Figure sketch - charcoal with gouache and pastel

Triangular composition from Life Study



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Using flat colour

Had a lovely afternoon - probably because I was simply painting in flat colour for a prescribed exercise!
What is interesting though is just how much I enjoyed this colour work. I found it to be kinaesthetically appealing. In addition there isn't the tension of painting to get to the 'arrival' point when the painting emerges.
Painting flat colour shape is equally dynamic but a tad more pleasurable.

I must pursue this further.


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Exploring a composition with a purpose

Have viewed the 'exercises' that I do for the OCA coursework not as real paintings, until now. I am beginning to look at my response to the ask with greater insight. Now, there has to be a link to the ongoing personal work that I am developing.
This prompts an emotional attachment and greater passion as I tackle a painting.

That s a great learning leap! The evidence for this is in the two paintings almost completed for the Composition project.

Digital drawing of life figure: initial colour study

Not subtle but good practise.


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Composition project- strong directional force. The start

Peckforton Gap, The Sandstone Trail - Cheshire


2-3 hours painting, no pre sketch but experience of this structure. Exploring using under painting colours for the first time in oils. I tend to layer in gouache and mixed media, to an extent. So far the start is OK but no doubt I shall have some testing times ahead as I move on with the work! I would like to work it through with gouache but will see how things go.


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Composition - the start of the process:

The original sketch has the background in the wrong place because of my life / easel position. This photos shows the emerging painting without the background structure for the overall composition that I plan.

I wanted to capture the emerging paint strokes, shapes and tones before I go any further.

Objective : to pursue a strong balanced composition with a slightly triangular shape to strengthen the base and add weight. Shall use the sketch from a different life study drawing to effect this hopefully.




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Composition in Practice Project 3

Chosen a composition with a strong directional force and a composition with one very large foreground object which runs off at least two sides of the painting As I am quite used to sketching landscapes with a simple directional strength, this is the one that I have painted without pre studies. perhaps I feel more comfortable doing it this way!! Updates on this with the uploaded stages of the work as it develops. I have started the 'foreground' painting at the same time and chosen a figure from my A1 life studies with compositional drafts in my sketch books. This I am finding is clearer, uncomplicated and strong as a painting structure. I have to search my sketch books though to construct the interest around the figure and draw out a strong composition. However, the colour and proportions are testing me and I have had to stand back and do colour studies after looking at other paintings of single figures or one foreground object. This prompted me to undertake a digital sketch - see post of 'The Red Dress' by John Wragg in previous post. I know that this composition does not fully match with the requirement of the task but it helps me to examine, construct and describe the 'foreground object' I need now to paint with the passion that drives me in constructing a painting rather than simply seeing it as a task for the project. It needs to mean something to me now as do the brushstrokes, the colours and the 'landscape' inhabited by my figure. With this in mind,it's getting exciting.

Digital study of The Red Dress by John Wragg

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