Certification Happenings

Created for those pursuing Certification and for all members of SDP by your 2007-08 Certification Committee

• In Pursuit of the ‘Quest for Excellence’

As fall approaches, it is time to begin thinking about the next step you want to take for personal and artistic growth. So here’s a little nudge to help you get the process started!

1. Have you purchased your portfolio?
2. If the answer to #1 is yes: Do you know where your portfolio is?
3. Now the biggie: Have you opened it?
4. It is never too early to start thinking of your approach and color scheme.
5. Order the surface(s) if you need to. Contact Cristy Keeton at cristy@decorativepainters.org or go online to www.decorativepainters.org to order.

• Suggestions for getting started

1. Establish a timeline for when you will start your painting and when you expect to finish. Clear your calendar in order to concentrate on the painting.
2. If appropriate, assemble the items in the design and set them up. Try several different light sources to get the most pleasing effect. If using a digital camera, setting it to black and white will allow you to see value changes and you will not be distracted by colors.
3. Reduce the design and do a grayscale rendition in pencil, so you have a 3-D value reference. This will help keep the light source consistent as well as show value changes when working with your color scheme.
4. Having trouble with the color scheme? Refer to magazines or wallpaper books or browse through a fabric store to get your creative juices flowing.
5. Paint a ½ size copy of the design, limiting yourself to one hour, just to get an idea of a light source, color flow, shadows (where appropriate), etc. This short investment of time will save you hours later on.
6. Important: When you first receive your portfolio, read every piece of literature and mark your calendar for when your entry must be mailed. 

• Frequently Asked Questions

1. What, if anything, can I change?
1. You are allowed to make slight adjustments, if necessary. This means you may correct an ellipse in a container or refine perspective to make items in a still life lay correctly, for example. The design must be painted as presented. No shifting objects, etc.!
2. You may choose what you want to represent within the confines of a shape. For example, if it looks like a peach, it could also be a plum. A cluster of berries could be blackberries or raspberries.
3. You may add embellishments, (but may not cover up anything drawn), like water drops, a design on the container, a backdrop or table covering, but remember that these will be judged. Make sure you really know what you are doing!  Refer to the Portfolio for clarification of how much of the surface can be covered.
2. Do I have to paint everything drawn in the design?
1. Yes! No matter how you feel about the design, if you leave anything off there will be a 5-point deduction.
2. It is a good idea to have an acetate copy of the design made. Use this to lay over the completed painting to make sure that you have not left anything off before you send it.

• Resources

Take advantage of the helpful tools for Certification available from SDP. This year a new booklet of Certification articles was published. You will find articles that will help you as well as answers to your questions. The third CD of passing CDA and MDA entries (for 2005-06) was also made available. In addition to viewing these painted pieces, you can read and learn from the commentary that accompanies them. Do you have questions or concerns that you would like to have addressed? Please let us know! See the end of this e-zine for contact information.

• Learn from Your Fellow Artists

Painting by Elizabeth G. Miller, CDA of Raleigh, NC. Photo by Steve Gerig.

• Still Life by Elizabeth G. Miller CDA

The choice of color, value and intensity of the background supports the design and allows the design to remain the focal point. The texture and light value of the table is subtle enough to bring interest but it does not overpower the design. Notice that the higher intense colors are in the center of interest. As the elements move back away from the center of interest, they get closer in value, intensities and temperature to the background. It is very important to include every line of the design including the flips on the leaves or this could result in a point deduction.

• Stroke work by Hilary D. White CDA

A center of interest has been well established although it is not required in the stroke category. The strokes flow with the line of the design and are well shaped with round heads and tapered tails. Good control of values and intensities with the strongest in the center of interest. The liner is lower in intensity and supports the design. It is not required to stroke the large elements, such as the vase, but it will be judged for blending skills. Hilary has added details to create interest, balance and color flow. It is important that the strokes are pulled in one continuous motion of the brush. 

Are you considering Certification? Or maybe you have questions concerning your entry. Contact Certification Chair Jan Pierson MDA at bpiersonj@sbcglobal.net. She will be happy to help. Happy Painting!