Aim
Utilizing your research from Part 1 produce experimental pieces alongside critical analysis of works of art that resonate with you and your practice. Don’t think of the experiments as ‘finished’ pieces, but rather as a close examination of the production of a painting, its processes.
You could be testing layers of glazes over a warm ground, inscribing into a surface with various implements, or fragmenting and weaving the picture plane – the list is endless. In giving time to this element you’ll begin to comprehend what painting is and might be and, crucially, engage with developing your own methods and methodologies – ways of working that are intuitive, experiential and innovative.
This is your chance to test materials, tools, techniques and supports: think about what to paint on, and what format, method and material might enhance your concept or message.
These experiments are a fundamental part of your research process so, as with all the practical work you produce during the course, fully document them through photography, note-taking, etc., and reflect on the outcome in your learning log.
Utilizing your research from Part 1 produce experimental pieces alongside critical analysis of works of art that resonate with you and your practice. Don’t think of the experiments as ‘finished’ pieces, but rather as a close examination of the production of a painting, its processes.
You could be testing layers of glazes over a warm ground, inscribing into a surface with various implements, or fragmenting and weaving the picture plane – the list is endless. In giving time to this element you’ll begin to comprehend what painting is and might be and, crucially, engage with developing your own methods and methodologies – ways of working that are intuitive, experiential and innovative.
This is your chance to test materials, tools, techniques and supports: think about what to paint on, and what format, method and material might enhance your concept or message.
These experiments are a fundamental part of your research process so, as with all the practical work you produce during the course, fully document them through photography, note-taking, etc., and reflect on the outcome in your learning log.
Atmospheric Studies
Aim: Investigate techniques that create atmosphere
Inspiration: J.M.W. Turner (1775-1851) - pre-modern art
In this study I want to explore how Turner would have created his atmospheric paintings. It would be useful to do some research on the techniques he used when approaching both watercolour and oils to see which I would be able to apply to my own work.
Watercolour techniques:
I found a nice series of short videos uploaded by TATE on Youtube on how to paint watercolours like Turner.
Part 1
Part 2
Part 3
In the videos the host, Mike Chaplin, explains that a composition consists of 3 components; line, tone and colour. The first step is to create a linear composition using sketches greatly made up of lines to find the rhythm of your subject and notice any patterns or shapes that will draw interest to your composition. Tone is then used to flesh out form, creating subtle changes or dramatic differences. By examining one of Turner's pieces, The Blue Rigi, Sunrise (1842) he notes that the artist used mid-tone washes to create atmosphere, likely through several layers and build up. The line work is where the image becomes darker. Thus, the second step would be to create a tonal composition, where blocks of colours are placed according to the highlights and shadows observed. These do not have to take any formal shapes yet. Turner often created several pieces by just doing tonal tests, not complete works, but moments that might inspire larger works later. Finally, when applying colour, you need to consider the subtle differences that may be in the subject and how those can enhance the drama of what is seen. Turner was not shy about using exaggerated colours to represent objects, but he was still conscious of how the colours should work with the composition in order to create three dimensional space. This meant using opaque colours to ensure that the background was still acknowledged. Some of his favorite colours were cobalt blue, chrome yellow and emerald green.
To summarize, here are some of the techniques Turner used:
- wet in wet
- multiple layers of translucent colour with finishing touches of opaque colour.
- scumbling and scratching
- using his fingers to drag paint
(TATE, 2011)
Inspiration: J.M.W. Turner (1775-1851) - pre-modern art
In this study I want to explore how Turner would have created his atmospheric paintings. It would be useful to do some research on the techniques he used when approaching both watercolour and oils to see which I would be able to apply to my own work.
Watercolour techniques:
I found a nice series of short videos uploaded by TATE on Youtube on how to paint watercolours like Turner.
Part 1
Part 2
Part 3
In the videos the host, Mike Chaplin, explains that a composition consists of 3 components; line, tone and colour. The first step is to create a linear composition using sketches greatly made up of lines to find the rhythm of your subject and notice any patterns or shapes that will draw interest to your composition. Tone is then used to flesh out form, creating subtle changes or dramatic differences. By examining one of Turner's pieces, The Blue Rigi, Sunrise (1842) he notes that the artist used mid-tone washes to create atmosphere, likely through several layers and build up. The line work is where the image becomes darker. Thus, the second step would be to create a tonal composition, where blocks of colours are placed according to the highlights and shadows observed. These do not have to take any formal shapes yet. Turner often created several pieces by just doing tonal tests, not complete works, but moments that might inspire larger works later. Finally, when applying colour, you need to consider the subtle differences that may be in the subject and how those can enhance the drama of what is seen. Turner was not shy about using exaggerated colours to represent objects, but he was still conscious of how the colours should work with the composition in order to create three dimensional space. This meant using opaque colours to ensure that the background was still acknowledged. Some of his favorite colours were cobalt blue, chrome yellow and emerald green.
To summarize, here are some of the techniques Turner used:
- wet in wet
- multiple layers of translucent colour with finishing touches of opaque colour.
- scumbling and scratching
- using his fingers to drag paint
(TATE, 2011)
To play around with these techniques I did some activities from the book How To Paint Like Turner.
For all of the above exercises I used the same 220mg watercolour paper (although they also advertise it for all purposes). They are all a completed in small scale A5. The brand is not particularly great and as most of the techniques call for working wet in wet, the paper struggled to handle the amount.
For exercise 1 the idea was to work with wet in wet and then scratch into the surface to create distress. The colours used were lemon yellow, cobalt blue, indigo and burnt umber. The exercise suggested stretching the paper first, but as mentioned above, the quality is not good, so this didn't work out well. For the next set of exercises I did not stretch the paper.
Exercise 2 is another take on working wet in wet and using your fingers to drag out the clouds in order to create the effect of rain in the distance. I like the contrast created by the yellow wash in the sky with blue-grey look of the sky. The colour palette is still the same.
Exercise 3 was a challenge to create a landscape using silhouettes and subtle detail to convey dusk, still using the same colour palette. I worked with thin round brushes that were not heavily loaded with paint . I waited for layers to dry before adding additional shading or detail. This method was quite effective and goes to show that everything doesn't have to be hyper detailed or vibrant in order to have a strong effect.
Exercise 4 was again a challenge to convey the silhouette of a city, but this time to bring the vibrancy of the sunset into the harbour by scumbling (using transparent layers of colours in order to build texture or luminosity). The colour palette was still the same, apart from the introduction of brilliant red. Mush of the instruction is to work wet in wet in order to create depth and for the scape to blend into a mixture of forms and shapes. I like this as a notion, but again, as the paper wasn't great, it caused a lot of distress which is not ideal. The colour and blending is still a nice technique though, and it brings a different energy to the scene.
In exercise 5, I wanted to experiment with using acrylic paint over the watercolour to add more texture and volume to the clouds. I only worked with yellow ocre, ultramarine and burnt umber as the base. I used a round brush an applied a less diluted colour, often using the side of the brush to create a more textured look. Once that was dry, I placed white acrylic paint on my fingers and swiped them on various areas as ocean and clouds. I don't think it is a very successful end result, by to do like the contrast of the softer blends from the watercolour against the thicker texture of the acrylic.
Reflection
As these were just studies to practice Turners wet in wet technique, use of fingers and atmospheric brush dragging, I used a cheaper watercolour paper that I have a whole ream of. Though these are nice to experiment on, the issue is that they don't give you a true reflection of what these techniques might look like when applied to better quality paper. I did like the idea of creating silhouettes and can see how even small marks can be quite powerful. It was also fun to incorporate my fingers into watercolour painting, something I had done with oils before, but not with watercolours. It was also good to work with a simple palette and just making a combination of blends within that range. I believe I have met my aim of exploring atmospheric techniques as I undertook several different exercises with variations in technique.
As all the above exercises were to practice different skills, I wanted to use a larger scale canvas and better quality paper to see how these techniques would behave. Using a photograph I took of the Castle in Madrid, I fist followed the steps that Turner would use in order to prepare for a painting, as I found from my research.
1. Create a sketch to see the lines
2. Create a tonal study to find light shadow or additional detail
3. Work with colour
For exercise 1 the idea was to work with wet in wet and then scratch into the surface to create distress. The colours used were lemon yellow, cobalt blue, indigo and burnt umber. The exercise suggested stretching the paper first, but as mentioned above, the quality is not good, so this didn't work out well. For the next set of exercises I did not stretch the paper.
Exercise 2 is another take on working wet in wet and using your fingers to drag out the clouds in order to create the effect of rain in the distance. I like the contrast created by the yellow wash in the sky with blue-grey look of the sky. The colour palette is still the same.
Exercise 3 was a challenge to create a landscape using silhouettes and subtle detail to convey dusk, still using the same colour palette. I worked with thin round brushes that were not heavily loaded with paint . I waited for layers to dry before adding additional shading or detail. This method was quite effective and goes to show that everything doesn't have to be hyper detailed or vibrant in order to have a strong effect.
Exercise 4 was again a challenge to convey the silhouette of a city, but this time to bring the vibrancy of the sunset into the harbour by scumbling (using transparent layers of colours in order to build texture or luminosity). The colour palette was still the same, apart from the introduction of brilliant red. Mush of the instruction is to work wet in wet in order to create depth and for the scape to blend into a mixture of forms and shapes. I like this as a notion, but again, as the paper wasn't great, it caused a lot of distress which is not ideal. The colour and blending is still a nice technique though, and it brings a different energy to the scene.
In exercise 5, I wanted to experiment with using acrylic paint over the watercolour to add more texture and volume to the clouds. I only worked with yellow ocre, ultramarine and burnt umber as the base. I used a round brush an applied a less diluted colour, often using the side of the brush to create a more textured look. Once that was dry, I placed white acrylic paint on my fingers and swiped them on various areas as ocean and clouds. I don't think it is a very successful end result, by to do like the contrast of the softer blends from the watercolour against the thicker texture of the acrylic.
Reflection
As these were just studies to practice Turners wet in wet technique, use of fingers and atmospheric brush dragging, I used a cheaper watercolour paper that I have a whole ream of. Though these are nice to experiment on, the issue is that they don't give you a true reflection of what these techniques might look like when applied to better quality paper. I did like the idea of creating silhouettes and can see how even small marks can be quite powerful. It was also fun to incorporate my fingers into watercolour painting, something I had done with oils before, but not with watercolours. It was also good to work with a simple palette and just making a combination of blends within that range. I believe I have met my aim of exploring atmospheric techniques as I undertook several different exercises with variations in technique.
As all the above exercises were to practice different skills, I wanted to use a larger scale canvas and better quality paper to see how these techniques would behave. Using a photograph I took of the Castle in Madrid, I fist followed the steps that Turner would use in order to prepare for a painting, as I found from my research.
1. Create a sketch to see the lines
2. Create a tonal study to find light shadow or additional detail
3. Work with colour
1. Sketch
2. Tonal Study
3. Colour
Both Study 1 and 2 were started in the same way, with diluted wash of cobalt blue and ultramarine. While the wash was drying I used a tissue to dab away sections in the sky where the clouds will be in order to leave then lighter. After the fist wash dried I started layering with other paints and this is where the techniques for study 1 and 2 start to differ.
Study 1
I created a blend with burnt umber and cadmium yellow and blotted out areas in the building. I did not want to fill in the shape exactly and simply placed down sections of colours around the building. I tried to keep the colours darker and more vibrant towards the foreground to allow for the effect of aerial perspective. I then used combinations of ultramarine, cobalt and violet to add in shadows and shapes so the building would take more form. As mentioned in my reflection on the Turner exercises, I liked the idea of silhouettes and was trying to keep the markings and blends subtle.
Reflection
There are some issues here. Though I was working with better paper, it created a few pools which has left water markings. I'm also not sure whether the sky is actually atmospheric. I think is because of a lack of contrast. Even though I worked with a similar palette as in my exercises, the blending may not be as effective, it seems that the burnt umber has taken over too much of the space. Additionally, I think it is more difficult to create good blends and contrasts when you are painting on a smaller scale. A larger canvas would allow for more of a colour to be placed down and then bleed towards another.
Study 2
After study 1 turned out less desirable, I decided to further simply my palette and only stuck with burnt umber, which I this time made darker using black , ultramarine and violet. I added in some additional details and shades, but this time mostly focusing on line. While taking a break from the project, my husband noticed the ink sketch I did and commented on much he liked the graphic lines. As I have created watercolours paintings with graphic ink overlays before, I decided to include that as my last layer.
Reflection
As my aim was to explore atmosphere through turners techniques, I think that study 2 did this more effectively. The limited two tones help to create a better contrast in the building and sky and they graphic use of ink brings a stronger emotional sensation to the scene.
Study 1
I created a blend with burnt umber and cadmium yellow and blotted out areas in the building. I did not want to fill in the shape exactly and simply placed down sections of colours around the building. I tried to keep the colours darker and more vibrant towards the foreground to allow for the effect of aerial perspective. I then used combinations of ultramarine, cobalt and violet to add in shadows and shapes so the building would take more form. As mentioned in my reflection on the Turner exercises, I liked the idea of silhouettes and was trying to keep the markings and blends subtle.
Reflection
There are some issues here. Though I was working with better paper, it created a few pools which has left water markings. I'm also not sure whether the sky is actually atmospheric. I think is because of a lack of contrast. Even though I worked with a similar palette as in my exercises, the blending may not be as effective, it seems that the burnt umber has taken over too much of the space. Additionally, I think it is more difficult to create good blends and contrasts when you are painting on a smaller scale. A larger canvas would allow for more of a colour to be placed down and then bleed towards another.
Study 2
After study 1 turned out less desirable, I decided to further simply my palette and only stuck with burnt umber, which I this time made darker using black , ultramarine and violet. I added in some additional details and shades, but this time mostly focusing on line. While taking a break from the project, my husband noticed the ink sketch I did and commented on much he liked the graphic lines. As I have created watercolours paintings with graphic ink overlays before, I decided to include that as my last layer.
Reflection
As my aim was to explore atmosphere through turners techniques, I think that study 2 did this more effectively. The limited two tones help to create a better contrast in the building and sky and they graphic use of ink brings a stronger emotional sensation to the scene.
Tuner's Oil painting techniques
Turner tended to work with mixed media to create his oil paintings. The examination of his paintings show that he actually worked with tempera, which makes sense considering his fast sketch-line painting technique. He would build up several layers to build colour and composition and later apply oil glazes which give the paintings an appearance of being oil paint (Cosentino, 2014).
I watched a video where Tom Keating, a master art restorer, explore the techniques used by Turner by recreating one of his paintings, The Fighting Temeraire (1839). He begins with a primed white canvas (Turner preferred to work on a white primed canvas to maintain luminosity) which has a thin wash of yellow ochre on it. He uses charcoal to create a sketch to work from. He then uses an impasto paste of tempra and a palette knife to block out the light of which the sun is the source. It is applied thick and with a slight jagged motion. He then softens this by dabbing the outer edges with a brush. He uses a combination of browns to block out the boat and a cobalt blue wash to fill in the sky and water. These are done with large round brushes, and again softened with a sponge, a technique called stippling. As he was working with tempra it meant the layers dried quickly and he could move on to creating more detailed layers. Additional touches of light are added a long with finer details on the ship. Particularly when working in the areas that represented sky and water, a knife is favored and applied with zig-zag motions. Touches of red are brought in at the end to add colour. It is form this point where multiple layers of glazing and stippling would happen to bring out the final atmospheric and romantic look that Turner is famous for.
General techniques favored by Turner when oil painting:
- work on white primed canvas
- block in initial shapes and colours with washes
- impasto paint application that help reflect light
- use of palette knives for water and sky
- stippling with a sponge to create atmosphere
- glazing
(The World of Art, 2015)
Experimenting
I used a simple sunset image to play around with, as I wanted to capture the clouds and light. This was also a favorite time of day for Turner, as he could manipulate the warm colours and contrast them with the darker waters. Also keeping in mind that Turner favored blue and yellow colours. I used 3 different approaches to create atmosphere with oils, working with diluted paints, using thick impasto paint and working with a knife. The idea is to see how the same topic can have a different atmosphere depending on the technique used. My colour palette for each study was the same, though each technique requires more or less paint depending on the effect:
yellow ocre, prussian blue, ultramarine, payne's grey, lemon yellow, mixing white, burnt umber, cerulian blue
Each study was completed on a primed canvas of 17x22cm.
Turner tended to work with mixed media to create his oil paintings. The examination of his paintings show that he actually worked with tempera, which makes sense considering his fast sketch-line painting technique. He would build up several layers to build colour and composition and later apply oil glazes which give the paintings an appearance of being oil paint (Cosentino, 2014).
I watched a video where Tom Keating, a master art restorer, explore the techniques used by Turner by recreating one of his paintings, The Fighting Temeraire (1839). He begins with a primed white canvas (Turner preferred to work on a white primed canvas to maintain luminosity) which has a thin wash of yellow ochre on it. He uses charcoal to create a sketch to work from. He then uses an impasto paste of tempra and a palette knife to block out the light of which the sun is the source. It is applied thick and with a slight jagged motion. He then softens this by dabbing the outer edges with a brush. He uses a combination of browns to block out the boat and a cobalt blue wash to fill in the sky and water. These are done with large round brushes, and again softened with a sponge, a technique called stippling. As he was working with tempra it meant the layers dried quickly and he could move on to creating more detailed layers. Additional touches of light are added a long with finer details on the ship. Particularly when working in the areas that represented sky and water, a knife is favored and applied with zig-zag motions. Touches of red are brought in at the end to add colour. It is form this point where multiple layers of glazing and stippling would happen to bring out the final atmospheric and romantic look that Turner is famous for.
General techniques favored by Turner when oil painting:
- work on white primed canvas
- block in initial shapes and colours with washes
- impasto paint application that help reflect light
- use of palette knives for water and sky
- stippling with a sponge to create atmosphere
- glazing
(The World of Art, 2015)
Experimenting
I used a simple sunset image to play around with, as I wanted to capture the clouds and light. This was also a favorite time of day for Turner, as he could manipulate the warm colours and contrast them with the darker waters. Also keeping in mind that Turner favored blue and yellow colours. I used 3 different approaches to create atmosphere with oils, working with diluted paints, using thick impasto paint and working with a knife. The idea is to see how the same topic can have a different atmosphere depending on the technique used. My colour palette for each study was the same, though each technique requires more or less paint depending on the effect:
yellow ocre, prussian blue, ultramarine, payne's grey, lemon yellow, mixing white, burnt umber, cerulian blue
Each study was completed on a primed canvas of 17x22cm.
Diluted paint
I first created a background of Yellow Ocre, which I diluted with turps. It created a very mild yellow background, but with a slight warm glow. I then used a thicker consistency of yellow ocre to paint the sand While this was still wet I added burnt umber (undiluted) to create some texture. For the water and sky, I used turps to dilute and prussian blue, ultramarine, payne's gray and cerulian blue. I then waited for the layers to dry before adding in white and yellow to create the light reflections and clouds. I mostly worked with a flat brush. I then began using glazes as Turner would to enhance colouring. I first glazed with Terre Rouge, which has an orange-like undertone. This brought out a nice warm glow to the image, however it changed the crispness of the clouds. Using another layer of paint, I decided to go back and create more variations of depth in the ocean and sky. I also put more layers of white on the clouds to highlight them better and to give them a slightly thicker texture. I finally created another glaze with Yellow Ocre and gloss. This time I did not cover it over all areas, but chose specific spots where I wanted more warmth.
Reflection
The method of using oil washes works well for creating water, as there is a feeling of transparency, like you may be able to see into the water which I like. It is also interesting to see how not using thick paint all round, helps the areas that do have thicker paint (clouds) stand out more. I quite like the glossiness created by the glazes, though I feel like the image is still quite flat.
One problem I kept facing was the the yellow colours turn green when they get in contact with the blue so I had to retouch areas here and there to fade that out.
Reflection
The method of using oil washes works well for creating water, as there is a feeling of transparency, like you may be able to see into the water which I like. It is also interesting to see how not using thick paint all round, helps the areas that do have thicker paint (clouds) stand out more. I quite like the glossiness created by the glazes, though I feel like the image is still quite flat.
One problem I kept facing was the the yellow colours turn green when they get in contact with the blue so I had to retouch areas here and there to fade that out.
Painting with a Knife
This painting also began with a layer of yellow ocre. I used a small palette knife throughout as the painting is smaller. In the tutorials I noted how the white was often placed first s a way of establishing the light source, so I took the same approach. Following the same method as in the previous study, I painted the sand. I place larger amount of paint on the side of my knife and dragged then across the canvas. I used the same technique in the water and sky. While working with my combination of blues, I worked wet in wet, in order to create some dragging and blending effects. However, I had to wait for layers to dry before adding the white clouds, as wet in wet would not work, because the white mixes with the other colours too easily. In this painting I decided to use lemon yellow, which I dabbed on with a fan brush to create the sunset colours, but I don't think it works as well, as it has a green hue.
Reflection
This method provides a great energy to the subject. It is a much looser style of painting, and creates a far ore impressionistic, almost abstract effect of the subject as can be seen in the close-ups. This technique would be better suited for working on a large canvas though, as trying to create the great textural effects are difficult in such a small space. I quite enjoy painting with knives and created a couple of pieces in the previous unit which were of buildings and figures. This technique may work better for that as it brings and emotional aspect to the work. Although I think the audience would also have an emotional response to the sunset.
Reflection
This method provides a great energy to the subject. It is a much looser style of painting, and creates a far ore impressionistic, almost abstract effect of the subject as can be seen in the close-ups. This technique would be better suited for working on a large canvas though, as trying to create the great textural effects are difficult in such a small space. I quite enjoy painting with knives and created a couple of pieces in the previous unit which were of buildings and figures. This technique may work better for that as it brings and emotional aspect to the work. Although I think the audience would also have an emotional response to the sunset.
Impasto Paint
Again, I used the same colour palette (aside from changing lemon yellow to cadmium yellow) and painting order as before, only now I worked with a thicker flat brush and applied paint straight to the brush and on to the canvas in order to create thick and vibrant colours. I mostly worked wet in wet in order to have some areas of blending, though after the first layers of paint for the sand, see and sky, I waited for them to dry before going in with the white of the clouds again. The impasto technique required multiple layers of constantly tweaking or enhancing shadows and light. Finally, a yellow ocre glaze was used to give the painting additional warmth.
Reflection
Of the three methods, I think this one is the most successful for this specific subject matter and probably more representative of Turner's work, thanks to the vibrant colour and texture. The process of tapping ad dabbing the brush with thick paint, also works well in creating variations of texture in the clouds, which you can see in the close up details. I believe I have meet my aim of exploring atmospheric techniques, by utilizing different tools and textures for creating the pieces.
Reflection
Of the three methods, I think this one is the most successful for this specific subject matter and probably more representative of Turner's work, thanks to the vibrant colour and texture. The process of tapping ad dabbing the brush with thick paint, also works well in creating variations of texture in the clouds, which you can see in the close up details. I believe I have meet my aim of exploring atmospheric techniques, by utilizing different tools and textures for creating the pieces.
Additional Practice
I thought it would be interesting to also create an oil paint version of the building subject I used for the water colour experiments, so I could see how they compare. As I mentioned in my pallete knife study above, I enjoy painting with knives, and have done building studies before with knives, so I wanted to keep building these skills.
I began first by creating a blue background. I used a wash of prussian and ultramarine blue. I then applied a mid-tone layer, which was a blend of ultramarine, prussian and cerulean. This is to create a kind of base or foundation for the rest of the image. I wanted to keep the palette simple as I learned from study 2 in my watercolours that this can be more effective. Next I used prussian blue and swiped out some additional details in the building to create contrast on the building and sky. As a highlight, I decided to go with ? as its appearance become quite warm against the blue, also giving a sensation of night time light. I then went in with crisp white to add clouds, which I immediately regretted! The white was simply to bright and did not fit in with what had become a more night time feeling. Having experimented with the washes in the other cloud studies, I decided create a wash of payne's grey, phato blue and turps to cover the white clouds. A further thought it would be interesting to see what would happen if I treated the wash more like watercolour paint and allow to run, which is the final product you see.
The study is completed on primed canvas and is 38x56cm.
I began first by creating a blue background. I used a wash of prussian and ultramarine blue. I then applied a mid-tone layer, which was a blend of ultramarine, prussian and cerulean. This is to create a kind of base or foundation for the rest of the image. I wanted to keep the palette simple as I learned from study 2 in my watercolours that this can be more effective. Next I used prussian blue and swiped out some additional details in the building to create contrast on the building and sky. As a highlight, I decided to go with ? as its appearance become quite warm against the blue, also giving a sensation of night time light. I then went in with crisp white to add clouds, which I immediately regretted! The white was simply to bright and did not fit in with what had become a more night time feeling. Having experimented with the washes in the other cloud studies, I decided create a wash of payne's grey, phato blue and turps to cover the white clouds. A further thought it would be interesting to see what would happen if I treated the wash more like watercolour paint and allow to run, which is the final product you see.
The study is completed on primed canvas and is 38x56cm.
Reflection
Using knives to create urban or more man made structures seems a bit easier than the more natural subject matter from before. Though working on a larger canvas would probably easier. There is a great subtlety to the first layers that I really like. I think I may have taken it a few steps too far, but then when you are experimenting it is important to see how different techniques will react. My first response to the final product was that I messed it up. The moment I applied the dripping glaze, I thought it was a mistake. I left the painting for the night and only looked at it again the next day, when I noticed how the turps had started to 'eat' away some of the thicker areas (as can bee seen in the close ups). As it dried it also seemed to mellow in intensity and created a strange harmony. I still enjoy the texture and broken shapes you can achieve with knives, but I am aware that I still need more practice.
Using knives to create urban or more man made structures seems a bit easier than the more natural subject matter from before. Though working on a larger canvas would probably easier. There is a great subtlety to the first layers that I really like. I think I may have taken it a few steps too far, but then when you are experimenting it is important to see how different techniques will react. My first response to the final product was that I messed it up. The moment I applied the dripping glaze, I thought it was a mistake. I left the painting for the night and only looked at it again the next day, when I noticed how the turps had started to 'eat' away some of the thicker areas (as can bee seen in the close ups). As it dried it also seemed to mellow in intensity and created a strange harmony. I still enjoy the texture and broken shapes you can achieve with knives, but I am aware that I still need more practice.
Exploring Hard and Soft
Aim: Experimenting with a play on hard and soft compositions
Inspiration: Ancient Art vs. Classical - pre-modern art
In order to understand this contrast, I will look at some works form each to help inform my experiments. When thinking about the contrast between hard and soft, I think of hard being represented by Ancient art forms. The used hard materials and hard lines to represent work. Soft can be a variety of movements during the pre-modern area. Their is the Classical period, where the Greeks and Romans explored idealized beauty. The Renaissance, where artists were inspired by Classical art and combined new found ideas of idealized beauty, realism and naturalism. Finally, Neo-Classicism, which also drew inspiration from the Classical arts, following a set of prescribed ideals which formed the highest art. For the purpose of research, I will focus on Renaissance Art.
Ancient Art Research
The Greeks often decorated every day objects with words and symbols to remind people of their beliefs. Astrology was a particularly popular topic (Belloli, 1999). The Pen Box, below left, is a lovely example of how symbols ar used in repetition as a means to create patterns. The patterns have serpentine and circular shapes and the colour palette is limited to 3 earthy tones, silver, gold and copper.
Another great example to show the use of tri-colour, serpentine lines and patterns, is the Black-Figured Kylix, below right. Figures appear flat and and with distorted proportions.
Inspiration: Ancient Art vs. Classical - pre-modern art
In order to understand this contrast, I will look at some works form each to help inform my experiments. When thinking about the contrast between hard and soft, I think of hard being represented by Ancient art forms. The used hard materials and hard lines to represent work. Soft can be a variety of movements during the pre-modern area. Their is the Classical period, where the Greeks and Romans explored idealized beauty. The Renaissance, where artists were inspired by Classical art and combined new found ideas of idealized beauty, realism and naturalism. Finally, Neo-Classicism, which also drew inspiration from the Classical arts, following a set of prescribed ideals which formed the highest art. For the purpose of research, I will focus on Renaissance Art.
Ancient Art Research
The Greeks often decorated every day objects with words and symbols to remind people of their beliefs. Astrology was a particularly popular topic (Belloli, 1999). The Pen Box, below left, is a lovely example of how symbols ar used in repetition as a means to create patterns. The patterns have serpentine and circular shapes and the colour palette is limited to 3 earthy tones, silver, gold and copper.
Another great example to show the use of tri-colour, serpentine lines and patterns, is the Black-Figured Kylix, below right. Figures appear flat and and with distorted proportions.
The Egyptians also had a diverse system of procedures and ceremonies which made up their beliefs. They created paintings of their rituals to line the walls of tombs and to decorate coffins. The Opening-of-the-mouth Ceremony, right, is a depiction of a burial ceremony of the scribe Hunefer, whose body is being preserved with oils and resins (Belloli, 1999). The painting is flat with no use of shadows. Colours are filled in flat large blocks and in earthy tones, using yellow, brown, white, black and green. Thick black outlines are used to distinguish shapes. |
The Aztec's had a very distinct decorative style which is still popular today. They had a great Empire during the 15th century in the area we now know as Mexico. They also used myths, legends and beliefs to carve ritual sculptures . Pictured left is a Calendar Stone, which is a large slab of basalt rock with carvings showing their calendar and creation myth (Belloli, 1999). Compared to the works looked at above, these shapes are much sharper geometrically. Like the others, we see the repetition of shapes in order to create patterns, and the use of circles to echo the design from the inside outwards is particularly captivating.
From this research I would like to explore with: - patterns - geometric shapes (hard or soft) - earth tones |
Renaissance Art
High Renaissance art can be described as a combination of truth and nature, or as it was called, 'scientific naturalism' (Cavendish, 1984). It was an homage to man and his many abilities. Some of the characterstic that define Renaissance art are:
- the use of perspective to create a realistic space
- the idealization of figures and expressions
- proportional relationships within compositions
- balancing nature, truth and beauty
High Renaissance art can be described as a combination of truth and nature, or as it was called, 'scientific naturalism' (Cavendish, 1984). It was an homage to man and his many abilities. Some of the characterstic that define Renaissance art are:
- the use of perspective to create a realistic space
- the idealization of figures and expressions
- proportional relationships within compositions
- balancing nature, truth and beauty
Michelangelo, Raphael and Carreggio is considered some of the greatest masters during the High Renaissance. Looking at their three paintings above, you can certainly to see how harmony and beauty have been used to create a delicate balance. It is easy for me to discern where the soft elements come from. Firstly, there is a play between dark and light (chiaroscuro), which makes the figures skin appear to be glowing. There is also great detail given to shapes of the figures, highlighting muscles or joint areas in a way that show of ideal proportions or shapes. All the figures are posed in Classical positions with soft gestures and almost expressionless gazes. Though these artists would have had a richer colour palette than those of Ancient art, they have still kept colours toned down, with no sharp contrasts. The figures appear full and round, occupying the space around them, an element which is also quite different from the Ancient figures observed above.
From the research above I would like to explore with:
- soft poses
- rounded figures
- contrasting light
- neutral and well blended colours
- realistic space
Sketches
I first played around with a couple of sketches to see what subject matter of composition works best. I would first sketch the image as a softer more realistic interpretation and then layer over section with more graphic lines.
Study 1:
Here I used a subject in a classic pose with contrappasto positioning used by Renaissance and Greek artists. The contrasting inserts take inspiration from the Egyptian paintings, which show flat figures with graphic outlines.
Study 2:
I chose this image because of the shape of the figure as well as the draping created in the dress, which reminded me of Renaissance paintings. For the contrasting inserts I took inspiration from the pottery and objects I researched in Greek mythology and Aztec culture.
Study 3:
The two figures are in a portrait like pose with soft and limited expression, as was often used in Classical art. The contrasting inserts were inspired by geometric shape which is seen in some of the Egyptian and Aztec patterns, however, I simplified them to just show lines.
Here I used a subject in a classic pose with contrappasto positioning used by Renaissance and Greek artists. The contrasting inserts take inspiration from the Egyptian paintings, which show flat figures with graphic outlines.
Study 2:
I chose this image because of the shape of the figure as well as the draping created in the dress, which reminded me of Renaissance paintings. For the contrasting inserts I took inspiration from the pottery and objects I researched in Greek mythology and Aztec culture.
Study 3:
The two figures are in a portrait like pose with soft and limited expression, as was often used in Classical art. The contrasting inserts were inspired by geometric shape which is seen in some of the Egyptian and Aztec patterns, however, I simplified them to just show lines.
I decided to experiment with Study 1 as I thought the simplicity of it, would make it easier. However, the mistake I made was to use acrylic paint in my studies. I did this because I don't paint with it much and wanted to push myself in exploring the medium better. I also thought that the vibrant colours of the acrylics would make it easier to achieve the flat graphic sections that I wanted to use as a contrast.
After blocking out the lines with charcoal pencil I proceeded to paint in the first layers. I used mostly white with a dash of burnt umber and rose pink to create the skin colour. For the flat sections I kept this as smooth and even as possible. Working with the sections that are meant to look softer and more realistic, I decided to use a blend of green, blue and burnt umber to created shadow and light in the skin, as these are colours I often use when painting figures with oil and I want the tones to appear more dynamic. However, acrylic dries incredibly fast, and no matter how much paint I put on the brush, I could not get them to blend. I was thus left with a figure looking like she had rolled around in the dirt or playing with camouflage paint. As a look on it's own, I don't mind the texture it creates, as it is a bit unconventional and there is still a fuller and rounder quality to the body, which I was trying to achieve. But it doesn't work as an insert. Nonetheless, I continues to finish the flat insert and outlining that with black permanent marker. I am really drawn to the simplicity of the flat lines and colour, as it reminds of old comic books. |
As I already deemed the first take a bit of a failure, I thought I would use it to experiment further. This time looking at the idea of 'hard and soft' being colours. I would contrast the lighter more natural colours of the figure to unnatural and darker colours. For the contrasting colours I used ultramarine and orange, as these two are also complimenting colours and would create additional contrast.
I had to lay the paint on very thick in order to cover up the initial camo skin. As with the flat study before, I kept paint smooth and even so as to maintain a flat surface. Once all the colours were blocked out, I again used a black marker to trace the outlines. I don't know if I would call it a success, but I certainly think it is different. The aspects I am most drawn to is the idea of slicing the image with geometric shapes and the use of the thick outlines to convey the flat nature of the image. I would probably try this technique again, but perhaps with more subtle colour changes. Reflection When this study was just an idea in my head it looked very different to the final product seen here. Creating the sketches as conceptual ideas, was much easier that creating a painted version of it. It is also clear the acrylic just is not the medium for me. It behaves very differently to oil, and as I often don't have time to sit and finish in painting once off, I am better of working with oils. |
On a positive note, I do like the decision of using contrappasto positioning. This usually applied to a standing figure, but the notion of counter weight still applies, 'With the weight shift, the hips, shoulders, and head tilt, suggesting relaxation with the subtle internal organic movement that denotes life' (Encyclopaedia Britannica, 2014). There is a sense of relaxation which due to the setting (bedroom) also brings out a sensual element. I am quite drawn to this composition, and would likely try to paint it again by employing other methods like impasto application, complimentary colours or palette knives.
Though the final product is not what I had set out to in the beginning, it fulfills the aim of exploring hard and soft, as there is the 'soft' colour set against the 'hard' colour as well as the 'hard' black geometric lines that are set against the flat 'soft' background. As mentioned before, the use of hard geometric lines, also create areas of interest in how he image is cut. It reminds me a bit of German Expressionism and Cubism, also two areas I would continue to explore with.
Though the final product is not what I had set out to in the beginning, it fulfills the aim of exploring hard and soft, as there is the 'soft' colour set against the 'hard' colour as well as the 'hard' black geometric lines that are set against the flat 'soft' background. As mentioned before, the use of hard geometric lines, also create areas of interest in how he image is cut. It reminds me a bit of German Expressionism and Cubism, also two areas I would continue to explore with.
Works cited
Belloli, A. (1999) Exploring World Art. London: Francis Lincoln Limited
Cavendish, M. (1984) A popular history of the arts. London: Marshal Cavendish Books Limited.
Cosentino, A. (2014) J. M. W. Turner (1775–1851). Technical Art Examination [online] At: https://chsopensource.org/2014/03/24/j-m-w-turner-1775-1851-technical-art-examination/ (Accessed on 17 September 2018)
Encyclopaedia Britannica (2014) Contrappasto. [online] At: https://www.britannica.com/art/contrapposto (Accessed on 30 October 2018)
Moorby, N. et al. (2010) How to paint like Turner. Tate.
TATE (2011) How to Paint Watercolour Like Turner [online] At: https://www.youtube.com/watch?v=Wce-7Mw0mtc (Accessed on 14 September 2018)
The World of Art (2015) The Master Tom Keating Explains the technique of Turner [online] At: https://www.youtube.com/watch?v=vvdZM6DvlqQ (Accessed on 14 September 2018)
Cavendish, M. (1984) A popular history of the arts. London: Marshal Cavendish Books Limited.
Cosentino, A. (2014) J. M. W. Turner (1775–1851). Technical Art Examination [online] At: https://chsopensource.org/2014/03/24/j-m-w-turner-1775-1851-technical-art-examination/ (Accessed on 17 September 2018)
Encyclopaedia Britannica (2014) Contrappasto. [online] At: https://www.britannica.com/art/contrapposto (Accessed on 30 October 2018)
Moorby, N. et al. (2010) How to paint like Turner. Tate.
TATE (2011) How to Paint Watercolour Like Turner [online] At: https://www.youtube.com/watch?v=Wce-7Mw0mtc (Accessed on 14 September 2018)
The World of Art (2015) The Master Tom Keating Explains the technique of Turner [online] At: https://www.youtube.com/watch?v=vvdZM6DvlqQ (Accessed on 14 September 2018)