3. The pencil is coated in a shiny lacquer varnish, so that it won't activate with water on the part of the pencil that you're holding. 
4. The lead is quite hard, and the pencil is heavy. It feels different from water-soluble crayons or pastels, such as the Caran d'Ache Neocolor, which feel lighter in weight, waxier, and softer.
5. The darkness of the black is somewhere between the graphite gray of a Derwent Graphitint pencil and the velvety black of a Derwent Inktense.
6. It delivers a responsive line and blends well with water, but I don't see much advantage to having the whole pencil made out of the lead unless you want to use it on its side to make large areas of tone. 

With any sketching tools, my recommendation is to buy just one sample of a given product line and try it out and see if you like it before buying a whole set. 

Sunday, March 18, 2018


Caspar David Friedrich's Der Wanderer über dem Nebelmeer, 1818
Rückenfigur is a German art term for a figure seen from behind, and placed inside the scene as a proxy for the viewer.

Such a figure invites the viewer to identify with the attitude or perspective of the person, who is usually central in the composition. 

Eugen Dücker (1841 - 1916)
By showing only the back of the person, we don't focus as much on their individual identity, and they seem more of a type.

Vilhelm Hammershøi (1864-1916)
A Rückenfigur invites us to wonder what the figure is doing or thinking, and can lend an air of mystery to a scene.

Rückenfigur is different from a repoussoir figure, typically more of a compositional framing element at the outer edges of the scene.

(Link to video) Watch a BBC documentary about Hammershøi by former Monty Python member Michael Palin.
Books: Hammershoi and Europe
Vilhelm Hammershoi 1864-1916: Danish Painter of Solitude and Light (Guggenheim Museum Publications)

Saturday, March 17, 2018

ESPN Adventure on YouTube

Here's a 3:25 minute YouTube compilation of the short videos I've been releasing all week about my adventure painting an NBA game. (Link to YouTube)

The upcoming issue of International Artist Magazine has a feature article with step by steps and the behind-the-scenes story.
Check out the whole blog series:

Friday, March 16, 2018

Painting a Logo Using Old-School Tools

To wrap up my coverage of professional basketball, I'll paint the NBA/ESPN logo by hand using old-school tools. (Link to video)

At almost any antique store, you can find high quality drafting sets, by Dietzgen or DesignMaster. They're not too expensive because few people use them anymore. For example, I recently found a DesignMaster 1146C for about $20. 

Drafting sets contain a variety of compasses and ruling pens. Some of the compasses can be set up with either a graphite tip or a ruling pen tip. The ruling pen tip has a small set screw that precisely adjusts the width of the line. The bigger compasses have double break points so that your ruling pen meets the paper at a right angle.

You can fill the reservoir of the ruling pen tip with either ink, watercolor or thinned-down gouache. Instead of dipping the tip into the ink or liquid paint, you should put a drop into the gap using a brush or an eyedropper. 

With these tools you can paint a perfect circle in gouache. 

The logo for the NBA on ESPN is usually seen in its digital incarnation, which has a gradation to make the white ring look dimensional. To do that, I load two brushes, one with dark red and one with lighter red, and blend the colors wet into wet.

The NBA / ESPN logo is a trademark belonging to their respective owners
The result, which appears here a little larger than the actual size of the original, isn't perfect, but it's just a sketchbook page. If I wanted to refine it, I would work larger and spend more time on it.
Check out the whole blog series:

Thursday, March 15, 2018

Knicks Game at Madison Square Garden

There are so many things in motion on and off the court in an NBA game that it kind of boggles the mind to translate it into paint.

(link to video on Facebook) As you can see in the video, I try to use the brush systematically to paint similar objects with a given paint mixture, so I'm not mixing and painting every spot.

Here again, I'm starting the sketch from life and finishing it later from a variety of references, including photos and videos. Even playing a sound recording of the game gets my head back into my memories.

Knicks game, Madison Square Garden, gouache
With a vignette like this I wanted to gradate the picture to the white of the page at the edges. I arbitrarily lightened it with cool colors on the right and warm colors on the left.
Check out the whole blog series: