These are some examples of the sketches from around my home. Its interesting spending time really experiencing somewhere that I see every day. I have started to see my home very differently throughout this process. I have taken one of my pencil sketches further for the next exercise.
A3, Acrylic, from direct observation.
I am really happy with how successfully I feel that I have created the illusion of space through both my sketches and painting. I spent some time sketching interiors (examples can be found in exercise 1). I felt that the view from my daughters bedroom was a suitable was of expressing space and depth.
Drawing directly in paint, I used a neutral colour and then added my colours. I kept the palette very limited and wanted to emotionally express warmth, especially in my daughters bedroom and through the bathroom in the distance. I found that changing the tones was a key way of adding to the illusion of space.
This was a really helpful and educating experience, one that I have most definitely learnt a lot from. I do feel however that I could of muted the colours even further to explore the palettes of the Dutch painters that I have been researching. I am happy with how much I explored the options of such few colours though.
Canvas Board, A4, Acrylic and from direct observation.
I especially enjoyed both the process and the result of this painting. I used a canvas board to bring stability and durability to the ground that I was going to work on. I was inspired to paint the board black similar to a monochrome effect. I especially wanted the subject to come from the darkness. I really enjoyed layering the paint with varying tones and love the depth in this way of painting.
For this piece of work, I used yellow, purple and their many available hues through mixing them with white and each other. I used a tertiary colour to express the cloth beneath the subject. This whole experience has allowed me to create a piece of work using simply the full tonal range available through the paint. Alongside of each other, they worked incredibly well, they bounced off each others vibrancy and created a fascinating result.
This is definitely a set of techniques that I intend to take further.
A3, Acrylic and from direct observation.
For this piece of work, I used quite a meaningful collection of objects, and expressed them through a warm collection of colours (described through my scanned pages of my sketchbook). I began by positioning the photo frame, flowers in a fresh vase, my tea pot and cup. This collection of objects emotionally describes the essence of a still life, in my opinion. This contrast between a photograph of my deceased father, the frozen life of flowers, accompanied by the man made tea pot and cup (symbolic of something that meant a lot to my Dad), collectively depicts the still life. I was challenged and happy to express this through warm emotions (warm colours).
I experimented with positioning, scale and proximity, until I was pleased and ready to paint.
This piece from sketchbook to final painting, again presented very different results which I am happy about. I really enjoyed embracing the emotion of the subject through colour.
a) I chose green (colour A) as the central colour for this part of the exercise. I then went on to mix a series of several colours that are close in the spectrum to colour A.
It is very true that if colours are next to each other in the spectrum (not complementary), that they really do cancel each other out.
b) I now tried this with a colours complementary. The brightest (orange) inside, with blue (ultramarine and white) outside.
This confirms how complementary colours enhance each others vibrancy.
c) Moving on, I mixed a neutral grey, surrounding it with my chosen complementary colours, as well as one with white. Their affects on the neutral grey are interesting too: Surrounded by white, it becomes brighter. Inside blue, it appears darker and finally within orange it becomes brighter.
Briefly, I just wanted to reflect on and mention how undertaking these practical experiments provoked by the course material, have been really interesting and insightful in to how the human eye works in terms of colour.
A4, Acrylic and from observation.
I experimented greatly with my two peppers. I knew from once I had started sketching them and creating a colour investigation with the richness of oil pastels, that I wanted to use my handmade viewfinder to zoom in for a closer analysis when it was to come to my final piece. I felt that through a closer look, I was able to express the pepper. Even though the main body of the pepper was a solid colour, it really wasn’t one simple hue. There was so much going on in terms of lights reflection, lines, changes in tone, etc.
I’m quite pleased with the finished result of this painting. In comparison to my earlier still life’s, I am pleased with how my perspective, as well as my skill base is progressing and in deed growing. I am really happy with how much risk taking can teach me and expand my capabilities.
I have definitely learnt the importance of experimenting with a closer look, in order to achieve a better expression of what I want to achieve and indeed bringing out more of the subjects character.
Portrait, Acrylic on paper, directly from observation and A3
Drawing flowers and painting flowers are very different experiences for me. It has been through this painting, I have allowed myself a greater freedom with my painting, in comparison to my drawing. I enjoyed expressing what I was seeing, as well as celebrating the colours.
I spent some time piecing together the flowers to create lines, hues and contrasts that I felt to be aesthetically pleasing.
I love including flowers in a still life after discovering and becoming very fascinated by vanitas paintings. I appreciate the privilege of capturing the essence of a life within time. I would like to spend some time expressing the same flowers once they have dies. Maybe for my assignment? Similar to artists such as Damian Hurst or other artists who display decaying animals.
My basic composition studies allowed me to experiment with how I was going to create depth, as the piece of cloth, under my subject, took away the linear perspective. With a little experimentation, I added the change of tone from the table, I created a greater depth. I used a tertiary colour for the cloth, as well as my purple wall as a background, in order to enhance the yellow Hues of the main flowers. Using my ever growing knowledge of colour, I brareought out the vibrancy of the yellow with it’s complementary colour. The richness of the yellow was really confronted.
I have to say that I enjoyed investigating the vase with many different tones and really experimenting with different greens, etc and the way that I could bring depth and character.
Through doing this exercise with a limited pallet when it came to the subject, in terms of my choice of colours, I was able to show myself how vital changes in tonal values express light sources.
I blocked out the areas of colour before adding lines and tonal ranges, some areas when the paint beneath was dry, where others wet. For the white flowers with flecks of green outlining it’s petals I used dabs of the larger, thinner brush ends.
I decided not to work on top of the background colour to release the freedom in the paints flow.