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Aerografia - download pdf or read online

By Eduardo Rapoport

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For example, if something feels bumpy, you can apply the paint with thick repetitive dabs of paint to achieve an actual texture that mimics the surface you’re looking at. Eggs and Chives, acrylic and gouache Detail S T I L L L I F E A S L A B O R AT O R Y 35 CHAPTER 3 OBJECTS AS NARRATIVE As we explored in the preceding chapter, the still life is an excellent format for isolating objects or moments in order to focus on something in particular. This same approach can also be a great way to suggest a narrative or create a particular mood.

For instance, an interior space like your living room or studio can be a painting about space. As a painter, I use my local landscape as a subject to explore space and make paintings that are about the specific places I encounter every day. Therefore, I don’t necessarily have to travel to the countryside to make beautiful paintings. I can simply sit in the backyard or take a walk through the neighborhood and respond to the places in my immediate environment. This next week’s worth of exercises is devoted to using your home and neighborhood as inspiration to create paintings based on both the interior and exterior places you see every day.

EXERCISE 17 Choose a corner of your living room that would make a good subject for a painting of interior space. Look for a view that includes a window— or maybe a door that leads into a second room or an exterior space. Moonlight Mile, oil, by William Newhouse VA R I A T I O N An interior space can also have a much more compressed space, and can focus on a particular detail that suggests space rather than shows a literal translation. In William’s painting, he presents us with a figure, but the feature of the painting is the pattern of the wallpaper and subtle suggestions of interior space.

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Aerografia by Eduardo Rapoport


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