Multi- Viewpoints
Scanning vertically, left to right
Painting from two or more viewpoints
Thursday, 25 August 2011
Project 2 and 3 Looking from one space into another
Considering light
I revisited several paintings of Sickert, The Camden Town painters and onto those interiors of Scottish colourists; drinking in the beautiful spaces created by Rose Hilton in her many paintings of interiors. In all of these there is a use of tone either muted or simply bright and expansive.
I cannot manipulate paint well yet. I can see the blends of tones that sing out - space, light and energy. Sickert produce some wildly creative brisk strokes of bright colour overlaid on muted body colour eg: 'La Hollandaise '. Tate Britain
Painting 1 of the interior built from the sketches that forced me to 'see ' the light and shadow, went better than expected. Colour selection worked well in that I was able to select useful tonal mixes to represent light and shape as well as the perspective.
A) Use of ochre at one point made a huge difference helping to foreground shape and create space, added depth by pushing back an area using paynes grey
B) the painting was better than the sketch because of the sketches done.
Looking Out.
Selection of the cold blue for the distance proved not to be such as good choice as I tried to link the interior foreground door with a more intense set of hues. painting is cold despite trying to counter this with warm contrasts. Not very successful. Also it felt like I was painting with numbers because In trying to ficus in on colour shape, I drew in a grey outline and as a result, the paint did not have a life of it's own
Representing the forms, re looking out, was more successful because of perspective rather than use of colour.
If I repeated the exercise I would make bigger fewer shapes in lighter tones and study the difference between paint intensity, space needed and do a colour study beforehand
I revisited several paintings of Sickert, The Camden Town painters and onto those interiors of Scottish colourists; drinking in the beautiful spaces created by Rose Hilton in her many paintings of interiors. In all of these there is a use of tone either muted or simply bright and expansive.
I cannot manipulate paint well yet. I can see the blends of tones that sing out - space, light and energy. Sickert produce some wildly creative brisk strokes of bright colour overlaid on muted body colour eg: 'La Hollandaise '. Tate Britain
Painting 1 of the interior built from the sketches that forced me to 'see ' the light and shadow, went better than expected. Colour selection worked well in that I was able to select useful tonal mixes to represent light and shape as well as the perspective.
A) Use of ochre at one point made a huge difference helping to foreground shape and create space, added depth by pushing back an area using paynes grey
B) the painting was better than the sketch because of the sketches done.
Looking Out.
Selection of the cold blue for the distance proved not to be such as good choice as I tried to link the interior foreground door with a more intense set of hues. painting is cold despite trying to counter this with warm contrasts. Not very successful. Also it felt like I was painting with numbers because In trying to ficus in on colour shape, I drew in a grey outline and as a result, the paint did not have a life of it's own
Representing the forms, re looking out, was more successful because of perspective rather than use of colour.
If I repeated the exercise I would make bigger fewer shapes in lighter tones and study the difference between paint intensity, space needed and do a colour study beforehand
Project 1: Some Different Views
Drawing Your Home
Looked at drawings and paintings from range of books I had ( inhibited by local library at Chester where art books are to be ordered rather than browsed as few in stock!)
Spent time studying The paintings of Sickert as I was entranced by those in Tate Britain and the many painted of Interiors.
As a result I could view parts of the house that could form a good perspective and possible range of tonal qualities.
Focused on SPACE and tried to use a good range of charcoal tone to depict what I saw, especially nearness/ distance in this period house.
Enjoyed the expression of 'looking though' in charcoal as the light from doorways and windows was interesting, creating illusion in itself.
Looked at drawings and paintings from range of books I had ( inhibited by local library at Chester where art books are to be ordered rather than browsed as few in stock!)
Spent time studying The paintings of Sickert as I was entranced by those in Tate Britain and the many painted of Interiors.
As a result I could view parts of the house that could form a good perspective and possible range of tonal qualities.
Focused on SPACE and tried to use a good range of charcoal tone to depict what I saw, especially nearness/ distance in this period house.
Enjoyed the expression of 'looking though' in charcoal as the light from doorways and windows was interesting, creating illusion in itself.
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