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What is Painting?What is Painting?

Definition• Painting: Capturing illusionary form, space, and light on a flat surface.• Form - A three-dimensional shape• Negative Space - empty areas (such as areas around an object, or open spaces within an object, such as a donut hole)• Positive Space – the space taken up by a solid form/object• Value – how light or dark something appears

Illusion of Form• To create the illusion of three-dimensional form, artist use several techniques, such as:-Modeling-Foreshortening -Chiaroscuro-Definition

• Modeling refers to the creation of a sense of three-dimensionality in the form being depicted, usually through the use of brush strokes, or variations in light or color.


• Foreshortening refers to an artistic technique in which the artist depicts a form that is coming towards the viewer. The artist achieves a realistic effect by making the parts of the object closer to the viewer larger, and overlapping them in front of the further parts of the object.


• Chiaroscuro refers to the use of a high contrast between light and dark to create depth.


• Definition refers to the sharpness of the edge of an object, which helps to clarify the form of the object. Typically, objects that are close have greater definition (detail, clarity) than objects that are farther.

The edges of an object can be defined by an outline (for a flatter effect) or by contrasting color or value (to create more of a sense of realistic volume).

Illusion of Space• To create the illusion of three-dimensional space, artist use several techniques, such as:- Depiction of light vs. shadow-Diagonals -Overlapping-Intensity/value-Detail-Size-Position on the picture plane

• The artist can use light and shadow to indicate to the viewer information about the space. A brightly lit scene can seem spacious and open, whereas a dimly lit scene can feel close and claustrophobic. The location of an object’s shadow can also indicate to us its location relative to the light source.


• The artist can use diagonal lines to create a sense of depth using perspective. In the system of perspective, all diagonal lines converge at “vanishing points,” the point in which the lines seem to “vanish” from the sight of the viewer.


• Objects that are closer will overlap in front of objects that are farther away.


• Farther away objects appear lighter and less intense in color saturation (greyer) than closer objects.


• The farther away an object is, the less detail can be seen.


• Objects that are closer appear larger than objects that are farther away.


• Generally speaking, objects that are closer to the viewer are located lower on the picture plane than objects that are farther away.

Late Medieval Tempera• Artists in the late medieval and early Renaissance painted on wood panels with tempera paint.• Tempera paint is made by mixing powdered pigment (usually ground by an artist’s apprentice) with egg yolk and a little water.• The support which artists painted on were no ordinary wooden panels. First, the wooden panels were carefully selected (to be free of any defects) and dried over a slow period of time, to avoid any warping or cracking. • Then, the artist applied strips of linen (a thin cloth), dipped in gesso (a thick, white, paint-like substance made of gypsum) to the surface of the board (typically nine coats). • After the gesso was dry, it was burnished (polished) to a smooth shine, resembling ivory.• Artists drew their designs onto the panel with charcoal before they began to paint.• On many paintings and altarpieces, gold leaf (a delicately thin gold foil) was applied. First, a reddish-brown clay ground called bole was applied. Then, the gold leaf was carefully glued to the bole using a glue made of clay powder mixed with egg white.• The gold leaf was polished with a gemstone or animal tooth.

Frescoes• Artists in the late medieval period typically favored buon fresco over fresco secco. • There are several steps to preparing a wall for a buon fresco. The artist only preps the amount of wall he believes he will be able to paint in a single day. As such, each section of a buon fresco is called a “giornata” meaning “a day’s work.”• To prep the wall for a buon fresco, an artist followed these steps:-First the wall was prepared with a rough, thick undercoat of plaster known as the arriccio.-When the arriccio was dry, assistants copied the master painter’s composition onto it with reddish-brown pigment or charcoal. These underdrawings are called sinopia.-The giornate were irregularly shaped, conforming to the contours of major figures and objects, not a grid. Their size varied depending upon their complexity/difficulty.-An assistant would coat that day’s section with a thin coat of very fine plaster, the intonaco.-When the intonaco was set but not dry, the artist began painting with pigments mixed only with water, working from the top down so that any drips would fall upon unfinished portions.

This chapel contains 852 giornate.

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