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.