Part 4 review

Tondos both circular and oval encourage the viewer to focus on something as opposed to view and experience something.   The single edge continually brings the eye into the middle.

Looking back I find the AC on sofa the most interesting composition, contrast and subject.   The AC control is important to life indoors, it sits in a prominent place on the sofa for easy frequent access and its often played with by the kids.   Alternatively the idea of things which have been played with and left can tell a story about what had happened.   There are interesting shapes and patterns in the jumbled collection of shoes which could be improved with finding a better composition and contrast between shoe and background.

The success of the original AC on sofa is largely down to the surface which was a paper plate with a smooth surface.  The surface had little absorbency enabling me to remove and move paint around in a sculptural way.   I find that oil on canvas primed with gesso gets absorbed and harder to remove or move.  Varnish and glue can help reduce the absorbency of canvas however it changes the finish which seems softer slightly blurred look.

The use of impasto paint along side thinner paint can be an effective way to draw attention to the focus of the tondo.   For example, the toy on shelf painting’s bright thick painted mark came forward above the background and it had movement.  I don’t feel watercolour or ink alone is enough to create the impact I’d like for painting the interior.  However it could be used together to bring something out like the toy lego above the blurred box side.   Oil seems to be less effective than acrylic for impasto paint partly because I’m expecting greater volume of paint and I don’t have a suitable medium to add to the oil paint.  I’ve successfully managed to create a soft subtle texture/finish with thick oil paint without much thinner to paint the mat below the sofa.   When mixed with liquin original I’ve found it goes thin and transparent although it does keep a hint of the brush marks.  Generally speaking the oil paint is stronger, brighter snd sharper when compared to acrylics (this maybe down to the quality of the acrylics).   I think its the ability to manipulate oil paint in a sculptural fashion on the surface which elevates it over other mediums.   However I need to remember to keep the brushes clean because the colours became muddy whilst painting the toothbrushes.

Other things to remember to look at are use of drawing mediums such as pastels in combination with the paints.

 

 

 

 

 

 

 

 

 

 

 

 

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Narrative, Emotion and Atmosphere

Through tutor feedback I thought I’d start focussed research into visual narrative, emotion and atmosphere in terms of how they are conveyed in painting.

Looking at The Kiss (Dumas, 2003) I can see intimacy and love with everything going into the kiss.  Composition puts the face centre stage in profile view with the kiss happening to the bottom.   The kiss is expressing more love or devotion than simply greeting someone with the orientation and the facial expression (wrinkles on forehead, eyebrows, neck veins, smooth facial skin with no muscles showing).   Colours are warm but muted showing that only a hint of colour is necessary to convey the emotion.   There is softness in the kiss expressed through softening the edge near the lips compared to the sharper profile of the face.  What they are kissing is unclear and could be the ground rather than the skin of someone else.   Dark tone next to the almost white face draws attention to the bottom of the painting leading to the kiss.   There is almost no tonal variation across the rest of the painting.   It seems most is a very thin application of paint with thicker application showing brush marks along the profile edge.  The softer parts being just a smudge of thin paint, the sharper being thicker paint.    A few dry brush marks.  The size is 40x50cm which is perhaps more intimate size although still large for a head.

George Shaw paints detailed landscapes of Coventry suburbia in England where he grew up.   Coming up for air (Shaw, 2017) is a great example of an English estate with graffiti on the wall of the house.   I can relate to this and many of his paintings because they capture these icons of life growing up.  This like many are taken at dusk with the soft glow you get from the sky diffusing the setting sun which is at odds with the dark and oppressive view.   He uses Humbrol enamels which must add a shine to the surface (unable to see online) which again must elevate the soft glow and appear striking against the dark dull subject.   The orientation reaffirms the landscape and the size is just over a meter wide which creates presence on such scale and makes it easier to experience the painting.  Composition is interesting where the house is center stage and takes up most of the painting giving it an over powering feeling.

Chiaroscuro is a term to describe painting dark and light high contrasting paintings to show drama and atmosphere.  Often paintings of people shown under bright spotlights show this and artists such as rembrandt cozens used this in their work.

Turner is a master at creating atmosphere in his landscapes which usually involve sky and water.   I started exploring his technique via a book about his watercolour technique (Moorby et al,  2015) with examples.   I tried to apply the technique on a sketch from out of the window.   I felt encouraged by how simple but effective this  can be to quickly capture the moment and atmosphere.

What about my perspective is important which I’d like to translate into my work?  Is it my feelings about being in Hong Kong e.g. different, eye opening, intense, on edge, unsettled?  Is it about me being a father e.g. playing, caring, leading?

 

References

Dumas, Marlene (2003) The Kiss. At:https://www.artsy.net/artwork/marlene-dumas-the-kiss Accessed on 2/11/17

https://www.britannica.com/art/chiaroscuro

Moorby, Nicola & Warrell, Ian (2015) How to Paint like Turner.  London:Tate Publishing

Shaw, George (2017) Coming up for air. At:https://www.artsy.net/artwork/george-shaw-coming-up-for-air Accessed on 2/11/17

Artist research part 4

Tondos

Roxy Walsh (Walsh, 2007) uses small tondos to paint symbols or motifs which she exhibits along side large scale paintings of the same symbol.   I can imagine the small tondos get the viewer to pause and take a closer look before continuing to look at the collection of paintings as a whole and the larger pieces.

Mark Fairnington’s eye paintings (Fairnington, 2006) get you to take a closer look with the extreme detail and realism of the eye and fur.   This could be taken as using a telescope to look closely at the animal.

Iain Andrews paints religious subjects, abstract paintings of figures, with strong impasto expressive marks (Andrews, 2007).   He paints a blurred often layered background, then strong thick impasto painted marks to represent the figures.   These painted marks are sharp in contrast and may have raw paint mixed on the brush creating bright streaks of paint.

Henny Acloque (Saatchi Art, s.d) painted a series of old style landscapes of the countryside with some abstract mark within the scene.   The abstract mark immediately takes the focus, like graffiti or a cartoon over a traditional painting.   The marks obscure parts of the landscape.   The landscape is painted roughly with appropriate marks to show the landscape.   Its not totally clear why the artist chose to use circular and oval shapes for some but not all in the particular series.  

Plate paintings by Mindy Lee (Lee, 2014) are more interesting if a little disgusting.  They are a collection of paintings of a woman (Venus I guess) with the guts of the body flowing out.    The colours are a subdued and slightly earthly.   Very thin acrylic is used for parts with stronger heavier detailed work drawing attention e.g. to the feet.   Often much of the plate is left white making the plate more of a feature including its rim.   Although the plate is supposed to be aluminium so I’m guessing there is a layer of paint as a ground. The paint is also mixed with a medium to make it thick, transparent and glossy to paint the guts.   Often she removes the paint to reveal parts of the woman.   The angle used to view the woman is also interesting when its from above or below.

Virginia Verran’s (Verran, 2012)  paintings feel technical or scientific with drawing and painting over layered.   The drawings in pen add a sense of technical thought or description of the world with language and symbols. The colours of black and red seem to add meaning to the visual language.

David Manley painted various viruses such as yellow fever (Manley, 2013) on tondos and its like looking down a microscope.  The tondo is in this case an natural choice to frame the subject.

Domestic interior

Charlie Day and his wife Tori both paint the interior, Charlie simplifies the scene, capturing the character but without the need for realism, whereas Tori uses a more realistic style to paint objects which are setup and framed like a portrait.  The objects are displayed to show them off whereas Charlie paints as is in situ.  Charlie painted a pillow (Day, s.d) where someone once slept.   Background is painted smooth and dark and the pillow heavy and dented where someone had laid.   The pillow must have been old or of material which keeps its shape.  He uses thick paint in places to highlight the pillow along side other pillows on the bed.  Tori painted a used toilet roll (Day, 2015) sat alone on a shiny surface.   She also uses impasto paint to paint the object.

Jacqueline Utley’s Lace meeting room (Utley, 2017) captures the whole room from ceiling lights to floor rugs and gives space to show this context for the people within.

Annabel Dover (Dover, s.d) paints small paintings of her own photos and images taken from Anne Franks wall.   Those from Ann Franks appear old and delicate with very thin paint on a pale brown ground.    Those from her photos appear new and clear.

Nude in an interior (Bonnard, 1935) is a glimpse of a nude woman in a room.   Most of the painting is of the room with bright heavily patterned walls and floor from the 1930s.  The woman is in another room seen through a partially open door.  This makes me try to look closer to see what the woman is doing, it obscures most of her, you can see she is stood facing with her hand holding up her hair and head turned to the side.   The colours of the walls and floor are vivid, saturated and heavy making the nude feel lighter.

References

Bonnard, Pierre (1935) Nude in an interior. At:https://www.artsy.net/artwork/pierre-bonnard-nude-in-an-interior Accessed on:23/10/17

Day, Charlie (s.d) Where Once You Slept. At:

http://www.charliedayart.co.uk/gallery_716109.html#photos_id=14544930 Accessed on:12/10/17

Day, Tori (2015) Finished. At:http://www.toridayart.co.uk/gallery_665685.html#photos_id=13964814 Accessed on:12/10/17

Dover, Annabel (s.d) National Velvet. At:https://www.saatchiart.com/art/Painting-National-Velvet/159511/108916/view Accessed on 23/10/17

Fairnington, Mark (2006) Tyger Tyger. At:http://www.markfairnington.com/page10.htm Accessed on:11/10/17

Lee, Mindy (2014) Better Out Than In Venus  At:https://mindylee.me/2012-2/ Accessed on:11/10/17

Manley, David (2013) Yellow Fever. At:http://www.davidmanley.co.uk/index/Archived_Work.html#6 Accessed on:11/10/17

Saatchi Art. (2007) The Ecstasy of St.Teresa by Iain Andrews  At:https://www.saatchiart.com/art/-The-Ecstasy-of-St-Teresa/10759/99692/view Accessed on:11/10/17

Saatchi Art. (s.d) 10 by Henny Acloque. At:https://www.saatchiart.com/art/Painting-10/30953/2162085/view Accessed on:11/10/17

Utley, Jacqueline (2017) Lace meeting room. At:http://www.jacquelineutley.com/ Accessed on:12/10/17

Verran, Virginia (2012) Bolus-space-Bonner-space.  At:http://www.virginiaverran.com/pics/1307.html Accessed on:11/10/17

Walsh, Roxy (2007) Felix Culpa at Bast’Art, Bratislava. At:http://www.roxywalsh.com/page9.htm Accessed on:11/10/17

Reflection on Assignment 3

I found a greater sense of awareness of the marks I was making and how they relate to the subject.   In particular drawing and painting my portrait blind helped me start to rethink my mark making and how the movement and pressure relates to my sense of touch.   For example feeling the shape and hardness around the eye compared to the eye lashes leads came out as putting pressure with a sharp movement around the eye socket and delicate lighter brushed marks around the eye.   These differences can be more pronounced than when I look at them because I’m so used to drawing what I see.

Exploring different paper surfaces enabled me to show more contrast with more paint absorbed into the paper versus less absorbed leading to blurring and a spongy effect.   This led me to select the paper knowing I needed a darker saturated look or one with blurring together with sharper marks.   I would have liked to have tried more variety of surfaces in printing had there been more time to source and try out.   The choice of paper coupled with more or less solvent has enabled me to produce sharp brushed marks compared to softer blurred marks.

Removing paint was a big part of making the marks and creating definition.  Oil is relatively easy to remove from or move on glass and finding appropriate tools to use during the exercises really helped.   Using tissue to remove the feeding baby profile proved to be effective at absorbing the paint and creating a unique profile.

The size A5 of the print is small but surprisingly I didn’t feel the need to go bigger in order to focus on the technique.  I think this encouraged me to be more efficient with marks.

Theres a sense of wanting to create something which is not your normal portrait especially when seeing work from artists like Yuko Nasu (Nasu, s.d) and having read Emily Balls book about portrait painting.  However developing this into something which works in printing and compared to doing something more obvious visually is difficult and must take time.   I do feel I was able to apply relevant marks and emphasis in each print to achieve some of the strengths I set out at the beginning.  For example the emphasis on the mouth with a pull effect helped reinforce the talking moment.

Displaying the prints with space in-between improves the ability to take in the each portrait better than if they were displayed without space in-between.

Its interesting that this time I found ink to be less useful compared to charcoal or acrylic and use of fingers when creating the portraits.   This maybe a result of the blind exercises opening up new possibilities and a greater awareness of my face.   This is pushing me to look for and try things to achieve different emphases such as sharper bony parts of my face and how tight the skin feels.   Obviously using touch is something new and I’d like to explore this further.   I see it as a form of direct observation but I need to relearn how to interpret into marks.

There has been an element of creativity out of drawing and redrawing my portrait through the drawing from photos to adding what I find through touch to painting and removing paint on glass, each time I’m slightly altering the image.   This reminding me of the exercises from Emily Ball’s book and how this process can lead to very different results.  This was most evident in the feeding portrait where I couldn’t see the image I was copying.

I realised the potential for using a piece of rug left under the printing paper to create the mouth and surrounding skin by how it appeared and how I felt my mouth in such a position.  I also liked that the print would be less predictable in terms of how the marks would mix.

Spending time to look at artists such as Annie Kevans (Kevans, 2006) helped me to focus efforts on simplifying portraits down with minimal marks.   It opens me up to trying things I like in different contexts even though it looks like it might not work such as using Kim Baker’s approach to painting large bright marks on dark backgrounds.   I often find I think too much and that when I try to paint more it leads to more insight.   Kevans portrait composition also influenced me to keep a similar head and shoulder frame.   Also the way she displayed the work compared to other artists helped me see how to give the viewer more space to see each portrait  and as a series.

Emily balls book (Ball, 2014) influence on mark making and trying to look at my face differently from touch and seeing different angles.

References

Baker, Kim. (2017) Floral Landscape. At: http://www.kimbaker.co.uk/portfolio.php Accessed on:24/8/17

Ball, Emily (2014) Drawing and Painting People. Marlborough: The Crowood Press Ltd.

Kevans, Annie. (2006) Shakira. At: http://www.anniekevans.com/girls?lightbox=dataItem-ijyuviy3 Accessed on:24/8/17

Saatchi Art. (s.d) 0108 Painting by Yuko Nasu.At:https://www.saatchiart.com/art/Painting-0108/25573/1676080/view  Accessed on:24/8/17

Assignment 3 Monoprints

What is going to be the theme for the 3 monoprints?  Fitting into a culture was the theme from the previous assignment.   I could explore a continuation, expressing the differences in cultures or how I changed from arriving to current life and any changes.

Alternatively ‘being a father’.  Explore from my sons perspective by using photos of me taken by him.   I selected 3 photos, feeding his baby sister, playing with him, telling him to do something.   Interestingly these were not staged but more natural and I’m therefore seeing these as reflection of me being a father.

A similar theme could look at painting his sister from his photos.  Again I was liking the charcoal and finger painted approaches but not ink.    This is as much about the act of painting as it is the end result and the ink seems less physical.

 

I felt I’d benefit more from studying self portraits than that of my daughters mostly for practical reasons of getting enough time to practice.  I like the idea of using photos taken by my son to show his perspective of me being a father.

Feeding the baby

Looking to show closeness, comforting, quiet, warm and soft.  I’m thinking more muted colours, touch with the babies hand playing with my hair, soft light with no strong contrasts, relaxed, eyes closed.

 

My exploration involved looking at making the paint glow like Kim Baker (Baker, 2017) with layered, bright large brush marks showing the form on a dark background.    I liked the large sweeping brush marks and the way they simplified the form taking away any unnecessary marks I often make.   However the bright marks on dark is too intense for this subject.  I could try adding another layer or starting another with different strokes to get a different look but felt either was unlikely to be successful.

The red/pink painting created a more gentle feel but the brushwork is not clear, getting messy suggesting simpler would be bettter.

The blue brushed painting on aluminium felt like how I was intending except the cool colour didn’t feel appropriate.  Here the eyes draw the most attention and help show this more about comforting.

Including the babies hand was more a personal touch which relates to an intimate moment and associated feeling.  Whilst this is not necessarily relevant to my sons perspective it is something that did happen often in such moments and added subtle meaning.   On balance this may have come out too strongly in some prints.

The angle of the head in the photo suggested I should make the profile a feature of the print and start by removing the highlights with various things which I explored in the exercises.   Tissue for the face profile, old rug for the clothes and paint stick for hair.   Wiping away the profile proved hard to follow the underlying drawing and was always going to be less accurate and different each time.  In the first print I found a strange circle on the head caused by some material getting stuck under the paper whilst printing (I liked the effect and noted it to reuse later)

The prints on rice paper (which was very absorbent) looked asian which maybe because of the simplified eyes and light paint.   I kept the paint thinned to create a more subtle portrait in the same way little ink is used on Chinese paintings background.  Interestingly the ear looks like a tiny hand playing with hair and this led me to use the combination intentionally in some of the other prints.

Once I had prints of the other two portraits I started to see the choice of colour needed to fit in more ( a shade too red) when seen as a series.  Also looks like I’m concentrating on the phone.

Playing

Looking to show humour, playful and noisy.

I started with a painting on aluminium that had more likeness. This is probably the most likeness I’ve achieved but it felt too serious to be about playing.   The simplified paintings using Annie Kevans approach didn’t look like me and also didn’t feel fun.   I then changed to using my fingers and using primary colours.  This felt more playful both to do and the result.  Adding a hand to hide behind was also interesting and made me focus on the eye peeking through.   I found painting with my fingers and palm created greater connection with my face and the painting.   I’m finding the ink paintings tend to end up with me painting edges or lines in a way I’ve always done and unless I exaggerate something it lacks expression or feeling.    Charcoal sticks offered something in between where I could use my finger to smudge the marks.

For the print I wanted to capture a likeness following Annie Kevans (Kevans, 2016) simplified approach where the eyes and mouth stand out the most.   I like the composition with the portrait almost coming out of the paper, the direction of the brush strokes and lines of the clothes makes a flow along and around the length of the head.   Its clean.   The print made using kids paint and my finger lacked any interesting features or definition.   Using oils I used rubber gloves to paint with my finger which came out similar to the original paintings I’d done.    Whilst there is a personal element to using your finger the   Per

The final print held greater definition around the features like eyes and smile lines.  There is a more playful expression but the extra focus makes me look older.   Eyes take focus and the clothes looked better with less uniform creases and varying colour.  The darker marks on the neck helped define and bring out the face.

Talking

Looking to show full mouthed, expressive, defined features and high contrast, bold, authoritative, loud.   Mouth to standout (red on blue), looking down slightly.

An earlier exercise using charcoal dust led me to try using my palm to quickly make the first layer of paint before using my finger to paint key features.   This I felt created a strong image of someone making a point.

I used a small ball of material under the print paper (like the mistake in the feeding baby print) to intentionally capture my open mouth telling my son to do something.  The mouth now becomes the focus.   This also led to me smudging the lower part of my face. Whilst this didn’t look like me I found the gaze intense and direct and along the right lines.  I didn’t paint the glasses thinking I could paint them on after.

The vertical straight background print felt too calm and quiet besides being too faint.  I used paper which was not absorbent enough.  I painted this in 3 layered prints and the first had faint marks which didn’t contribute to the portrait making it feel less clean.

The next print felt louder and cleaner and as if about to say something.   I think the direction in the marks in the background help show something is radiating out.   The lips felt over the top and inappropriate for the portrait like I’d kissed it with the paint.  These 2 portraits were made by doing 3 prints on the same paper, layering different elements such as background colour, more detail, key facial features.   This worked ok and enables you to create dark strokes over light keeping them much cleaner that if painted in one layer.

I tried to layer a distorted portrait with large coloured strokes like Kim Baker’s flowers however it came out dull.   The marks not really helping to create form or expression.   I think the layering thinned brush work over any other paint would come out dull and not suited for printing in this way.

The distorted swirling print influenced by Yuko Nasu (Saatchi Art, s.d) looked asleep.  I do like the swirling patterns and perhaps could use to form a portrait.

The distorted face with a receding eye reminded me of a cloud blowing.   The framing of the face so close would not fit with the other portraits so I quickly discounted it.

Changing the background to a salmon colour helped make the cooler face project forwards.  Using the heavy weighted printing paper enabled the extra solvent mixed paint to bleed more especially around the mouth where I was hoping to achieve a pulled effect with something under the print paper.  This didn’t work as effective as the first time but I did get some interesting bleeding and blurring of the colours.   This contrasts well with the straight lined clothes and overall feels like I’m talking in a serious manor.

Final 3 prints

First a look at how artists have displayed their series of portraits.

Annie Kevan’s portraits (Rosen, 2017) show famous people (mostly historical) together as a collection with instant likeness.  The consistent emphasis on key features, hair and clothes with simplified strokes and colour provide a visual consistency that make who is in the collection stand out.  They are positioned equally with space between so that you can view each individually and that the collection is also important.

Yuko Nasu’s (Nasu, s.d) portraits are mixed with different emphasis, colours and level of distortion.  They are positioned very close, almost touching with just a small gap.  Its a bit like lots of people in a room with those crazy curved mirrors where everyone gets some part of their face blown up or shrunk.

Luc Tuyman (this is tomorrow, 2015) takes a more extreme approach compared to the others by displaying them on a brightly light white wall with huge amounts of space around each painting.    They have visual consistency of colour and style and subject and are small relative to the wall.    It seems the subject is on the depressing side and the space allows the viewer to feel and explore this better without being distracted by the next.

Chantel Joffe (Cheim & Read, s.d) gives each of her portraits (of various sizes) space, often a whole wall.

I think my prints are to be viewed as individual moments of being a father which is basically happy.  There should be sufficient space to feel each separately and relate to the next.   When comparing having no space between each and then with space I find no space is too much to take in, too overwhelming.   Giving each print space feels more relaxed enabling you to view each one whilst seeing them as a series in a similar way to Annie Kevan’s display (Rosen, 2017).   I find the talking print needs to lead from the left because it shouts the most and I felt its best to look from left to right.   Vertically is harder to view them although it reminds me of the photo print strips you get from the passport photo booths.  Vertical arrangement may have been more appropriate if my son was included and you get some surprise photos.

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Most successful print is the ‘talking’ print because it captures the expression and sense of saying something.   This print also has the most variety of marks such as the blurred mouth arising from the print lifting around a piece of rug placed over the mouth. Contrasted against straight sharp almost formal clothes.  The bold simple dabbed eyes and the neatly brushed hair.  The others have interesting marks and simple bold eyes but the marks are perhaps too conservative.   I wanted the playing portrait to appear louder more fun than the others or at least the feeding portrait and I feel this is not so obvious. The feeding portrait needed to be softer.

To develop this work I would like to look again at making the playing print more fun or humorous.   Look again at using some of the finger painting but applying in multiple printed layers with some brushed work, use of other body parts?    For the feeding portrait I could try a lighter background to reduce the profile contrast, then more exaggerated features in subsequent layer but lighter on the hair.   Having seen Luc Tuymans The Shore (this is tomorrow, 2015) I could try zooming in on key features of each moment such as eyes or mouth.   I did consider this but thought this would reduce the consistency in the series and often its more than the eye or mouth which is defining the moment.   Obviously I could look to extend this series by looking at other moments such as being tired.

References

Baker, Kim. (2017) Floral Landscape. At: http://www.kimbaker.co.uk/portfolio.php Accessed on:24/8/17

Cheim & Read. (s.d) Chantal Joffe. At:http://www.cheimread.com/exhibitions/chantal-joffe/gallery/installation-images Accessed on:12/9/17

Kevans, Annie. (2006) Shakira. At: http://www.anniekevans.com/girls?lightbox=dataItem-ijyuviy3  Accessed on:24/8/17

Nasu, Yuko. (s.d) Hayley Lock None of Beauties Daughters Yuko Nasu & Liv Pennington. At:http://yukonasu.com/works/2010/coexist/coexist2010.htm Accessed on:12/9/17

Rosen, Miss. (2017) Artist Annie Kevans sets the historical record straight. At:http://www.craveonline.com/art/1189199-artist-annie-kevans-sets-historical-record-straight Accessed on:12/9/17

Saatchi Art. (s.d) 0108 Painting by Yuko Nasu. At:https://www.saatchiart.com/art/Painting-0108/25573/1676080/view  Accessed on:24/8/17

this is tomorrow. (2015) Luc Tuymans: The Shore At:http://thisistomorrow.info/articles/luc-tuymans-the-shore Accessed on:12/9/17

 

Drawing and painting people – Emily Ball’s approach

I started reading Drawing and Painting People (Ball, 2014) whilst I started part 3 and found it relevant and offering practical exercises to get me approaching portraits in less conventional ways.

Looking at basic marks and following a conversation of marks I made some very different marks.   The interesting ones tend to be contrasting.   Knife edge against lighter broader strokes, scraping paint with different colours to get a mix, opposing direction in strokes.   This was good to do and I feel I maybe was too reserved and could have pushed further with maybe using more of my body to paint.

IMG_3138

Drawing blind was also much more interesting to do because it gets you to draw from feeling and not sight.  This gave me more awareness of the thing I was drawing than just sight.   I found it hard at first and the objects didn’t look good or interesting.     Drawing the head looked like an exploded picture.   I did this on the floor and found it hard to draw with the one hand.   I often felt unsure about how to translate what I felt with what to do with my hand.  For example moving my hand down my nose I could feel the shape and and how rough it was and I wondered whether to change pressure or direction when moving down my nose.

Moving charcoal dust with my palm mostly came out with grey smudges which may mean I over worked the smudge.     For the marks on top of the smudge I ended up trying to translate the shape as I expect it to look but trying to change pressure on the feeling.  E.g. sharpe edges would mean more pressure and soft very little.  I felt there was some good things appearing like the emphasis on parts like the bone in the corner of my forehead above the eyes and the showing of the lips, simple eyes although always shut.

Painting with 3 brush sizes and coloured paint.   Using a large brush first to capture a sense of direction of the surface, mid size for more detail like bumps.  The small brush to capture key areas such as glasses and hairs.  Overall it felt a little flat, didn’t capture eyes because I felt I needed to see what I was painting.   Theres a hint of a skull because of the missing eyes and mouth.

 

Taking different perspectives (front and side) and layering these did create something I liked.  Its like the head has turned away quickly and you get this blurred view where you’ve seen it from the front but now focus on the side view.

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References

Ball, Emily (2014) Drawing and Painting People. Marlborough: The Crowood Press Ltd.

Exploring more liquid flowing painting

Following feedback from my tutor I looked at different painting media to create liquid flowing qualities and also another look at Mimei Thompson’s work.  I started exploring sansador solvent with oils (couldn’t find Liquin locally so only used sansodor).    On canvas this just absorbed fast creating flat smooth strokes with streaks as the brush got drier or if used insufficient solvent.  The finish was matte and dull.    Tried removing oil with Sansodor on a rag shirt and found it only removed part of the paint leaving it a shade lighter.  On aluminium I got more of the brush work showing with greater fluidity with more a brighter glossy finish.  It also dried much slower.   However with more solvent I got small rivers where it collected and ran showing the aluminium.    On plexiglass I was able to create fluid strokes where the brush marks where clearly visible.   Interestingly the effect of painting a more solid part of the reverse of the plexiglass made it feel the fluid strokes were in focus and the solid strokes blurred.  None was able to mimic Mimei Thompsons technique.

 

I finally acquired some liquin (original) and tried this on aluminium and PVA primed canvas with more success.  The brush strokes maintained the marks with greater fluidity.   Using more (a lot) of liquin helped.   The result is much brighter where the brush is able to move the paint across the surface leaving the marks similar to Thompson.    The aluminium was better because of the smoother surface.  I understand that Thompson sanded her gesso coated canvas to a smooth finish and coated it with some sort of acrylic primer.

The flowing solvent inspired me to try using it to create rivers I’d seen whilst in the mountains.   This worked well at giving the right feel but took too much of the focus overall.   Perhaps a glaze over the mountain to reduce the contrast and sharpness might help.  I also painted a view of the island nearby.  There needed to be more variety in the brush marks e.g. sky could have been smoother/flatter.  Water could have more streaks with more paint/colour.