Category: Part 3 – Portrait and figures

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) =>…

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.…