Watched video of a second year Painting student interview with her portraits in paint and charcoal. She is exploring the two and they worked very well. Cannot do the link to the ARTFUND video but it's about the summer shows June this year. Well worth a watch! Summer shows.arts.ac.uk
Good to see the interview: Elizabeth Hepworth painter at Wimbledon campus. Love her work too.
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Saturday 23 June 2012
Hiccup! Please re-reference all Project 4 posts as PROJECT1 page 194
Just discovered this mistake on going across to my studio. Have no wi-Fi
There so I have to run across to upload! And then one gets drawn into house stuff as the man, the dog or the cat see me as a target.
So project 1- figure at a table
Have tried to relate the figure to the surrounds naturally, thought a lot about relating the colours in the painting and especially to keep it simple.
I know that I could use a wider range of tones to deepen the perspective etc also tried to sit the figure in weight terms on the chair.
Have looked at Sickerts interiors with figure again and am always stunned by the preciseness of the tones and strokes yet fresh, bold, irreplaceable marks!
No this painting is not finished and I should take it further but I need to sit back and reflect on tonality and what would move the painting on so that there are few redundant brushstrokes but well chosen ones ( and limited detail)
So what have I leaned here?
Notes and studies especially colour ones are critical for me.
My problem is too much over painting and sometimes re- selection of colour to balance etc. Getting better though as the amount of prep is carefully set out to good effect.
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There so I have to run across to upload! And then one gets drawn into house stuff as the man, the dog or the cat see me as a target.
So project 1- figure at a table
Have tried to relate the figure to the surrounds naturally, thought a lot about relating the colours in the painting and especially to keep it simple.
I know that I could use a wider range of tones to deepen the perspective etc also tried to sit the figure in weight terms on the chair.
Have looked at Sickerts interiors with figure again and am always stunned by the preciseness of the tones and strokes yet fresh, bold, irreplaceable marks!
No this painting is not finished and I should take it further but I need to sit back and reflect on tonality and what would move the painting on so that there are few redundant brushstrokes but well chosen ones ( and limited detail)
So what have I leaned here?
Notes and studies especially colour ones are critical for me.
My problem is too much over painting and sometimes re- selection of colour to balance etc. Getting better though as the amount of prep is carefully set out to good effect.
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Gouache drawing of Beeston Hill landscape
Love love drawing in gouache. Could do this all day!! Such a tactile, pleasing almost comforting activity.
I need to change the foreground run of red-ochre that links into the top third. But I still like it because the colour tone shapes work well. Pic On it's side - cannot resolve this yet. Oh for my old photoshop on aged toshiba !
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I need to change the foreground run of red-ochre that links into the top third. But I still like it because the colour tone shapes work well. Pic On it's side - cannot resolve this yet. Oh for my old photoshop on aged toshiba !
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Project 4 How I would like to take the painting forward
Instead of painting the seated figure at a table, ( which I'm doing ) I want to take the painting / drawing studies further in a more interesting way by scoping in on parts of the work such as these below
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Project 4 additional studies
Scowling sister - to consider for sitter
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Mother - studies in pencil
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Mother - studies in pencil
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What have I learned from project 4?
That it is better to decide WHAT information I need to prep studies for a painting where possible.
That seeing and drawing in exploratory ways using a range of media AND Mark making alongside compositional prep and tonal drawings as approp. will take the painting forward even before I begin
That I need not to be so precious as my drawing is better when fluid and looser.
That I need to learn how to use acrylic as a transparent layer.
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That seeing and drawing in exploratory ways using a range of media AND Mark making alongside compositional prep and tonal drawings as approp. will take the painting forward even before I begin
That I need not to be so precious as my drawing is better when fluid and looser.
That I need to learn how to use acrylic as a transparent layer.
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Project 4 figure drawing /painting
Done lots of life drawings with artist Rachel Clarke in her east London studio and this experience of rapid big drawings, short bursts of kinaesthetic drawing and studies of long poses is big help.
The studies in ink and the earlier tonal work was done before all the recent contemporary drawing process work that I've done.
This study didn't add much to the painting prep at the time and this is because I didn't use draw background into the composition etc.
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The studies in ink and the earlier tonal work was done before all the recent contemporary drawing process work that I've done.
This study didn't add much to the painting prep at the time and this is because I didn't use draw background into the composition etc.
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Project 4
Spent an hour post an evaluation of this painting project this morning, saved it to a local draft so I wouldn't lose it if the wireless signal wavered.
I lost the whole lot.
Here is my second attempt! But I'm posting it in bite size chunks this time!
This is the first drawing in tone with pencil. Rather uncommunicative as a slightly formal dur drawing. OK as an initial prep for painting but interestingly, I did this drawing a couple of months ago and my drawing range, Mark making and exploration has wiener and improved.
I wouldn't do the same drawing as a painting prep now. I would explore line, tone, other media much more fluidly and not be precious. I would also know a lot know about what I need to do a decent painting. In fact I wouldn't do this painting ( except for this course) I would do a section, a pattern, something more meaningful!
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I lost the whole lot.
Here is my second attempt! But I'm posting it in bite size chunks this time!
This is the first drawing in tone with pencil. Rather uncommunicative as a slightly formal dur drawing. OK as an initial prep for painting but interestingly, I did this drawing a couple of months ago and my drawing range, Mark making and exploration has wiener and improved.
I wouldn't do the same drawing as a painting prep now. I would explore line, tone, other media much more fluidly and not be precious. I would also know a lot know about what I need to do a decent painting. In fact I wouldn't do this painting ( except for this course) I would do a section, a pattern, something more meaningful!
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Friday 22 June 2012
So how do I move forward following my self evaluation?
Probably do more experimental drawing as it frees the arms, hand and takes forwards the seeing process. Might do Chelsea college of art summer experimental drawing 3 day course
Not enjoying painting in acrylics though fine when using mixed media.
I cannot get fluidity with acrylics even with the added fluid medium.
Also the projects with figures ares not good for me in paint. If I could paint with Mixed media or just gouache, I would be on cloud nine. Maybe I should just do that!
I like the recommended artists sent by tutor Richard Liley and can see how the paintings work so well. My next steps are to learn how to get the transparent effect to overlay paint so that one can see the paint beneath as in These paintings ( not got names with me) will post later.
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Not enjoying painting in acrylics though fine when using mixed media.
I cannot get fluidity with acrylics even with the added fluid medium.
Also the projects with figures ares not good for me in paint. If I could paint with Mixed media or just gouache, I would be on cloud nine. Maybe I should just do that!
I like the recommended artists sent by tutor Richard Liley and can see how the paintings work so well. My next steps are to learn how to get the transparent effect to overlay paint so that one can see the paint beneath as in These paintings ( not got names with me) will post later.
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Nude drawing 2 mins left hand
First time used non drawing hand and everyone really liked the result. Tutor Paul Pickford said it got the stance delightfully. He used this and some others of mine as examples. Yes, good to capture movement. Pleased
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Project 3 Using photographs. 7 or 8 hrs page 183
This was an especially interesting but frustrating project for me. Never used a photograph other than for a grouped set of figures so it felt quite odd.
It took ages to find a photo of the dimensions to scale up.
No problems scaling up and I just loved doing the prep drawings and colour study work
I chose the landscape of Morocco because this is the place and view that I liked and spent some time so I know the climate, colours, atmosphere etc
No probes with the sketches, a little with the composition because the photo was small already.
Because the task stated that one could use ones imagination freely (page185) and not to copy the photo, I felt that yes I could let the painting develop a life of it's own. But I desperately wanted to keep the first consciousness of the idea as Sutherland noted.
I got tied up with accurate up scaling from the image at first even though I know how to do it. Once resolved I painted a colour study in gouache as I fell confident that freshness is captured in this medium for me.
But I couldn't obtain the same effect or colour with acrylic so had to leave it and return some weeks later with a fresh eye!
I down scaled the image from my original plan and as a result it worked far better. However, I painted beyond the scale as seen on the painting because the dimensions worked better.
Still like the colour study better. It has the essence of the of the place even thought the green is flat. It does represent the morrocan green though not in a painting as well which is why I lifted the tone in the acrylic on board.
Good to do this work and I learned a lot. Do not enjoy work from photos though. I find them only useful as after sketch memos. No soul except in exceptional ones!
The red layer is at the base of the painting. Cannot rotate on iPad !
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It took ages to find a photo of the dimensions to scale up.
No problems scaling up and I just loved doing the prep drawings and colour study work
I chose the landscape of Morocco because this is the place and view that I liked and spent some time so I know the climate, colours, atmosphere etc
No probes with the sketches, a little with the composition because the photo was small already.
Because the task stated that one could use ones imagination freely (page185) and not to copy the photo, I felt that yes I could let the painting develop a life of it's own. But I desperately wanted to keep the first consciousness of the idea as Sutherland noted.
I got tied up with accurate up scaling from the image at first even though I know how to do it. Once resolved I painted a colour study in gouache as I fell confident that freshness is captured in this medium for me.
But I couldn't obtain the same effect or colour with acrylic so had to leave it and return some weeks later with a fresh eye!
I down scaled the image from my original plan and as a result it worked far better. However, I painted beyond the scale as seen on the painting because the dimensions worked better.
Still like the colour study better. It has the essence of the of the place even thought the green is flat. It does represent the morrocan green though not in a painting as well which is why I lifted the tone in the acrylic on board.
Good to do this work and I learned a lot. Do not enjoy work from photos though. I find them only useful as after sketch memos. No soul except in exceptional ones!
The red layer is at the base of the painting. Cannot rotate on iPad !
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Drawing start of figures in a relationship
Still deciding where I want to take this. Mixed media, conte pastel charcoal graphite. But I like the feeling of abstracting to build a meaning
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Drawing start of figures in a relationship
Still deciding where I want to take this. Mixed media, conte pastel charcoal graphite. But I like the feeling of abstracting to build a meaning
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- Posted using BlogPress from my iPad
Recent drawings - evaluation
Some quite visually accurate pencil work in portraits that please the sitters. Not very hard to draw like this though. Harder to paint !
I like to capture a stance quite quickly as it forces me to look and draw what is the essence. This works for me and I m told I am very good at this by tutors.
Rally like taking drawing further and experimenting beyond tonal only. Am exploring lots of different media through drawing but I have a more focused intention now when I draw. Drawing without a painting in mind is visually and cerebrally stimulating
I have an Incomplete but interesting image from a photo which I will upload from Blog app. Great to decide whether to abstract, focus on rhythms,relationships of shapes or merge the figures into the background ddepending on the message I want the viewer to read.
I like the idea of figures placed in their world with an interpretation through colour and form.
Drawings from life - on paper
Pencil 3b from model
-pencils 2,3b portraits of mother
Drawing from life - me in a mood. Pencils
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Drawings from other sketchbooks or on sheets - Life
This is the award pen drawing from life.
Ten min figure sketch in pen from life
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Ten min figure sketch in pen from life
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Drawings from other larger sketchbooks - Life
Life and portraits from classes. Have done lots and lots of drawing from life classes over many years but recent contemporary drawing classes have taken my drawing further because of the spontaneity and flexibility promoted.
.10 min life pen sketch awards best drawing prize at Lancaster University
Life class
Ten min seated drawing from life
15 min life drawing in charcoal
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.10 min life pen sketch awards best drawing prize at Lancaster University
Life class
Ten min seated drawing from life
15 min life drawing in charcoal
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Project 1 painting from working drawings 7 hrs
This work began in Feb following previous tutor report but because the tutor found my log hard to follow, I am simply making further evaluative comments to add to earlier blog
I enjoyed this project work, and especially line drawing and the colour studies which helped me to work out what worked reasonably well.
Briefly, I focused in on an outdoor scene and used a section of my photo.
Looked carefully at Sickerts paintings of which I have a great book. What I find interesting is that some artists part from original drawings and Sickert sticks to drawings
I made a tonal study with focus on shape and the relationships between these and the resulting forms in particular.
Was looking for these elements in particular and the need to concentrate on colour - to interpret it vividly as noted on page 174
Although I enjoyed the process, the first flush of the painting with reverse tonality worked better than the final painting result.
I learned such a lot from this painting prep though. In particular, to sort out the colour and tonal range really well and keep to the dynamic refreshing frost flush of paint!
Knowing how to increase the sizes proportionally is a real help too.
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I enjoyed this project work, and especially line drawing and the colour studies which helped me to work out what worked reasonably well.
Briefly, I focused in on an outdoor scene and used a section of my photo.
Looked carefully at Sickerts paintings of which I have a great book. What I find interesting is that some artists part from original drawings and Sickert sticks to drawings
I made a tonal study with focus on shape and the relationships between these and the resulting forms in particular.
Was looking for these elements in particular and the need to concentrate on colour - to interpret it vividly as noted on page 174
Although I enjoyed the process, the first flush of the painting with reverse tonality worked better than the final painting result.
I learned such a lot from this painting prep though. In particular, to sort out the colour and tonal range really well and keep to the dynamic refreshing frost flush of paint!
Knowing how to increase the sizes proportionally is a real help too.
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Project 2 Developing a shorthand page 177- 7 or 8 hrs
In the past I haven't made colour notes made that have been useful but this time, maybe because I was more focused, they really helped together with the numbered tones.
I think this was because I had a painting in mind. Chose a Sunday morning newspapers and tray on the bed quilt!
Having made too many tonal notes in the past, to no specific end, I kept these simple and focused on the shapes and knew that I couldn't refer back to the scene as the task set out.
No shading used in the drawing and oh my goodness this really helped! Numbering tones made me LOOK and SEE more precisely. Loved doing this process. Did a tad shading for crease around tray but the emphasis on the shapes and forms with the numbered tones worked so well in teaching me the HOW and adding to my repertoire.
So, the pattern and rhythms came to the fore rather than me struggling with the colour proportions as I usually do.
No it's not a great painting but it taught me to select and the correspondence in size from drawing to painting was a solid learning opportunity for me. I used paper as I felt it was an exercise and didn't want to be precious.
I kept the paint statement simple and it worked much better than usually.
Can translate colour shape into paint better now and I have learned how to prep drawings for painting in profitable ways.
I know that the paintwork is harsh and incomplete but it tells a good story of the learning process for me so I need to keep the end result as it is now.
I will be able to move paintings on more quickly and successfully now because I have these prep skills
Pleased with the process definitely! Might do another version on canvas but smaller.
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I think this was because I had a painting in mind. Chose a Sunday morning newspapers and tray on the bed quilt!
Having made too many tonal notes in the past, to no specific end, I kept these simple and focused on the shapes and knew that I couldn't refer back to the scene as the task set out.
No shading used in the drawing and oh my goodness this really helped! Numbering tones made me LOOK and SEE more precisely. Loved doing this process. Did a tad shading for crease around tray but the emphasis on the shapes and forms with the numbered tones worked so well in teaching me the HOW and adding to my repertoire.
So, the pattern and rhythms came to the fore rather than me struggling with the colour proportions as I usually do.
No it's not a great painting but it taught me to select and the correspondence in size from drawing to painting was a solid learning opportunity for me. I used paper as I felt it was an exercise and didn't want to be precious.
I kept the paint statement simple and it worked much better than usually.
Can translate colour shape into paint better now and I have learned how to prep drawings for painting in profitable ways.
I know that the paintwork is harsh and incomplete but it tells a good story of the learning process for me so I need to keep the end result as it is now.
I will be able to move paintings on more quickly and successfully now because I have these prep skills
Pleased with the process definitely! Might do another version on canvas but smaller.
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Thursday 21 June 2012
Drawn hands - 'Emulsion' print
Interesting way to develop an idea using ordinary resources!
Drawn with a stick, printed with White emulsion, over washed with Indian ink then rinsed in water.
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Drawn with a stick, printed with White emulsion, over washed with Indian ink then rinsed in water.
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Contemporary drawing with print with tutored group
Using earlier life drawing of a moving nude, I did an 'emulsion' print with Indian ink and fresh drawing on foam card with a new drawing in oil pastel as a layer.
Interesting results that triggered ideas for developing the theme and taking it forward.
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Interesting results that triggered ideas for developing the theme and taking it forward.
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Sunday 17 June 2012
Evaluation of painting recently
Haven't enjoyed painting at all this year and lost my passion. This is mainly because I find the subject matter or probably my interpretation of the project subjects, uninspiring. Yet I am very inspired when I see paintings in exhibitions and watch artist work. Instead of working at how to inject some passion for the form and indeed acrylic paint, I just put my head down and did the tasks whilst trying to 'do my own painting on the side'
It didn t work. In fact I did some of the worst paintings I have ever done even though I have a degree in art and have inspected art in schools for years. So I have had to ask myself why?
Here's my reflection
I chose the wrong course because I thought I would need the scaffolding of deadlines and some theory re colour.
I realise that I need to work with other artists as is evident from my work in workshops
Process work is strong when I work in an exploratory way and widen media use even if discrete , such as print work
I dislike using the plasticity of acrylics on their own and work well in a mixed media painting environment
The electronic log is OK but limited in a tactile look- back way so I tend to use my own folder of things, ideas and images that I might use later.
So what's next? How do I trigger an impetus and redirection? See next post
As I do not want to lose text so far.
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It didn t work. In fact I did some of the worst paintings I have ever done even though I have a degree in art and have inspected art in schools for years. So I have had to ask myself why?
Here's my reflection
I chose the wrong course because I thought I would need the scaffolding of deadlines and some theory re colour.
I realise that I need to work with other artists as is evident from my work in workshops
Process work is strong when I work in an exploratory way and widen media use even if discrete , such as print work
I dislike using the plasticity of acrylics on their own and work well in a mixed media painting environment
The electronic log is OK but limited in a tactile look- back way so I tend to use my own folder of things, ideas and images that I might use later.
So what's next? How do I trigger an impetus and redirection? See next post
As I do not want to lose text so far.
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Thursday 14 June 2012
Left handed rapid drawing of standing nude.
Just loved the fluidity and delicate nature of this drawing and the tutor again picked this out as a good example ( and the other two!)
Drawing this way adds such an integrity to the outcome as the eye rather than the presumptive hand dominates.
Not a good image as weather and light poor. Again, I cannot rotate the image.
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Drawing this way adds such an integrity to the outcome as the eye rather than the presumptive hand dominates.
Not a good image as weather and light poor. Again, I cannot rotate the image.
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Longer pose of seated figure. (nude)
Actually the time was around 12 mins! Worked quite well and reasonably pleased.
Cannot turn photo around with iPad blogger!
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Cannot turn photo around with iPad blogger!
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Drawing quickly
The previous post of the rising figure was quite a new experience though I have heard of drawing with a line this way.
Initially one almost automatically starts to draw in irrelevant details as the eye for example. Totally not needed and I realised this as I continued to draw the next two rising poses.
Tutor very pleased with the two drawings, as am I.
Why? Because these drawings say a lot to the eye and they have an energy and freshness about them.
Tutor said that the spontaneity of the work will feed into a 'usual' Life drawing.
Drawing a figure rising slowly
Swift drawing to get the whole figure posed for a minute before lifting in five upward poses.
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Drawing a walking figure
The purpose was to see if one could capture the motion and to extend the drawing experience, trigger fluidity of pencil use. Worked a treat for me as I have been experimenting often with line drawing rather than tonal. It also gives me confidence to stand and draw in the melee of a crowd, shopping place etc. Loved this intelligent Mark making.
Friday 8 June 2012
So what have I done about the outcome of my self evaluation?
Started attending more contemporary drawing sessions including Life
Booked on an experimental drawing three day course at Chelsea college of art
Bought and using Black Dog publication on contemporary drawing
Started drawing large scale and with exploratory line drawing which I just love
And what smart, measurable and active moves will I make?
Abandon paintings that I know do not work instead of doggedly continuing to complete a project
Continue contemporary drawing work alone and with others
Only paint when there is passion, purpose, lots of prep and direction
Explore and ddevelop techniques that will feed into my painting strengths
Consider whether painting is my metier or drawing, print, mixed media, all of which I just absolutely love to do.
Paint with discipline but creatively so that plastic unimaginative work does not happen
Booked on an experimental drawing three day course at Chelsea college of art
Bought and using Black Dog publication on contemporary drawing
Started drawing large scale and with exploratory line drawing which I just love
And what smart, measurable and active moves will I make?
Abandon paintings that I know do not work instead of doggedly continuing to complete a project
Continue contemporary drawing work alone and with others
Only paint when there is passion, purpose, lots of prep and direction
Explore and ddevelop techniques that will feed into my painting strengths
Consider whether painting is my metier or drawing, print, mixed media, all of which I just absolutely love to do.
Paint with discipline but creatively so that plastic unimaginative work does not happen
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