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

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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

 

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.

Drawing reflection

Following feedback from assignment 2 I've been looking back at my drawings to see what links there are with my painting.

Mostly I use outlines which show form and composition.    These are quick and I just want to get on with painting so want a feeling I have a reasonable composition.  I'm not really thinking about paint so much at this stage.

To show more of the form of the areas of interest I add directional lines to show shading of darker tones, often in direction of the surface I'm drawing.   I notice I've rarely spent the extra time doing this.   When I do I see I often leave areas untouched because its not an area of focus.    Looking at how Turner made some sketches I may benefit from sketching on coloured paper so that I get a better tonal range and coverage quicker.

Notes have sometimes been added about thoughts of the feelings, whats important in the painting, maybe something about the medium.

How do I incorporate mark making qualities, what are they?  

Through reading and noting feedback I'm getting a sense the drawing is more important, particularly whilst I'm experimenting and learning. Today I did some random sketches each time trying to draw as I might paint focusing on how I move the pencil and hold it. I found this taxing because it doesn't look or feel like paint and I've learnt how to use a pencil in a certain way. I'm guessing I need to practice more like this.

I liked the way the cow came out, the lines were clear and intentional. The collection of animals became a mess, although there were some nice marks on the dinosaur. I think i got bored too quickly with it and it's a bit complex. The view worked reasonable well because it reflects the calm and quietness of the moment. It's hard to translate the grayness quickly with pencil.

Monotypes Artists Research

Yuko Nasu

0108 Oil and charcoal on canvas 35 x30″ (Saatchi Art, s.d).   This is a haunting distorted portrait.  You can see she has removed paint for the eyes and mouth with either a rag or brush.   I think the removing paint for these key features creates the haunting feeling.   Theres a figure of 8 movement in the brush work for the face which is not even adding to the distorting notion.  The eyes also sit unevenly.  The brushwork is often sweeping and clearly visible. The surface and paint supports this type of brushwork.  The eyes draw the focus in the middle of the 8.  Looks like the person is wearing a yellow scarf but I think the yellow is the ground and a darker brown was painted on top for the face.  It reminds me of a scarecrow.   Circles used in the distortion of parts of the face are common in her paintings.   Its interesting that she is able to distort and remove key features of the portrait yet keep the character.  There is a feeling its not completely finished with the edges of the portrait.     Look at what type of solvent I can use to remove paint on different surfaces in similar way.

Eleanor Moreton

Painted a series of famous dead heroes.   Nina (simone) 61x50cm oil on birch panel 2014 (Moreton, 2014). Paints simple marks to capture the key facial features particularly for the eyebrow and lips.   Paints the background dark leaving the face the colour and texture of the wood which is also dark.   The only colour used in the eyes and lips and earrings immediately capture the eye.   There’s a larger brush used for most and a small detail brush for lips and eyes.  It feels imposing and strong despite a thinly applied paint.   Whilst this is a portrait the crop includes upper body with the head taking a very small part of the surface.  The wood surface shows through on the body which adds texture with a direction along the body.

Kim Edwards

Painted a series on the Suffolk coast, producing atmospheric landscapes.   Sizewell I 2014 (Edwards, 2014), monotype.  Uses a limited palette.  More paint than the other artists. Feels oppressive. Strong skies with heavy cloud, a looming storm.  Very simple.   Theres movement in the way the brushwork crisscrosses the sky and beach suggesting wind.   The eye is drawn along the beach to the power station.   Breaking waves are clearly visible and may have been from removing paint before printing.   It seems a medium sized brush was used for most and possibly a small detail brush for the waves and power station.   Its not clear what was painted on after printing because the paint on the dark areas seems to be the same value although part of the sky seems more solid and less likely to be a result of printing.

Annie Kevans

Shakira (Kevans, 2006) painted as part of a series of girls.  Thinned oils on canvas, very effective expressive portraits.   Most of the body is painted with very pale colours and eyes, mouth and bra are painted strongly making them stand out.  They eyes are drawn to the bra and then up to the face.    A large brush is used to paint most of the body with a small brush used for the eyes, nose, mouth.    She is very efficient and economical with the brush marks.   Reminds me of simple marker pen drawings.

Kim Baker

Floral Landscape 150cm x 120cm oil on canvas 2017 (Baker, 2017)
Landscape view of a bunch of flowers shown in centre. Various colour flowers and green leaves painted with swirling brushwork. Dark background contrasted with the light coloured flowers makes them glow.  She uses a very large brush to paint the flowers loaded with multiple colours producing streaks of colour. Each is painted on top overlapping previous petals or leaves. Each stroke seems to flow back into the painting.  The background is painted with straight vertical strokes.

Alli Sharma

Ingrid 3 (A Kind of Loving), 2014, oil on canvas, 50x40cm (Sharma, 2014)

Portrait view of a movie actress who starred in a black and white movie.  The choice of black paint therefore seems appropriate to capture something from the past.   The eye is drawn to the profile of the woman by the sharp contrast and clean simple features (just below the middle).  The brush work is clearly important because every stroke is clearly visible.   Thinned oil paint is used, you can see where excessive solvent has run.   The oil has maintained the brushwork which suggests another medium was added and or the surface was treated to make it less absorbent.    The strokes have varying intensity, and movement.   Various brush sizes used with largest for background, hair and clothes and cheeks.  Smaller brush for marks on clothes and facial features.

Geraldine Swayne, David Blomberg, Marlene Dumas

Diego Velesquez, Edouard Manet,

References

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

Edwards, Kim. (2014) Sizewell I. At: http://www.kimedwardsartist.com/photo_13550825.html Accessed on:24/8/17

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

Moreton, Eleanor. (2014) Asent Friends: Nina.  At: https://eleanor-moreton.squarespace.com/new-page-24 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

Sharma, Alli. (2014) Ingrid 3.  At: http://www.allisharma.com/allisharma/Paintings.html#16 Accessed on:24/8/17

Assignment 2 research

The work from the exercises on utensils were successful and I liked the way the light reflected from the aluminium surface and wanted to focus on this for the assignment.

Collection with knife, fork, spoon and a flipper.

 

 

 

The shadows, reflections and surface were key elements that stood out to capture.   I explored sketches of the composition.  Then I explored the use of enamels on aluminium.

 

 

 

 

 

 

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I started with black and white enamels and found the best approach was to paint like watercolour, with thinned down black leaving the metal for highlights.     Blurring the paint at the edges proved to be a challenge partly because the enamels found their own resting point which creates a sharp edge.   Going back over the paint later to blur the edges changes the surface with an undesired result usually.  Need to look at painting white first and then use very thin enamels overtop like have done using acrylic.  The use of ink creates extra depth with the ink reflecting more light and pushing the enamel paint forward.

Detailed reflections on the spoon/flipper draws you into the painting and makes it more realistic compared to the the closeup without background and reflections.   Without these reflections and background details the closeup became more abstract and flatter and more effective at this scale.  This close up of the fork spoon knife uses negative space to draw attention to the form creating a good relationship.   The bare aluminium makes them stand out and adds drama to everyday objects with the spoon taking centre stage.   Without any context in the background or reflections makes it feel flatter more abstract at the same time I’ve tried to make them feel real with simple tonal changes reflecting the light.

Using PVA can help to mask highlights however its not very accurate.  It can be painted over giving interesting surface with a little distortion.

Collection fork, spoon and chopsticks

 

 

 

The idea of curating the collection to contrast chopsticks against fork and spoon like Fred Wilson’s mining the museum could add something interesting and relate to me personally.    Angling the light to create exaggerated shadows added another interesting dimension to show the form and show another perspective.

 

I needed more from other artists so I looked closely at Geraldine Swayne and Clare Woods.   Clare Woods used oils to show the form from a fluid flow of brush marks.   The painting Daytime Despair 2014, oil on aluminium, 150x200cm comprises of 2 paintings of different things in the same style and linked by a continuation in background.   Both focus on something of interest, the left less clear the right the feeding of a bird in a nest.   Both are flat yet 3D with the foreground standing out over the pale background with expressive strokes in oil on aluminium.   Colour is bright, muted and calm.   Foreground is more controlled than the background which seems to be more animated.   The title suggests this is not necessarily calm or content.   My understanding is the left is a pile of receipts which is more mundane work to do and the right is a bird feeding a much larger bird which seems unnatural.   The negative space is used to show the form.   The darker warmer colours used on the bird draw your attention and creates depth over the background.   I found the work by Geraldine interesting but I could not see why her technique would be appropriate for expressing the utensils.

Whereas Geraldine’s small enamel painting on metal (6x10cm) 2017 is about capturing an intense facial expression through contrasting strong tones and colours.   This portrait immediately draws your focus on the eyes and mouth before moving up to the hair and down past the ears.   Theres a mix of strongly painted marks and some less controlled thinly painted marks over the top.   The background has been painting over to give a clean edge and without features so that the portrait takes focus.   The size of all her work is on the small side which really focuses you in on the detail, demanding a closer look.

I’ve had difficulty applying most paint other than enamel to the unprimed aluminium so I’ve purchased some pre-primed aluminium and also some transparent gesso. Oil paint was the the best at showing the brush marks in one stroke and anything on gesso the worst because it became too absorbent.  However the unprimed aluminium still enabled me to paint slow purposeful brush strokes to create form which also created a relationship with the negative space.

The closeups of just the fork created interesting shapes but I felt it was becoming less a collection of items.   This could work if I’d focus on the reflection of the collection in the fork surface.

Looking at the collections with many chopsticks led me to focus on the shadows which created interesting shapes.  The use of gloss on the shadows adds too much reflection to the painting.   Placing the spoon from another photo on top like in an earlier exercise did not stand out because it was too dark relative to the background which also has a lot going on.   The background could be more about the shadows which can represent the chopsticks without painting the chopstick, this would allow the spoon to be painted over.

 

 

 

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Moving forward, Claire Woods approach feels to be an appropriate response to apply because it encourages me to not be so realistic and focus on the form and composition and use of negative space.   I would need to look at the use of brush sizes to ensure the scale is appropriate.

 

 

 

 

Painting on aluminium

Aluminium is a totally new surface to try painting on.  I bought sheet aluminium cut down in various sizes from a metal shop.  There are some obvious benefits to using this before I even start such as its smooth surface, it’s shiny, it won’t bend or get damaged that easily.   However painting is not all that straight forward.   Painting acrylic watered down bobbles on the surface in unpredictable ways and easily scratches off when dry.  Thicker acrylic just peals off when dry.  Oils which are oily slide off the surface if vertical or retreat like the acrylic.  The oil paint needs to dry out a bit first to reduce or remove the oil.   Ink only seems to take if I apply neat using a dropper, although it is very hard to control as it wants to retreat.  Enamels do work well straight from the pot and also thinned with thinner.   Enamels create swirly patterns where they meet until they dry which takes at least a day. The enamel primer is Matt grey and I’m not sure of its benefit for supporting enamels because its changing the surface colour and opacity.  It is possible to gesso the surface but this is easily scratched off like acrylic.  Household paint went on but also easily scratches off.  Gary Hume seems to use some sort of etcher to prime the surface first but not sure what type or where to source.   I found a metal primer but this is red and unsure how I’d use it effectively as a ground when I really want the aluminium to interact with the paint.  Nail varnish takes well to aluminium drying fast and layering up with some translucency for some colours and the varnish.