Category: Part 1 – What paint can do

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…

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…

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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…