Student Exhibition

Our year-end student exhibition will be held on the last Friday of November, the 26th, at the Kenosis Studio. Don't miss it! Last year's opening night was a great success and with the addition of many new students, photographers and the refinement of many long-time students, we believe this year will hold much to look forward to.

Drama Course

After the huge success of the first drama course and by popular demand, we decided to get the second (extended) course on the way quickly.

The all new 8 week course started yesterday, 25 October.

The course includes a full acting portfolio with DVD recordings of your monologue and the graduation performance piece and a professional Photo Shoot while the newest addition to the course is that each student’s acting portfolio gets sent to a casting agency that is known in theater and screen.

There will also be a semi-formal graduation evening where students will graduate and each students final performance piece will be evaluated by a “Soapie Star”

For more info visit the kenosis award-winning website: www.kenosis.co.za or check out some of the actor's portfolio shots on our photography blog HERE

Painting Part 2 - Composition, Perspective & Depth

How to make your painting work:

1. Now that you know what you want to paint or draw, you need to make it work on canvas. How do you convince your audience of your work, create harmony (or “music”) in your artwork and keep their interest?

After covering your canvas with the background or “mood” colour, you need to compose your subject successfully on the picture plane. Successful composition leads the eye around the painted area in a harmonious and satisfying manner. A beautiful painting can become unattractive and unpleasant simply through bad composition! Here are some dos and don'ts:

Don't:

- Don't "frame" your object with a huge amount of empty space or by creating a colour "glow" around your objects.
- Don't try to squeeze objects into the picture plane, allow them to breath or at times break the canvas edge.
- Don't create too much symmetry in your artwork, especially around the center, also vary the sizes of objects in the image (for example patterns in an abstract).

Do:


- Make use of the rule of thirds (or the "golden rule" - 6/10) to compose your main subjects or focal points. Keep away from the center by using the available (or negative) space to its full potential.
- Compose your objects in such a way to allow the eye to move comfortably over the picture plane, objects can break the edges of the canvas, but make sure it breaks it in more than 1 or 2 places, a singular break can lead the eye away from the subject. Diagonals are great for leading the eye.
- Place your main subject(s) off center or near a third to balance to canvas in a more harmonious way.
- Keep an eye out for the direction your subject is looking in and then leave more open space on that side. This keep your subject from staring into the edge of the canvas. Always give room for animals to "escape" by leaving a space in front of them (or below when painting birds).

If you are working with a conceptual meaning in your artwork, these rules can be broken in order to support your idea. Composition plays a significant role in aesthetics as well as conceptualization.


2. Perspective is the first step to creating realism and depth in an artwork. It is a way to create a 3 dimensional image on a 2 dimensional plane. To create successful perspective, one or more vanishing points need to be established on the picture plane towards which all the parallel lines in real life converge (most useful when painting buildings, roads, fences etc). These vanishing points exist on the horizon (or eye-level).

Examples of 1-point, 2-point and 3-point perspective respectively:




3. Depth perception can be achieved through different painting techniques as well as through the correct use of colour and perspective.

Perspectival depth – Creating depth by making use of 1-point, 2-point or 3-point perspective.
Atmospheric/Arial depth – Created by using duller, more faded colours toward the background and brighter colours in the foreground. Colours on the horizon gradually become closer to the colour of the sky.
Colour depth – Using cool colours in the background and warmer colours in the foreground. Shadows also contain cool colours. The use of complimentary colours can exaggerate this effect.
Focal depth – This works on the principle that areas closer to the foreground are painted in focus (more texture or detail) while areas in the background out of focus (soft or slightly blurred).


Happy painting!

Painting Part 1 - How do I get started?

Before you start a new piece:

1.Get out your workbook and start making some plans. These plans can involve life sketches, dreams, abstract thoughts, various exercises, clippings, poems, images you like, favourite songs etc. Allow your workbook or file to become a collection of things that inspire you. Whenever you get stuck for ideas, you'll find it can become your most valuable asset.

2.Remember that you do not always need a perfect plan! Planning a painting or drawing can just as easily inhibit spontaneity so sometimes allow the artwork evolve on it own.

3.Once you've decided on a subject or theme you will need to find a support. The shape and size of your canvas will influence the way it is viewed, for example a painting of a vast landscape will be viewed different on a large canvas than how it will be viewed on a small 10cm x 5cm canvas. Large scales tend to impress and overwhelm the viewer while small scales draw the viewer in. Do not simply work on a specific canvas size simply because it is all you have, make sure it is a conscious decision. To help you decide, imagine the reaction you want from your audience. What shape of the canvas will best suit the subject matter? Another idea is to try painting on something other than a canvas: Driftwood, a broken plate, a calabash, an old chair, tin or rusted piece of metal. Get creative!

4.This is a good time to make some pre-sketches or pre-paintings in your workbook to decide on colour schemes, composition and size. Do not underestimate the value of these exercises! By simply starting a painting, even if you've had much success in the past, you limit yourself and remove the possibility that you could have improved on your original idea or concept. Impulsive or spontaneous paintings do not need much planning.

5.Decide on the technique you are going to use and how it will support your idea. Do you want your painting to be full of drama, mystery, excitement or peace? Should it be bright and cheery, somber, sad or realistic? Should the paint be applied thickly (impasto), should you use a dry brush lightly over dry paint (scumbling), scratch into the paint (sgraffito) or paint thin and delicately? The combination of the shape, size, medium, material, colour and technique will determine the mood of your art work.While you may think that this is a lot think about, the awards will be evident in the final piece.

6.What colour palette will you use? Are you going to work around whatever colours you already have or purchase a new palette? Are you sure you have the colours you need to achieve the right results? Not all colours mix the same!

* One can achieve unity in a series of paintings by working with a limited selection of colour in a particular piece.
* If your colours are too bright, try mixing in a little of the opposite (complimentary) colour and don't forget that black can often create a nasty mix of colours rather than simply making a specific colour darker... try blue!
For example:
green + black = natural dull dark green
blue + black = deep blue
yellow + black = green! (beautiful)

* White might “lighten” a colour, but at the same time removes the chroma (strength) of the colour. To lighten red or orange use lemon yellow instead of white.
* Skintone contains much more than just orange + white or burnt sienna + white, add a touch of green or blue
* Know and practice your colour wheel!! Remember that cool colours recede and warm colours advance. Opposite colours compliment each other and mixes brown.
* You will need at least 2 different reds, 2 different blues and 2 different yellows in your toolbox. Titanium white (Opaque) and Ivory or Lamp black (not much needed). Look out for a great selection of premixed browns like burnt and raw sienna (reds), burnt and raw umbers (blues) and ocres (yellow)... just to mention a few.

Magic must have's: Prussian blue, Alizarin Crimson and Lemon yellow.
Also: mixing your own secondary (purples, oranges and greens) and tertiary (browns) colours can be very rewarding!

7.You can now start by painting a layer of colour over your canvas and then loosely sketch your image using a brush or pastel.


Happy painting,
Kenosis

Brand new website!

Our new website is finally up and running!

While sporting a fresh and funky look, we hope you find the information relevant and enjoy looking through the galleries. The site will be updated regularly and while we're busy smoothing out all the little niggles, please feel free to send us your comments!

Follow this link:
Kenosis
School of Art and Creative Services

Understanding painting's poetry

I receive this newsletter every month and find it very useful in understanding the harmony created in a painting from a technical point of view. This free newsletter includes tips on how to structure and compose your artwork in a way that is most pleasing to the senses as well as contain lessons in colour, texture and many of the other basic elements of fine art. Not a bad read.

www.virtualartacademy.com/guest.html

There are also many forums available for those of you who would like to receive more constructive criticism on your artworks. These forums also offer viewpoints from artists all over the world (mostly America) about how to use certain mediums, problem solving, techniques, methods etc. Also a great place to ask some technical advice!

My favourite, although largely traditional/commercial:
www.wetcanvas.com

(Remember, not all the artists on these forums are professional or successful artists and views differ - ask us if you are not sure)

New Studio

We've been at the new studio for almost 3 months now and can finally say that we are the proud owners of this large space. Here are some photos of the main studio. We'll put more pics up as more interesting colours find themselves on the walls and windows, lighting and decor are improved. Happy painting :)

Lesotho Road Trip (part 2)

There was a bit of a chill in the air and with fresh coffee and slaptjips still warm in our tummies, we got our gear out for some test shots. We were greeted by a friendly neighbour who was quick to offer us breakfast at his place, but Malumi soon interrupted our polite decline with a cheerful harp solo. Family members and friends were busy everywhere cleaning, cooking and enjoying the occasional Hansa, after all “any time is tea time!”.








The groom arrived shortly before 9am and we spent a long time talking and laughing about the trials of marriage. A few good chuckles later and after filming the last of the lebola negotiations we were offered a “local celebratory yogurt” i.e. a warm, sweet, porridge-like corn brew with questionable ingredients and an even more unsettling after-taste. Trying to be polite, I took a few more sips than the others and handed the still half-full glass of sweet-soup back to the bride's grandmother. It was only the day after our return that I tracked my turning stomach's upset back to this moment. The sheep slaughter was drawing near...





We chatted for a while about how graphic the documentation of the slaughter should be and finally decided that Carene should keep herself busy elsewhere while Dieter and myself will go in for some closeups. The smell of smoke, home brewed beer and the lingering taste of grainy yogurt was filling our senses. I couldn't help feeling tempted to abandon ship and hand the camera to Francois, who was enjoying our discomfort just a little too much. Maybe I can close my eyes while shooting? Too late, it was happening....




Half looking, half squinting I shoot away. I was surprised by how calm and quick everything went. First the head and feet were removed, followed by the organs and finally the skin. After the carcass was hung, the groom had to drink some of the homemade beer, a brownish milky brew. This signaled his acceptance into the family after which he is allowed to enter the bride's family's house through any door without having to be invited. According to custom, he was now part of the family.
The internal organs got prepared for burial and some of it cleaned for cooking while the groom had to eat a piece of liver as part of the ritual. This small piece of raw liver is “cooked” by pouring a few drops of the sheep's internal acids on it. As interesting as all this was, I'm still not sure why I felt compelled to stand by as the endless piece of intestine was being cleaned out.






After a welcome cup of tea, some muffins and a musical of sorts by Malumi and one of the bride's aunts, we had some time to kill while the rest of the wedding preparations were being taken care of. It was almost midday now and we decided to catch 40 winks in the car while the bride went to a nearby village to get ready for the rest of the proceedings. But not before Dieter found himself in a one-sided and slurred conversation with Malumi (who was apparently asking for a lift back to Pretoria). As sorry as I felt for the sweet man, I got concerned when Dieter started nodding “yes” to all Malumi's questions... Somehow I didn't think he'd fit in the car...


More and more people were starting to arrive and soon the area was filled with family, friends and neighbours. This offered the perfect opportunity for some fun and interesting portrait shots.





The band started to perform, busted up drums and all, while the dancers seemed to enjoy performing the traditional stick dancing. The bride and groom arrived at approximately the same time and with their families, sweepers, praise singers and Malumi leading the way, met each other dancing and singing. Rich and poor, young and old, Sesotho and South African, everyone was cheering and ululating while sweeping up the bride and groom in a crowded embrace.



As Malumi's eyes started drooping, his harp was soon drowned out by everyone's singing and the band's accordian player took the lime light. Not long after the gift offerings, everyone found their seats in the beautifully decorated, big, white tent.



Several speeches and more gift exchanges later, the bride was swept away by her mother-in-law to be dressed in the traditional Swazi dress. As I was waiting outside the house for her to exit, I spotted Malumi sleeping soundly under a tree, harp lying in the grass. The band started playing again and the bride and groom walked between the people, greeting all the locals, while Francois' camera was being admired by the kids.









It was almost dark by the time the proceedings were finally over and we started to pack up after scoffing down a delicious meal. Lines of locals were crowding outside the tent collecting their packaged meals as we walked to the car and little kids were still running around everywhere.





Besides a few nature calls, a quick stop to admire the stars and a 40km detour on a bumpy dirt road, the ride back home was pretty uneventful. Between choruses of “Wenners” by Danie Botha and funk rap by Toby mac, we chatted about cannibalistic cows, slow service at KFC and every now and then about the passion in Malumi's musical mumbles. We didn't spot the-ominous-moose-that-got-loose again and got home safely just after midnight. Everything went Stoompomp.

Sleep well music man :)