Paint Along With Nancy Kominsky; 113; Breakfast anyone
. . . . . Hello, I'm Nancy Kaminsky. Today, we're going back into the kitchen, and this painting is called Breakfast Anyone. We're not going to scramble the eggs, and maybe by the time we're through, we wish we had. We're going to do the usual thing.
Stay in the canvas. Very umber and solvent. Preferably carousine. Not rough too hard. Lightly and not too runny. Marvelous. Now we put in our grids. In quarters, first, please, like this. Like that. Now, in painting, eggs, sometimes you'll find that simple forms are much more difficult, because it's rather difficult to create an effect with a form that is so simple and so smooth. But we do it with color.
Fine. Now, let's put our large bowl with the eggs in first. It goes in this corner, and again, we draw the square first, like this. This bowl has a very interesting lip. I wish we hadn't done it so interesting, but you'll survive. It has a thing like that, which is rather attractive. Gives it a little interest, because you don't want just a plain vanilla bowl. Fine. This goes down like this. Let's cut the bowl in like this on both sides, and round it off the same as the top, like that. Now, there's our bowl. Next, we have a lovely coffee pot. That goes in this corner. There again, it has this kind of shape. There's lines as much as possible. That's what they're there for, to guide you and use them.
This has an interesting top, like this. I believe that has a little... There has little thing on top that way. It has a spout, what else? And a handle. Now, there again, it's an interesting pot. Now, we have objects actually in front of that a plate. And remember, draw the back objects first completely, and then put the other objects in front of it. This is too big.
Cut it down just a wee bit, like that. Fine. Now, we have a plate here, like this. Now, we're seeing this in perspective, so it's like that. Wide in the middle, and narrow on the sides. This line goes right in the middle, like that. Now, because you were watching, and I want you to be able to see what I'm going to put in the plate, I'm going to erase this. And this is why this underpinning is so invaluable and so important. It's very easy to take off with tea paper, like that. I had to erase it, you don't have to, but I wanted you to see the eggs in the middle. It's a broken egg. It's very interesting technique. We have the yolk, like that. And we have two shells, like this.
Now, in this one, the shading, of course, helps. And the other shell, because it was broken unevenly, we have little bits of things like that. Pieces showing, ragged pieces of shell showing, like that. Now, when we shade that, it will make much more sense, right now. It doesn't make much sense. Fine. Let's put the eggs in the bowl. Now, please don't line your eggs up, like little soldiers. This is a problem that we all have. I do it myself. So let's start with the eggs on the bottom. We have one like that. And one like this, as you know, eggs are not perfectly round. They have one end that's a little larger, like that. One going that way, one going this way. Remember, they're in the bowl. So we must have some eggs that we only see a part of them. Let's put this one on top, because that's underneath, right?
Like that. Now, we have another one over here, like this. And then we see the back of one, like that. I think it, oh, well, there's another one. No deer. Well, there are a dozen of eggs. Now, we have two on the base or on the table, like this, which brings down the color and completes the composition. And we have another one like this in front. I have a feeling we could have done without those, but we're going to do it anyway, if we have to suffer. You do suffer for your art. No matter how much I tell you how I simplify it, you will suffer, but it's marvelous. I always say that painting a picture is like having a baby. Once the paint is going, you're ready to do another. There we are. Now, we've got the drawing in. We're going to shade it. The light is coming from the left, so we will shade the right side of the painting.
Carefully, not too dripping. Pick up your brush, very lightly, and drip it onto your paper like this. I don't want you losing your form, because if you have to keep drawing and drawing, get a little discouraged, especially when your anxious to get started painting. Like this. I love the paintings or the drawings, and seep you. I think they're very interesting this way, and we have developed them in classes. One day we will do one. Just in seep you. It will be fun as an experiment. It's also a good training. Shade the inside of the shell. Remember, the light is coming from the right. This shell is shading inside like this, and the same thing here. It's round, and it's deep. When we paint that, you can see much better. Shade the yoke. The coffee pot.
A little crooked, I think. Oh, well, it keeps saying these roll Italian. You must think the Italians have all crooked pots and pottery. But they say that's part of the charm, I don't know. Like that. And inside the handle, that way. I think that's all. Fine. Now, we are finished drawing. We know where the light's coming from. Let's start to paint. As always, we start with the background, and we start with the dark tone, and in this case, we start on the right side. This is a very interesting study of color, warm and cool tones. And one of my favorite color combinations, this lovely blue, which was also a favorite of Angoff. He used a lot of blue with his marvellous yellow. So, outline your objects. Try not to lose your bowl.
Especially if you're a beginning painter because it gets to be a little worrying. And what I want to do is to give you as little to worry about as possible while you're creating. It's a wonderful thing to say that you're creating. As I said before, it gives you a lot of out. There we are. All the way over like this. Use flat strokes. Don't be afraid to put the paint on. I would use the dark tone across the bottom like this, in this case. Now, we go to the middle tone, which goes in the middle.
What else? These are things you will remember. Because we do the same thing over and over again. And you will remember it. When you become experienced, you can make your own changes. But you will know what you're doing and you will have something to start from. But for now, do as I tell you. There we are. I do think that coffee pot is peculiar. Across the bottom like this. Now, let's go to our light tone. This is called tones of yellow ochre.
Yellow ochre is not an unusual or sophisticated color. It's a very ordinary color, actually. And it's pretty standard in all brands of paint. And it's a very familiar color. And it's been mixed with white and a little orange for the light tone. Incidentally, when we lighten the color, almost without exception. We lighten it with light, with white, and Naples yellow. We never use white in a color without yellow because it creates a very pasty, weak color. Chalky color. And we want a vibrant color. And yellow keeps it vibrant and full of life. Oops. Let's get that in there. Clean it up, fine. Now, we don't want it like that. So let's take some light tone like this.
And some dark tone over here like this. In between. Don't be afraid to even grow your object a little bit because you won't lose it. I would like to add a little burnt orange, which will be one of the colors in the painting. And a bit of blue again. This is the beauty of that pre-mixing your colors. You can do this while your background is wet. And I recommend it. It keeps your painting harmonious and relating all the objects with the background. Let's put our face in or our shadows on our objects. We'll do that right now. A little purple up there like this.
Go under the eggs like that. Under the bowl. Now, admittedly, I've been painting a while so my strokes are much easier. They flow better only from practice. But when you've been painting a little while, you have the same facility. But don't be discouraged if you're not flipping around like I am. I mean, while I'm painting anyway. Just leave that for the moment. Now, let's go to our coffee pot. Start with the dark tone at the top. Like this. Go down this way. And then over. Like this. And on top of the spout with the dark tone,
that area is not getting any light. And all will be down to the base. Now, of course, the rest of the pot is behind the blue bow. So naturally, you don't stop there. I think my coffee pot is going to be a little fatter than I plan. But worry not. It looks like the kind of coffee pots that the old miners used to use or had them in the Westerns, you know? Fine. Middle tone. In the top, like that. On this lip. And down. Let's go to the handle. Which is the middle tone. And then light tone.
Like this. I can straighten that out in just a moment for you so that it looks for real there. This is the light tone. I'm going to outline that in purple so you can see that. Now, you will be able to develop this a little more. Middle tone and light tone right here. And right here, catching the light. Let's put the dark tone under here. We have a little hat. Like that. Now, let's outline that in a little purple. I'm going to pick up some blue on the way in to emphasize the shape. And a little dark paste right here in the spout, like that. Now, let's leave that for just a moment.
Let's go to the bow. We start with the dark tone on the right. Watch the lip. It's terribly important to retain that. You see what I mean about the blues with these tones? How effective it is. And interesting. We start with the medium tone. We've got the dark tone. Down on the side. Like this. And over. Flip it off if you've made a mistake, which I've just done. And underneath here like this. This is the dark tone. We're still with the dark tone. Now, these are tones of blue. But we never mix blue without a little orange to keep it a little bit grayed down. Let's go to the middle tone in the bow like this. I'm going to clean it up in just a moment.
But for now, get all the color on. All the tones like this. Lovely flowing strokes like this. I'm going to outline in the little purple. And especially around the eggs like that. On the right side. And the bottom. Like that. I want to emphasize this one right here. Okay, let's need that for the moment. I want to come back to that pot.
I'd like to work on the eggs because eggs are something that you haven't done before. And we've done vessels and what have you. So I'm not too concerned. Oh, I am a little worried about the side here. I must do this. There. Let's do that. Fine. Now, let's go to the eggs. We start with the dark tone on the right side. Just a second. See, it's typical artist. We start on the right side like this. Put your dark tone around the egg in the shape of the egg like that. That's the first thing you do. Put your shadows in always. Always work from dark to light. Also, it retains the shape. Now, we're going to use the middle tone on the other side.
Before we do that, let's go to the light tone. Like this. The light is coming from the left, like that. I remember that one of my students didn't want to paint the egg. She told me she was allergic to them. So you're not going to eat them. You're just going to paint them. But she wouldn't paint them. So as an artist, you have that prerogative. You can say, I refuse to paint them on the grounds that it makes me plain sick. There we are. So she ended up painting oranges, which she liked very much. Let's bring them over. Now, these may look like eggs too, because I've told you so. But they do. This is a general shape of them.
And there are brown eggs. And I don't want to hear about them right now, though. Now, we're going to outline those eggs in little purple. What do we do without purple? I don't know. When we darken a color, we always add purple. It's much better darkening age. When I was learning, no one told me so I added umber, which is brown. And of course, I ended up with a dirty brown color. But with purple, it darkens your color without destroying it. And it adds another interesting dimension to your painting. Always use purple as a darkening agent. Remember, I synthesize the line around the eggs a little more. Like that. Fine. Let's leave those for the moment. Oops.
To the eggs on the right. Like this. Try to. Now, in this corner, there's a little problem here. It's very dangerous. And that your egg can be standing up on end. Forget it. Be very careful. Have them lying down. I'm sure there's some trick eggs that can do this. But nobody will believe you. They better do it right. Now, let's outline those in little purple. Like that. We go to the plate. I want to come back to that part a little weak. Now, the plate is an off color. It's actually off white. This is the most difficult part.
But we can do it. And it's much easier for you because you'll be able to stand right in front of your canvas. Fill the hoe plate like this. First, with the white tone. In this case, the dark tone of white. Like that. Oops. I went down the other way. Excuse me. There we are. Let's put a little purple into that. And we're going to put our highlight on the edge of our plate. Now, like this. We're going to do the egg yolk, yellow ochre on one side. Like this.
And then a little medium tone. Like that's a very good egg, very fresh egg. And then the naples yellow on the other side. Like that. During the egg shells, let's leave that for just a moment, and during the egg shells, the light is coming from the left, and this creates a shadow inside. So we're going to do this. That's why it's important to have purple underneath. Like that. And then shade it a little bit to the light on. In about a moment, you will see exactly what I'm trying to do. It's very strange, and I don't blame you for saying, goodness. You can see why I have a feeling that we should have had scrambled eggs, and let the shells put the shells in the sink. There.
Now, let's take a light tone or the white tone, and we're going to put the feeling of a shell like this. Let's go around the edge like that. Like that. And in this shell, we're getting it on the inside. It doesn't have any fragments, but the light is on the dark, actually, on the inside, because the light does not get in there, and it's like that. Round this off a little bit, and then shade this a little bit, because there is a little light here, like that. I want to put the highlights on the... I think you get the idea.
I want to give you the highlights on the objects, on the egg. There's a little spot of liquid in there, and here, too. Well, let's put the highlights on our bow with a little Naples yellow. Please don't use pure white in anything. And the egg color, believe it or not, has a lot of Naples yellow into it. I'll just pick that up a little blue, right here. And coffee pot has highlight. Like that. And I really would like to touch up our spout. Well, it's a little weak. Oops. There we are. And right here, like that. Put a bit of orange right here like this.
Well, that's it for today, and now for our signature. Good bye for now. This program was made possible by a grant from Commercial Union Assurance Companies. Thank you.
- Episode Number
- Breakfast anyone
- Producing Organization
- Connecticut Public Television
- Contributing Organization
- Library of Congress (Washington, District of Columbia)
- AAPB ID
Host: Kominsky, Nancy
Producing Organization: Connecticut Public Television
- AAPB Contributor Holdings
Library of Congress
Identifier: cpb-aacip-573132157ad (Filename)
Format: 2 inch videotape
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- Chicago: “Paint Along With Nancy Kominsky; 113; Breakfast anyone,” 1976, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed March 3, 2024, http://americanarchive.org/catalog/cpb-aacip-a8c138c225b.
- MLA: “Paint Along With Nancy Kominsky; 113; Breakfast anyone.” 1976. Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. March 3, 2024. <http://americanarchive.org/catalog/cpb-aacip-a8c138c225b>.
- APA: Paint Along With Nancy Kominsky; 113; Breakfast anyone. Boston, MA: Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-a8c138c225b