Category: Part 4 – Looking out

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…

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…