Category: Part 2 – Close to home

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…

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,…

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…