Tag: Acrylic

03 Stefan513593_PoP1_Portrait Objects

Assignment 3: Rework of assignment piece for assessment portfolio

After submission of my assignment 3 piece to my tutor and discussing with her in our skype tutorial about the more successful piece coming out from my daily self-portraits project from week 9 ‘Portrait objects’, I decided to submit that work in a slightly adjusted presentation for assessment in July 2017. I abandoned thus the originally submitted assignment 3 piece completely.…

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…

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…

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: https://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…

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…

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…

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 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…

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: https://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 - 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 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 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 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,…

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 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…

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 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…