In This Issue:
- 2016 Certification Results
- Back of Your Board
- What is the Difference between Intensity and Temperature?
- Why I entered the SDP Certification Program
- Certification Videos
- 2016 Certification Results
2016 Certification Results
By Sue Pruett MDA – Certification Chair
Congratulations to all our members who passed their Certification test in San Diego. This was the first year for applicants to submit to become an Accredited Decorative Painter. Thank you all who helped to make this inaugural year a successful and exciting one for our program.
It is an honor to give you a report of the Certification results this year. We had 100 entries from 10 countries; 36 of the 100 were from United States, and 64 from Japan, Taiwan, China, South Korea, Italy, Canada, Australia, and United Arab Emirates. There were 13 in the ADP Still Life; four in the ADP Stroke; 32 in the CDA Still Life; eight in the CDA Stroke; 11 in the MDA Stroke; 17 in the MDA Floral; and 15 in the MDA Still Life.
Passing in the ADP Still Life:
- Jeanne Heinrichs ADP – Bend, Oregon
- Pat Hull ADP – Fairfield, Ohio
- Bonnie Jones ADP – Chesterfield, Virginia
- Jeannine Lewis ADP – Hummelstown, Pennsylvania
- Kathy Miller ADP – Southern Pines, North Carolina
- Sharon Sands ADP – Pinellas Park, Florida
- Diana Tyner ADP – McKinney, Texas
- Wendy Watson ADP – Blanco, Texas
Passing in the ADP Stroke:
- Shirley Shouse ADP – Omaha, Nebraska
- Cookie Trent ADP – Roswell, Georgia
- Debra Pool ADP – Cedar City, Utah
Passing in the CDA Still Life:
- Tsai Wen Fang CDA – Taichung, Taiwan
- Noriko Fujiwara CDA – Hyogo, Japan
- Noriko Hayashi CDA – Tokyo, Japan
- Michiko Iwahashi CDA – Osaka, Japan
- Ayako Sakemi CDA – Osaka, Japan
Passing in the CDA Stroke:
- Moonok Ahn CDA – Seoul, Korea
- Hong Cao CDA – Beijing, China
Passing in the MDA Stroke:
- Kathy Swigon CDA – Tampa, Florida
- Yung Sin Wang, Hsinchu, Taiwan
Passing in the MDA Floral:
- Takako Emoto CDA, Tokyo, Japan
- Junko Hayashida CDA, Gifu, Japan
- Chieko Suzuki MDA – Tochigi, Japan (Still Life)
- Mayumi Yuasa MDA, Kanagawa, Japan (Floral)
Congratulations to all who passed their ADP, CDA, or MDA levels! You have worked hard to achieve this goal. Please know all entries are judged as a number with no name attached. None of the judges know whose entry they are judging. The process is extremely fair and unbiased. If you submitted a board, but did not pass this time around, please study your critique and read it with an open mind. The critiques are written to help you understand your strengths and weaknesses. The judges are answering questions on the critique form, and encouraging you to study where needed. Finishing and submitting your final painting is a huge accomplishment and one to be proud of.
For those applicants that were not able to attend the conference this year, we have added Skype conference calls with one of the judges. Check out SDP’s website in the member only section for information how to set up a conference call.
The Certification booth is always a happening place on the trade floor. Each year we host a silent auction and the monies brought in from this event help to support SDP and Certification activities. This year our auction raised $2,355. Our membership is very generous with their time and talent. Thank you to these talented artists who donated a painting to help with the success of our silent auction:
- Mami Ando MDA
- Kay Baranowski MDA
- Marilyn Corners MDA
- Dianne Crowther MDA
- Marian Jackson MDA
- Izumi Kawamoto MDA
- Eriko Kineko MDA
- Ann Kingslan MDA
- Paula Leopold CDA
- Junko Nasui MDA
- Sherry Nelson MDA, TDA
- Gayle Oram MDA, VGM
- Ginko Otaka MDA
- Shara Reiner CDA
- Cheri Rol MDA
- Linda Sharp CDA
- Naomi Shimanuki MDA
- Miyoko Shingai MDA
- Sandi Strecker
- Kathy Swigon CDA
- Wendy Watson ADP
- Yuko Yamasaki MDA
The Certification Committee is gearing up for a new year of brainstorming ideas to help you succeed. We welcome your feedback. Please join us on our Facebook group: SDP/ADP/CDA/MDA Quest for Excellence
I look forward to another year of chairing the Certification Program. I’m just an e-mail away if you have questions or suggestions: email@example.com
Sue Pruett MDA – Certification Chair
Back of Your Board
By Marian Jackson MDA
Some of you may have received ‘The back of your board needs attention,’ or ‘Surface needs additional/less finish,’ on the Finish portion of your critique. What does that mean?
Boards are being judged on technical skills and how you finish the wood panel and frame in the kit provided.
Let’s look at the critique:
- Skillful application of finish
- Good overall finish
- Weak application of finish
- Finish is streaked
- Surface needs additional/less finish
- Runs/blisters/impurities in finish
- Back of board/frame need attention
The items on the left are self-explanatory, so we will clarify the ones on the right.
Finish is streaked.
This happens when you don’t apply enough finish with a good brush, or have just applied one scant coat.
Solution: Practice, of course, but use a good, wide brush that you save just for varnishing and know that it works well.
Surface needs additional/less finish. Back of board/frame needs attention.
Sometimes it is difficult to judge a piece when many layers of varnish are used to produce a high gloss finish.
Not enough preparation to show you did anything to the board, or you didn’t sand, seal, and sand again to reduce raised grain.
No matter what you did on the front of the panel – perhaps you used paper for watercolor or colored pencils – the back of the panel needs to be properly finished, whether you paint it or stain it. Think of it as the front of your board and spend some time on it.
Run your hand over the final coat. Is it smooth? Can you feel raised grain or many impurities? If so, sand them out and refinish.
If you are painting the back, make sure your paint is of the proper consistency and applied smoothly and evenly.
You may paint your application number on, or apply with a sharpie marker. We do not judge you on duct tape to hold your panel in the frame. Boards are stacked at times and the tape is to prevent nails from damaging another board. I hope this helps you.
What is the Difference between Intensity and Temperature?
by Sue Pruett MDA
This question has come up on our ‘SDP/ADP/CDA/MDA Quest for Excellence’ Facebook group page. What is the difference between intensity and temperature? Both of these are properties of color along with value. Even though these concepts all fall under the ‘color’ umbrella, they are each very different. It’s hard to write about one of these concepts when they all work together to create a painting.
also referred to as Chroma, describes how weak (dull) or strong (bright) a color is. Low intensity is weak and high intensity is strong. Bright colors will draw the viewer’s eye to a particular area or object.
Intensity refers to the brightness or dullness of a color. Bright, dull, greyed, toned, and Chroma are all terms that describe intensity. An artist will use intense colors to draw the viewer’s eye to an area of a painting. The focal area of a painting will typically have the brightest colors within. As the colors move away from the focal area the colors will become duller and more similar to the background intensity. This concept also works with setting up planes in a painting; the forward planes will have more intensity than the background plane.
There are several options to control/change the intensity of a color. With the addition of any of these colors the original color will be altered in intensity and most likely value also. These options are black, white, gray, earth, complement, and background color.
is an attribute of color, which describes how warm or cool a color is. Basically warm colors contain yellow or red, whereas cool colors contain blue. All colors have a warm or cool bias including neutrals and earth tones. Warm earth tones are usually preceded by the word ‘burnt’, and cool earth tones are preceded by the word ‘raw’. This is true although something important to remember about color is that color and temperature are relative to what color temperature it is next to. For instance, red is a warm color, but when placed next to orange the orange is warmer. In theory, this applies, but what is important to grasp is judging a color’s temperature is relative to another color’s temperature.
Cool colors recede on cool backgrounds and warm colors advance, whereas warm colors recede on warm backgrounds and cool colors advance. This is important to remember when planning the dimensional planes on a painting.
Temperature is a way to inject life, energy and most important depth into our paintings. The easiest way to visualize color temperature is to think about fire and ice.
is a measurement of how light and dark a color is. The standard value scale is composed of ten values with a 10% increment change between each one. White is lightest (#10) black is darkest (#1). Value is used to create form and dimension within objects. The more values an object has the more dimensional it will appear. The value of the background will determine which values will come forward and which values will recede. Dark values recede on dark backgrounds and light values come forward. The opposite illusion occurs on the light backgrounds.
and to shade
are descriptions of value.
Why I Entered the SDP Certification Program
Pat Hull ADP
I was recently asked to share my motivation for entering the SDP Certification Program this year. I had always heard that the SDP Certification Program is a great way to “fast track” an immersive and effective art education, but participation in this program was never on my radar. I did not consider myself to be at the level of competence to even think about certification! It was a part of SDP that I totally dismissed.
Over the years, I have been fortunate to take classes from teachers who taught not just projects and painting techniques, but the theories behind the art as well. As I progressed to the point where I wanted to create my own designs and artwork, I realized that I wanted and needed to know what those teachers know. I wanted to have some of their tools in my art box. And, so in addition to classroom instruction, I started acquiring books, DVD’s and online videos that teach color theory, composition, perspective, and etc.
And, then a game changer happened! One of my teachers informed me that there was a new, third level of certification named Accredited Decorative Painter or ADP, a beginner level of sorts. This, along with the news that colored pencil had been accepted as a medium, changed my thinking, and I added the Certification Program to my bucket list. My hopes and expectations were that in completing the ADP submission and receiving a critique, I would just come away with some clarity about my strengths and weaknesses.
Keeping in mind the SDP standardized criteria the judges use in their critique, I spent additional time planning the artwork and took more than my usual time and care completing it. What I heard really is true, that the independent part of this process is, by itself, highly instructive. It seemed to help me tie together information learned in my classes and gleaned from tutorials. I am now awaiting receipt of the judge’s critique.
The very unexpected and extremely happy news for me is that I passed! I was unable to attend the SDP Conference this year, but thanks to SDP posting a video of the Certification results, I was able to experience the thrill and excitement of seeing what happened and hearing my name called! Sharing it with my husband and family made the whole experience come alive for me. Had I not passed ADP, I know that I would try again next year. Having passed, the next level of Certification, CDA, now feels like an attainable goal, even if I don’t nail it the first time. I believe in this program and feel confident that it will continue to push me to refine my art skills. Frankly, now I’m hooked!
And, here’s something else I learned: Don’t listen to those inner voices that tell you something is unattainable.
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