Category: Coursework

06 Stefan513593_PoP1_My Presence

Assessment – POP 1: Portfolio and Overall Evaluation

ASSESSMENT SELF-EVALUATION SHEET   My submission summary and overall evaluation of my painting journey with this course:  click here the pdf document: STEFAN513593_POP1_ASSESSMENT_JUL17_SELF-EVALUATION_SHEET Student Name Stefan J Schaffeld Student Number 513593 Course Unit Practice of Painting POP1 Assessment Event July 2017 Tutor Doris Rohr Submission Date 22 May 2017   My portfolio: 1. ‘Pebbles’, a still-life from nature Acrylic paint on paper (48…

09 Stefan513593_PoP1_A remove from the familiar

Assessment – POP 1 – Artist Statement ‘Painting Process as Narrative’

Painting Process as Narrative  My body of work created over the time of level 1 painting course is a narrative that reflects my visual end embodied journey of interacting with my subject matter. Through my profession in art therapy I became continuously interested in exploring different ways to express and present embodied mental images and sensations of personal encounters. My project work shows a gradual development with an…

Assignment 5: Reflection on tutors’ feedback – skype tutorial

Based on draft report provided by my tutor and our video tutorial from 22nd March 2017. The full tutor report is available at:  https://drive.google.com/open?id=0B01FNjP84PHhMDFnUDZzd25rMUU (need permission to access) Summary: I had a very pleasant and positive feedback on my assignment piece and a very fruitful discussion on the way forward. We discussed topics related to my assessment portfolio that were most relevant to me at this…

Assignment 5: Self-Evaluation

  My self evaluation against the assessment criteria for visual arts. Demonstration  of technical and Visual Skills:  In my assignment I let my paintings be informed by my photographs taken on location of the deteriorating house. I looked into different aspects of painting. e.g. monotype as a process step-by-step approach and overpainted photographs. I discovered for the first time how…

10 Stefan513593_PoP1_How little we need to build worlds

Assignment 5: “Memories, the Uncanny & the Un-Homely”

My personal encounter alongside the process of deterioration of a house, memories with an uncanny sensation. ❖ Inside of Us: The Uncanny & the Un-homely ❖ Finding my Theme: I found my theme after reflection on my tutor’s feedback after my last assignment related to painting as documentation and the link to Cornelia Parker’s ‘blowing the shed’ documentation. I was remembering a residential building in…

Stefan513593 - Project 2 - Exercise 1 - Triptych

Preparation: Process Painting

Introduction I got informed by my tutor after last assignment feedback that the sequence of intermediate painting steps can be more than merely a narrative and illustration of my making. My two more successful examples from Part 4 are the one from  Project 1 – ‘Hard and Soft Landscape‘ => with a narrative and emulation of natural phenomena and the other…

Stefan513593 - Part 5 - Sketchbook 10/20

Preparation: Overpainting of photographic images

During part 4 I experimented with photographs and got into the notion of the associated memories of old, especially family photographs (see. Project ‘Squaring Up‘). My tutor felt these paintings as quite successful related to the sequence and showing step separation (similar to interim stage print proofs) and the possibility to work more with photographs. The idea was discussed how…

08 Stefan513593_PoP1_Corroding away at the facade of the smile

Preparation: Texture, Index and abstraction

Texture & found materials: Already in previous parts and projects I worked with textured grounds for my paintings. My examples: Part 4 – Project 4 – ‘Landscape outside‘ and Project 5 – Ex3 ‘Working from photograph‘ Part 5 – Project 2 – Ex 1 ‘Textured ground‘ and Ex 2 ‘Mixing materials‘ I contextualised especially Anselm Kiefer (b. 1945) – see link…

Preparation: Monotype, monoprint and other transfer experiments

During part 4 I experimented with some surrealistic automatic techniques like Decalcomania. Decalcomania is a kind of monoprint, a monotype – one of a kind. I used it successfully in project ‘Linear Perspective‘. The rationale for applying a random pattern of paint was to trigger emotional responses of the viewer with association of mental stages of mind (vertigo, claustrophobia). The starting point was my…

Stefan513593 - Assignment 5 - mindmap #3-left

Assignment 5: Mindmap and development of ideas

My personal encounter alongside the process of deterioration and memories and the notion of the uncanny. Step#1: Overview achievements, scope of project and context in a corner of my studio … a kind of triptych – a narrative of my process: => quite a complex picture of various aspects => I need to reduce and focus Step #2:  I will consider my goal and questions that I will ask myself…

Stefan513593 - Assignment 5 - Painting #2

Project 3 – Exercise 2: Abstract painting from man-made form

As in the last exercise I decided to look at specific images from my series of photographs taken on site. Final Paintings: Painting #1: Enamel and acrylic on canvas board (50 x 40 cm) Painting #2: Oil and acrylic on canvas board (50 x 40 cm) (remark:  the photograph doesn’t show the complex luminosity of the painted surface completely)   Preparatory…

Stefan513593 - Project 2 - Exercise 1 - painting#1

Project 3 – Exercise 1: Abstraction from study of natural forms

Abstraction: In the context of this project of ‘Abstraction’ I wanted to understand a bit more of other approaches in painting and looked already some time ago into the Korean movement ‘Dansaekhwa‘, also called ‘Korean monochrome painting’, that evolved in the 1970s. I find it intriguing how the artists look at painting as ‘an act of physical movement and interaction with the…

Contexual research: Narratives in painting

My last assignment 4 was about serial painting and cluster assembly as a format for narrative. I experimented in part 3 also with other narrative in perhaps rather illutrative way of narrative, telling a story – see Project 3  ‘Telling a Story – Keti Koti‘. I was wondering how I could work on other formats of narrative for my personal…

Assignment 5: Contextual research ‘The Uncanny’

Researching ‘The Uncanny‘ in relation to visual arts, personal encounters and sensations and buildings. My initial sketch for my project related to the deteriorating residential ‘haunted’ building and I associated this with the uncanny. In reference to E. Jentsch and S. Freud the main aspect of the german word ‘Das Unheimliche‘ is linked to the fearful and emerging aspect of something…

Project 2 – Exercise 2: Mixing materials into paint

Continuing with experiments paint and found materials. For this exercise I decided to go through a more methodological series of materials. The materials I choose are linked to my subject matter of residential building, interior, living on countryside as well she more linked to painting as suc: Salt Ground Coffee Tea Leaves Earth ground Rabbit hide gue Bee wax  …

Stefan513593 - Part 5 - Sketchbook 14

Sketchbook pages (15): Visual ideas for my project – photograph transfer

Working with photographic images as base (taken from location): From my initial photo shots from location (see:  http://ocapainting1.stefanschaffeld.com/?p=3443)  of the deteriorating residential building I printed out a few photos on regular paper with my inkjet printer, and transferred them with acrylic adhesive to my sketchbook. A technique I experimented with earlier with own color studies – see at: Part 2…

Stefan513593 - Project 2 - Exercise 1 - Triptych - progress (2)

Project 2 – Exercise 1: Preparing a textured ground

Moving ahead with the exercises I let my ideas and site experience for my personal project inform my experimental exploration of materials and painting approach. In previous exercises I already uses some textured grounds for paintings (e.g. Part 4 – Project 4 ‘Painting a landscape outside‘ – ‘Artefacts‘). Therefore not totally new to me. In scope of this exercise I will…

Stefan513593 - Assignment 5 - photo series#2

Assignment 5: Preparation location visit – photo shooting

Working Subject: The Uncanny – deterioration of a residential building and fading memories – human absence  My unedited series of photo shot on location: capturing building, close up views, and environment, trying to capture a sense of place and space. This series of photographs cannot reflect and convey the entire sense of whole embodied experience on site. I decided to bring…

Stefan513593 - Part 5 - Sketchbook 17

Sketchbook pages (14): Visual ideas for my project

A further exploration of ground, textured and less textured, though still meaningful through my approach of making it – at times leaving the tool be part of the picture  – a possible direction to go for my project.   Found leaves (crushed), linseed oil, gouache, charcoal: => the texture foreground with found objects mirror with gouache paint in the background…

Stefan513593 - Project 1 - Exercise 2 - #2

Project 1 – Exercise 2: Dripping, dribbling and spattering

Another exercise I couldn’t image how to embed this into my personal project. Thus another fresh run with fun and experiments with different media. I was hopeful that I will be able to build some ideas for my project while experimenting ‘the deterioration of a residence building – an uncanny experience’ Contextual research: Looking up some information about Pollock’s painting approach, the paint…

Project 1 – Research Point 2: Abstract Expressionism_Tachism

I already looked briefly in my previous research on paint application on dripping and splashing in the context of the American Abstract Expressionist movement what I will investigate a bit deeper in this research (Schaffeld, weblog post 16 Jan 2016) American Abstract Expressionism One main aspect connected with this movement is Action Painting alongside the dripping and splashing of paint. This is…

Project 1 – Research Point 1: Applicaton of Paint

At the beginning of this course I already looked up some ways to apply and blend paint – the rather  ‘traditional’ way including impressionists (Schaffeld, weblog post 17 Feb 2016). Blending techniques with brushes: Gradient blending: control of transition (eg. Tim Maguire ‘Slits 94.27‘, 1994) Wet-in-wet blending: randomly spaced brush blots (eg. Richard Diebenkorn ‘xxx‘, ) Scumbling: a motted effect…

Reflection: Achievements and Outlook

Past achievements I was deeply engaged in part 3 ‘Figurative‘ and part 4 ‘Looking out‘  with various subjects and parallel project works on my own in context of the course scope: Part 3: Daily Self portrait paintings to sharpen my observation skills and to elaborate further the subject of ‘self-portrait’. Here I found the development of certain aspects e.g. object…

Stefan513953 - Part 4 - Assignment 4 - Re-Visited - Cluster #2

Assignment 4: Reflection on tutors’ feedback

Summary: Despite my delay of deadline by nearly one week and the festive days off, I received the formative report back from my tutor very quickly. Overall I left an impressive work for part 4 and my tutor thought that I already pre-empted the next assignment 5 and by that I would have completed the course by including aspects required now in this…

Assignment 4 – Self Evaluation

My self evaluation against the assessment criteria for visual arts. Demonstration  of technical and Visual Skills:  During part 4 I embarked on my parallel sketchbook work to explore and discover the world around me at me work and living place in Switzerland. My regular quick sketches trained not only my observational skills of traditional landscape paintings. I could learn more…

Stefan513953 - Part 4 - Assignment 4 - Re-Constructed Landscape

Assignment 4 – ‘A Constructed Landscape’

I described my contextual research, my initial experiments and my plan forward for this assignment in a separate post at: http://ocapainting1.stefanschaffeld.com/?p=3055 Final Painting: The constructed Landscape (12 segments each 40 x 40 cm – total 120 x 160 cm), Ink and acrylic on primed paper 600 g/sqm Preparatory work: As roughly outlined in my initial thoughts I looked up first my two sketchbooks…

Assignment 4 – A Landscape Painting – Initial thoughts and context

Conclusion and consolidation for my work forward: A landscape is a cultural constructed image. In visual art and especially painting typically viewed as a framed image. For me the question can I embed this in my work? How can I apply perspective in a different way (see my painting in Project 1 Ex 1 ‘Linear perspective‘)? How can I incorporate architectural…

Contextual Research: suggested readings – Drawing as narrative

As part of my assignment 3 feedback received we discussed the topic of narratives and visual images. My tutor suggested some further reading. I do not spend that much time here on the research just taken short notes and links. I have to come back to this at a later stage. Besides serial paintings as such it involves other media, moving…

Part 4 – Review painting and sketches

My reflection on part 4 ‘Looking Out‘ Which have been the most engaging exercises? => The most physical engaging exercise for me was Project 4 ‘outdoor painting exercise‘ and as a kind of continuation Project 5 Ex3 ‘Working from photograph (Cloud Sublime)’. The most mentally engaging exercise with surpisingly outcome was P5Ex2 ‘Squaring up (Memories)’. Besides those exercises I find my sketchbook explorations…

Sketchbook pages (13): Sketchbook #11 – Aare river, Switzerland

This sketchbook is from my sketch crawl close to my residence in Switzerland (Bremgarten, canton Bern) at the river Aare. Inspired by nature, water and residential architecture in the neighbourhood. My physical and embodied encounter with the world around me. I have to say that it was quite cold outside, around zero and felt like minus something. Well prepared with…

Project 5 – Exercise 3: Working from a photograph ‘Sublime cloud’

My reference photo:   Final Painting / Works: ‘Sublime Cloud #1’: Painting Acrylic and and found objects on primed canvas (37 x 63 cm)     Contextual research: For the painting I envision a rather atmospheric painting I can relate back to my site experience as well as using  my painted support on site with encapsulate found particles as the starting…

Project 5 – Exercise 2: Squaring up – ‘Memories’

The course material suggested to look at townscape or individual building that involve perspective. This method can be applied to drawing and photos.  I was looking through my collection of picture and found eventually a good image for this exercise. The squaring up method is to ensure accuracy of scale and proportions and to consider as a guide that should…

Project 5 – Exercise 1: Painting from a working drawing ‘Presence’

This exercise asks to follow a certain method in three steps: linear study with focus on main shapes tonal study with focus on values and tonal contrast color study with focus on color relationship, dominant colors and light effects. I understand that making those studies would have a couple of benefits (to be confirmed at the end): Isolation of different…

Contextual research: Moving images, architectural images and the embodied image

”In a work of art we encounter ourselves and our own being-in-the-world in an intensified manner.”   –   J. Pallasmaa Following my last tutor’s feedback and an earlier discussion with her I am interested in the embodied experience of images in a wider context. Painting could be seen as an illusion on a more or less flat surface, it can also the seen time…

Sketchbook pages (12): Sketchbook #08 – Bernese Oberland, Switzerland

Sketching outdoor and looking outside through windows at and in the neighbourhood of my workplace in Meiringen, Switzerland and some views on the mountain Niesen, Thun on the way back home. Working fluently with watercolour, exploring human presence, and investigating various viewpoints. A visual note-taking of impressions and thoughts. A time based looking through my sketchbook –  filled with impressions:…

Project 3 – Exercise: Creating mood and atmosphere

Look at your early paintings and think how each subject could be handled differently to convey a more explicitly gloomy, moody atmosphere – or a different atmosphere altogether: Overall I do believe that my paintings from project 2 are rather expressive and evoking powerful and at times mysterious atmospheres. With my paintings from project 1, I am not that sure, especially…

Project 3 – Research Point: Expressive Landscape

Images related to this research are also available on my Pinterest board at: https://de.pinterest.com/sjschaffeld/landscape-art-emotive/ All online images accessed between 20 and 24 Nov 2016 Symbolism (1880 – 1910) see: http://www.theartstory.org/movement-symbolism.htm Symbolism was a movement in art and literature that emphasised the expression of ideas through the symbolic meaning of forms, lines, shapes and colors. It was not any longer about realistic and naturalistic depiction…

Stefan513593 - Sketchbook Part 4 - 5

Sketchbook pages (11): Exploration of theme ‘The Mountain Cries’

Based on my earlier sketchbook works I explored deeper how I can work with water and fluidity. I eventually came up with some ideas and a new theme  ‘The Mountain cries‘. Keeping the void and the deep black as visual elements. Color: visual element, uncanny, mood, I am excited to see how this will develop further. I can links to eco…

Stefan513593 - Project 2 - Exercise 1 - Linear Perspective - #2

Project 2 – Exercise 1: Linear Perspective ‘InsideOut’

The course material mentions shifting perspectives and the focus on line. Using colour and tonal contrast as an additional visual element not necessarily relate to the objects and form. Colour to create “a sense of indeterminate space that is structured just by line”. Contextual research The rules of linear perspective as a mathematical based perspective around one central vanishing point from…

04 Stefan513593_PoP2_Rock

Project 1 – Exercise 2: Hard or soft landscape – ‘The Rock’

For this exercise I will build on my sketchbook works that I keep as a daily routine for exploring my surrounding environment and for experimentation. I am taken a view from a window out of the residence building of the clinic in Meiringen (Bern) Switzerland. Meiringen, also know as the place of Sherlock Holmes story ‘The Final Problem‘ (Wikipedia). I will…

Stefan513593 - Project 1 1 - Exercise 1 - painting #1

Project 1 – Exercise 1:  View from a window or doorway

“Painting is like an open window on the world.” – Alberti (De pictura ,1435)  “A window becomes a frame for its variable content, a marker of difference between what is inside and outside” (Orell, 2003) Ideas for my view of the external world: I notice that I did kind of looking out paintings in part 3 – project 3 ‘A Figure in an…

Part Four – Research point: Landscape Painting

Landscape painting is a wide area and I feel that I have to condense my research to the most relevant ones to my own approach. I will look rather at those artists that attract my attention either by visual impact, uncommon use of material, or unique perspective and approaches. Landscape can have a meaning from idyl, refuge and retreat from…

Contextual notes for part 4 (3): Large scale painting

In this third part I am looking how large scale works can be made.  For all projects especially assignment work:  Large paintings can be considered as one single large canvas like executed by Richard Diebenkorn (1922 – 1993) with his ‘Ocean Park‘ series of very large (up to 8 1/2 to 6 1/2 feet) abstract paintings (non-gestural) as a kind “gorgeous compositions of color…

Contextual note for part 4 (2): The Sublime

In this second part I will have a short sneak in the sublime and its meaning for visual art. For all projects ‘Sublime‘:  My tutor suggested me to look at the concept reps. theory of the Sublime. I am currently residing in Switzerland in the canton Bern and would have easily access to the mountains around me and the snow dropped already down there. Sublime…

Contextual notes for part 4 (1): Looking Out

Before embarking on part 4 with the outdoor resp. ‘looking out’ elements I consider key aspects for me to keep in mind and to reflect on till next assignment. My tutor provided me some helpful suggestions to look out for. In the first part I am looking at the architectural elements in context with the relationship between the viewer, the artist, me and…

Assignment 3: Reflection on tutors’ feedback

Yesterday I had a skype tutorial with my tutor and received afterwards the formative assignment report back. I really liked the kind of tutorial in a dialogue and reflection on my current status, interest, and possible way forward. Summary: One aspect that I am aware of and came up again was how I as a prolific student can stay more focused. My tutor…

Assignment 3 – Self Evaluation

My self evaluation against the assessment criteria for visual arts. Demonstration  of technical and Visual Skills:  In part 3 I explored more and deeper the materiality of the oil, acrylic and gouache paint. Besides that, I worked with dry pastels especially in my parallel personal project of a daily self-portrait. I enjoyed working with dry pastels as I can easily…

Stefan513593 - Assignment 3 - final painting

Assignment 3 – A Figurative Painting

This assignment will consolidate my learnings of portrait and self-portrait painting. Elements that need to come through: handling paint, interpreting my subject, exploration of possibilities in portrait painting, and consideration of background. Initial thoughts: After my last exercise and the concept of modern slavery and human trafficking in context of cultural history I found that I need to take a…

Project 3 – Exercise 2: Telling a Story – Keti Koti

This exercise asks for a painting that creates a simple narrative, involving one or several human figures, and produces a painting that gives the viewer the clearest possible idea of what’s happening. Use all of the resources of colour, tone, shape and line to create a painting that goes beyond the merely figurative to convey a simple narrative. Use of exaggerated form or distort…

Stefan513593 - daily self-portrait #59: Acrylic on acrylic paper (48x36cm)

Daily Self-Portraits: Week 9 – ‘Portrait objects’

This week’s goal is to make each day 9 smaller paintings on one page capturing portrait partials and  other objects that are directly influencing my self perception.  By that I will paint a collecting of items that at the end present myself. I took some inspiration from Carole Schneemann‘s ‘Partial Portraits’, 1963 and the Cluster pictures by Juliette Blightman hanging on…

Project 3 – Exercise 1: A figure in an interior

In this exercise I will look at how to depict figures in an interior scene. As this subject can be very complex and challenging to paint I will try to simplify and to focus on key elements in my paintings. Final paintings Painting #1: Acrylic and oil on acrylic paper (40 x 30 cm) Painting #2: Acrylic on primed canvas (50 x 50 cm) Contextual…

Project 3 – Research Point: Figures in Interiors

I am going to make first an overview about figures in interior in art history before looking specifically at some painting I find appealing. Overview: In part 2 I researched the interior genre in art history (Schaffeld, 12 Jul  2016) and found that in the Dutch genre paintings quite often people, mostly women and children, were depicted. I think for obvious reason…

Stefan513593 - daily self-portrait #56: Gouache on paper (100x70cm)

Daily Self-Portraits: Week 8 ‘The Eyes of the Skin’

Task for this week: Bodily engaging painting – body painting – painting with my body – another self-portrait “The Eyes of the Skin” (Juhani Pallasmaa) Traditionally vision was considered superior and alongside words the dominant aspects in art history and aesthetics. Other senses as touch and smell were since Aristoteles considered as inferior. Pallasmaa (2005) looked into those aspects in the context…

Project 2 – Conclusion on my portrait paintings

What technical demands did you encounter? => Mastering various media (e.g. oil sticks) was a challenge. Also I noticed that I am tending to work rather realistic and concerned about accuracy when working on larger scale and when spending more time at my easel. More distance to my easel and with less preparation work and less time typically allows me to…

Stefan513593 - daily self-portrait #48: Pastel on PastelMat (50x35cm)

Daily Self-Portraits: Week 7

Plan for this week: Revision and reflection Form the previous weeks there are several aspects and approaches that I would like to follow further: Color to depict mood and atmosphere Luminosity through color and tonal contrast and layering Additive and subtractive painting, textured grounds Bodily interaction I think it would be beneficial to dedicate one week to one specific theme. Task…

Stefan513593 - Project 2 - Exercise 4 - #1

Project 2 – Exercise 4: Conveying a character

First I am looking up the word character to possibly understand some variations of it (http://www.merriam-webster.com/): character – the way someone thinks, feels, and behaves : someone’s personality – a set of qualities that are shared by many people in a group, country, etc. – a set of qualities that make a place or thing different from other places or…

Stefan513593 - daily self-portrait #36: Oil and acrylic on linen paper (48x36cm)

Daily Self-Portraits: Week 6

Plan for this week: Further exploration in context, different viewpoints, working in oil Learnings: Luminosity: using japanese paper with oil, absorbing oil (learning from part 1) and translucent to backlight Working in oil takes really more time – challenging for one painting a day. The last paintings were actually done in two days. Focusing on one focus area can make the overall…

Project 2 – Exercise 3: Creating mood and atmosphere

Idea: Atmosphere of mental health, sadness, isolation, melancholy based on my work experiences as an art therapist. Using myself as a mirror (and with a mirror) and as a carrier for the mood that I experienced while working with patients in a psychiatry clinic. General symptoms of depression are: fatigue, worthless, hopelessness, emotionless, dumb, emptiness, anxiety, insomnia, sadness or ‘feeling blue’. General a high…

Stefan513593 - daily self-portrait #30: Acrylic on acrylic paper (48x36cm)

Daily Self-Portraits: Week 5

Plan for this week: in oil and acrylic, leverage my self portrait learnings, new poses Learnings: with a coloured ground, still wet scratching is another way to build shapes (reminds me at the scratch works at school time in oil pastels, black overpainting over coloured spots) Luminosity: based on strong tonal contrasts or by multiple transparent layers Concept: Mirror reflection…

Painting atmosphere: Kaye Donachie

After my assignment 2 my tutor gave me feedback on some of my sketchbook pages where I developed a sense of luminosity. In this context she suggested my to look at the works by Kaye Donachie (b. 1970), Glasgow born british painter. She works mostly at medium range of formats (40×50 to 50x60cm) on figurative paintings.  Her paintings are depictions of utopian,…

Project 2 – Exercise 2: Head and Shoulder Portrait

Contextual: The last exercise brought me closer to using flesh colors and color pads application to depict believable forms. For this exercise I would like to look at a different approach that I studies partly already in my personal project ‘Daily Self-Portraits’: looser brushworks and bolder color use with at times thicker and thinner application. Overall to achieve a ‘lighter’ painting…

Contextual research: Broken or muted Colors

My tutor suggested me after assignment 2 to look into using broken colors by other artists. Broken or muted colors are colors mixed by tertiary or complementary secondary colors (see exercises from part 2 – click here) Walter Sickert (1860 – 1942) was born in Munich, Germany, a printmaker and painter and was a member of the Camden Town Group…

Project 2 – Research Point: Portraits that convey mood and atmosphere

See also my research on ‘Self portraits in art history’ – click here. The color blue: Pablo Picasso (1881 – 1973) ‘Blue Series’, 1902 – ‘Two Sisters’, 1902  (http://www.arthermitage.org/Pablo-Picasso/Two-Sisters.html) or – ‘Blue Nude‘, 1902 (http://www.pablopicasso.org/blue-nude.jsp) or – ‘Melancholy Woman‘, 1902 (http://www.dia.org/object-info/d1442e0a-e2b0-43cb-ac03-07f34acd5471.aspx?position=6) Edvard Munch (1863 – 1944) – ‘Melancholy III‘ (http://www.moma.org/learn/moma_learning/edvard-munch-melancholy-evening-on-the-shore-1896). Picasso’s ‘Blue series’ is known as his transition period towards…

Stefan513593 - Project 2 - Exercise 1

Project 2 – Exercise 1: Self-Portrait

Since the beginning of this part ‘Portrait and Figure‘ I started with my personal project of one self-portrait a day (available on this blog at: http://ocapainting1.stefanschaffeld.com/?cat=64). Exploring  various media, viewpoints, angles and proportions of surrounding space. Experimenting with different painting approaches and expressions. Most of them are painted within one hour. Selection of first three weeks of daily self-portraits: in watercolor, ink,…

Stefan513593 - daily self-portrait #17: acrylic on primed paper (39x27cm)

Daily Self-Portraits: Week 3

Learnings: Working with palette knife enabled me to work more investigative with additive and subtractive marks With some inspirational references to other artists (#17-21) I was looking into other perspectives of painting. Plan for next week: Exploring planes and less drawing in paint. Inspirational sources: Elizabeth Peyton (#19-21), Jonathan Yeo (#17-18) newest on the top: #21: Gouache on paper (30 x 40 cm) =>…

Assignment 2 – Reflection on tutor’s feedback

I received a very comprehensive and constructive feedback that I am satisfied with. Many comments were quite aligned to my own feelings to my works – although I was not always able to phrase them in the right context for myself. I had the chance to have a follow up skype call with my tutor to clarify some topics.  I am…

Project 2 – Research Point: Self-Portrait

An overview of self-portraits in art history From previous researches and exhibition visit dedicated to the self-artists-portraits (Schaffeld, Sep and Dec 2015) I understand self-portraits as I wide area that goes far beyond representing merely the image of the self. It can help to reflect on the artist’s identity or to mirror the image of the “ME” the artist wants to convey.…

Stefan513593 - daily self-portrait #10: ink and white gouache on paper (40x30cm)

Daily Self-Portraits: Week 2

This week I decided to follow just my intuition and to work in some other materials and with stronger emphasis on surface and additive and subtractive painting. I focused more on broken colors and limited palette. Learnings: With a more experimental approach like in my sketchbooks I got a loose approach. Experimenting with oil sticks was fun – challenging on…

Notes – Part 3: Figure and Portrait Painting

I am really looking forward to figure and portrait painting. During my first and previous OCA course ‘Drawing 1’ it was the figurative part where I found eventually a new confidence in my artistic approach. I developed an intimate relationship between media and surface in a constant interaction and engagement during the process of the making. I want to leverage this into my painting approach.…

Assignment 2 – Self evaluation

My self evaluation against the assessment criteria for visual arts. Demonstration  of technical and Visual Skills: Part 2 allowed me to explore more the basics of colour concepts and visual perception of colour in an objective (I doubt this is possible at all) way of matching colours and tonal values and an subjective way of how to create atmosphere and…

Stefan513593 - Part 2 - Assignment 2 - Painting 2

Part Two – Assignment 2: ‘Interior Illumination’

Aim: To demonstrate my understanding of colour, tone, composition and the development of my technique in my chosen medium. I will build on my learnings so far in this course and consider viewpoint, perspectives, tonal values, contrast, relationships and mood/atmosphere. Finished Paintings ‘Interior Illumination‘: Painting 1: Oil on acrylic ground on canvas mix (60 x 80 cm) Painting 2: Oil…

Project 4 – Exercise 2: Simple perspective in interior studies

This exercise is about creating an illusion of space in a painting with a limited palette, rather like a drawing with paint. Focus is an accurate depiction of perspectival space and measurement of proportions. In the previous exercise of quick studies I chose the initial sketch #8. But as it needed a more elaboration I did a few more sketches to incorporate more…

Project 4 – Exercise 1: Quick sketches around the house

Quick sketches to spend not more than one hour, more a visual note taking to see interesting linear feature and lines that can emphasise illusion of space. With graphite and pencil in A4 sketchbook. My standing view      My sitting view   I was thinking how I could take the learning from my contextual research on interiors into these quick…

Project 4 – Research Point: Interiors genre

See also my research and weblog post on ‘Domestic interiors’ as part of my Drawing 1 course unit. (Schaffeld, 02 March 2015) With the growing wealth in the Netherlands in the late 16th and 17th century, two genres made became quite popular: still life and interiors. The first one with focus on abundance and depiction of precious objects that were…

Project 3: Conclusions on still life in color

What different visual effect did I achieve in this project? Painting with an accurate tonal value and colour matching (in acrylic): => a clear view and realistic view close to a naked eye perception, not interpretation or emotional association required. One can truly related to this a subject from own domestic life. Painting with a limited palette of just two complementary colours and…

Project 3 – Exercise 5: Still with color used to evoke mood

Continuing with my same still life scene but how being free to explore colour and colour interaction in a way that it evokes mood.  balance, serenity and calm atmospheric. My final image: Oil on unprimed canvas (40 x 60 cm) The relationship of colour and mood was articulated some centuries ago. JW Goethe explored the in his color theory the…

Project 4 – Research Point: Linear Perspective

During my OCA course ‘Drawing 1’ I researched the traditional context of linear perspective and how it became a convention in visual arts since the Renaissance. (Schaffeld, weblog post 2015) Linear (or central) perspective is the mathematical approximation of how one observer do perceive the world around him as described by Leon Battista Alberti (1404–72) in his treatise De Pictura (on painting).  Mainly it consists…

Project 3 – Exercise 3 – Still life: Color Accuracy

This exercise is about matching color and tonal values as close as possible. In the previous still life exercises I already practiced this and found the following approach as very helpful: Tonal value study:  in pencil / charcoal etc. for Matching tonal value:  Starting with a colour with a hue that is close to the target hue but with higher saturation as…

Project 3 – Research Point: Optical Effects

“Artists enhance and elaborate the effects, whereas scientists contract and constrain them.” (Nick Wade, 2003) Optical effects are based on visual perception associated to observed constraints and conventions. Pascal Mamassian (2016) explores in his article about ‘Ambiguities and conventions in the perception of visual art‘ how the human eye and mind of the observer resolves ambiguous scenes in everyday perception and comparing them…

Project 3 – Exercise 2: Successive contrast

Successive contrast means the phenomenon whereby a sensation such as lightness, colour, or warmth tends induce the opposite perception. It works best if the colour field is of high saturations and brightness and the afterimage typically let the complementary colour appear when looking at a white paper afterwards. But is also works on other coloured grounds. The following image demonstrates how the…

Project 3 – Exercise 1: Exploring Contrast

About simulataneuous and successive contrast: effect of an inducing fields onto a test patch. The higher the saturation of the test field the stronger the effect. Comparing visual colour perception of juxtaposed colours close to each other:   => Colour perception is strongly impacted by the surrounding space. Close  to each colours are muting each other. The complementary colour of…

Project 2 – Conclusions on still life paintings

Conclusions on Project 2 Still life paintings:  Reviewing my still life paintings up to today. What are the most successful ones and why? In all four still life I experimented with different approaches. The ‘Bathroom‘ (Still life 1) I worked with loose hand to depict a realistic scene. The ‘Poppies’ still life are building on the concept of refection and mirror enforced by a…

Project 2 – Exercise 4: Still life with man-made objects

For my third still life painting in this project I decided for a ‘man-made objects’ on which I can improve my painting approach in a loose and more expressive manner. I will skip due to time constraints  exercise 3 (natural objects). This exercise ask for a simple, compelling arrangement (max four objects with a common use), and creating a visual drama through tonal…

Project 2 – Exercise 2: Still life with flowers

Looking at flower painting makes me somehow nervous. What I know is either expansive detailed flower pieces or Emil Nolde like watercolour paintings. I tend to dislike both for whatever reasons. The first one maybe because of the incredibility detailed work that I would have to out in, the latter maybe because of the – for me – ‘nice’ but not…

Project 2: Linear qualities in painting – Contextual research

In preparation for this exercise I was curious to see what else I can learn form drawing with paint and linear qualities. How artists using this in different approaches and if I can build on one or the other for my own work. Contextual research: This exercise is searching for drawing, line markings in a painting. At first the bold…

Project 2 – Research Point: Still life

During my last OCA course unit ‘Drawing 1’ I did a thorough research on still life in art history and pulled up a table that illustrated for me the evolution of still-life (Schaffeld, 2015). What I know so far about Still life : A range from illusionistic painting with Trompe d’Oeil effect (e.g. Pieter Aertsen, Jan Fyt, Juan Sanchez Cotan) towards more coloristic…

Project 1 – Exercise 4: Complementary colors

Remark: embedded photos do not show necessarily my colour perception of the originals. The idea of the exercise is to mix a complete color wheel and to see how opposite colour, called complementary colors,  do behave in juxtaposition and in mixes. Definition (Oxford Art Online): “Pairs of colours seen to be in strong contrast to one another. This is achieved through the…

Project 1 – Exercise 3: Broken or tertiary colors

Broken and tertiary colours = ‘Produced by the mixture of secondary colours, tertiary colours are often very dull and tend to be variations of greys and browns.‘ (Oxford Art Online). Tasks:  Make a scale between orange red and green blue with consistent tonal values. Mid point should be grey For this range I wanted to understand what red-orange and green-blue means regarding the…

Project 1 – Exercise 2: Primary and secondary color mixing

Before starting this exercise on my prepared middle grey supports I wanted to look up what primary and secondary colour really means: Looking up definitions in Oxford Art Online: Primary colour: ‘One of the three chromatic colours—red, yellow, and blue—from which all other colours may be mixed, with the assistance of black and white.‘ Secondary colour: ‘The three colours which are produced by mixing pairs of the…

Project 1 – Exercise 1: Mixing greys – Anachromatic scale

What is an ‘anachromatic’? Trying to look it up in the internet gave surprisingly little information. Looking up ‘achromatic’ in Merriam-Webster brought up the definition  ‘possessing no hue‘. It believe that the same, a scale comprising only of white, grey, and black. No hue. In Oxford Art Online under entry ‘Colour ‘s stated: ‘The chromatic or hued colors include red,…

Assignment 1 – Reflection on tutor’s feedback

I had today a skype call (tutorial) with my tutor and I found it very helpful to interact with my tutor in this way. I reflected on the formative report she sent me beforehand (draft) and this was base for our discussion and her support. She highlighted in her report several topics that at times also went beyond level 1…

Part Two – Research Point: Color theories Chevreul

Michel Chevreul (1786-1889), a french chemist was once commissioned by a french tapestry manufacturer to investigate the phenomena of fading colors and dull dyes. The cause seemed to be in bad dyes performance. What he found out was not a fading process but a color phenomena derived from a simultaneous color contrast from adjacent colored threads on the tapestry that influence each…

Assignment 1 – Self evaluation

My self evaluation against the assessment criteria for visual arts. Demonstration  of technical and Visual Skills Materials:Throughout part 1 I learned more about transparent and opaques mixing and painting techniques. At the beginning I struggled to make them bold enough. The assignment piece however allowed me to investigate and explore further both techniques in a meaningful sense. I found an…

01 Stefan513593_PoP1_Pebbles

Part One – Assignment 1: A finished representational painting ‘Pebbles’

With this assignment I want to answer some questions that came up during my previous exercises: – When to apply opaque and transparent color mixing? – When to create more solid forms and when more atmospheric perception? – What kind of ground should I use? – Definition of value scale: Low key or high key painting? Or middle? – Definition of edges: lost…

Project 3 – Exercise 2: Tonal study on a dark ground

I am wondering about the term imprimatura mentioned in the course materials. Looking it up I found that it means an even toning in a certain color of the support. At times it get confused with underpainting. Also the imprimatura doesn’t need to cover the whole support to leave some areas intentionally open. The meaning of underpainting goes more with the term…

Project 3 – Exercise 1: Tonal study one white ground

This exercise tackles the question how to render believable forms in a range of tonal values in a monochrome painting. Considering chiaroscuro means to use light and dark tonal values to depict the effect of light and shadow on objects. The setting would be a simple still-life with simple objects.   Some contextual inspiration: Giorgio Morandi (1890 – 1964) – a…

Project 3 – Research Point: Chiaroscuro

Chiaroscuro  (form ital. Chiaro = light, scuro=dark) is one of four painting concepts from the Italian renaissance. The other three are: sfumato (rendition of blurred edges around the contour), unione (gradual transition of light and shadow areas), and cangiante (rendering shadows by changing color). Two of the first artists working in this method was Massacio (1401 – 1428) and Leonardo da Vinci (1452 – 1519).…

Project 2 – Exercise 3: Opaque colour mixing

I was wondering which of my previous color gradation I should use to match with an opaque mix. My goals for this exercise are: working in oil and acrylic, understanding better transparent versus opaque painting, managing challenges of color transitions.   My starting point for this exercise:  a. Oil: Ultramarine and violet (simple and two color gradation) b. Acrylic: Hansa yellow/Phtalo…

Contextual painting: Rothko and stained glass

I got curious about the interplay of light and color, the visual effect color can do, and the ‘accidental’ color that light brings. Mark Rothko used quite opaque layers (to my understanding) and in the context of stained glass. One early example of light and color is the stained glass image of the Prophet Hosea in the Augsburg Cathedral (c. 1130):…

Contextual Research: Mark Rothko – Seagram murals

To place my experiments with color washes into context I am looking the the large color field painting of Mark Rothko (1903 – 1970). The course material suggested to look at the Seagram Murals at Tate. The group of paintings were initially part of a larger commission for the Four Seasons Restaurant in the new Seagram Building in New York (designed…

Project 2 – Exercise 2: Overlaying washes

In this exercise I will experience difference between wet-in-wet and wet-in-dry overall techniques. Based on my leanings from previous exercise I will use turp instead of white spirit for oil. Further I will use a better acrylic paint (Golden Heavy Body). A) Oil paint – Wet-in-dry overlay: Applying same color as previous exercise on dried color gradation   Learnings: It works…

Project 2 – Exercise 1: Tonally graded wash

In this exercise I will learn how to make steadily graded washes. My supports: – commercial available special oil, acrylic paper – paper sized with hide glue My paints: – Oil: Royal Talens Van Gogh (ultramarine, violet, cadmium red medium, and alizarin crimson) – Acrylic: Royal Talens Amsterdam Standard series (ultramarine, cyan primaire, naphthol red, and alizarin crimson) Solvents: –…

Project 1 – Exercise 3: Painting with pastels

For this exercise I will work with dry pastels (Sennelier soft) and oil pastels (Boehner studio brand and Caran d’Ache Neopastel artist quality). I do feel more comfortable to work in dry pastels from previous Drawing 1 unit. With oil pastels I had so far my troubles, too sticky, too bright, just didn’t got results I would be happy with. But I…

Project 1 – Exercise 2: Applying paint without brushes

So this exercise is all about tools besides brushes. Will be fun. Looking around my home what I could use as found objects: palette, knife, spatula, wooden sticks, bubble wrap, cleaning brush, sponge, wooden block, textured plastic piece. This includes my fingers so that I include the disposable glove for my own protection. I am making the experiments in oil, as…

Project 1 – Exercise 1: Getting to know your brushes

Research The course materials highlighted how the painting techniques developed from a traditional application of thin layers to the impressionist way of laying side by side impasto paint blots. Brushstrokes and supports became part of the composition, more expressive and more inventive. I did some research in my sketchbook and found basically the following ways of paint application and brushstrokes: Wet-in-wet…

Starting off

I introduced myself to my tutor. At the beginning I was allocated to one tutor  out of mistake. I was not so happy with that one as I felt he was more into illustration, something that I want to avoid for myself. My tutor is Doris Rohr (her profile). I am glad about this choice, as I’ve seen that she worked…