15 March 2017. Again I need to combine my retrospective report on two exercises. This is for two reasons: The first is due to my failed rearranging my working sequence for this part of the course and the second is directly connected with the nature of shadows. Shadows are per se natural, there is no way of having anything like an artificial shadow. So any abstracting from shadows belongs to Exercise 1 of this project. On the other hand, the behaviour of the naturally occurring shadows I observed for this project were distorted by man-made forms, grids and bottles, which belongs to Exercise 2. So what I need to do is write a combined report. Again I need to apologize for double-posting images. Since the associated series of experiments was very long, I also ask to kindly refer to my extensive report in the post writing up the work for the first project of my submission for Assignment 5, “A Shadow Only Painting” (Lacher-Bryk, 2016a). Here I provide a summary of the most important steps in the process (Fig. 1-5):
Below are the results I achieved with my stencil for various types of paint, inks and pastels (Fig. 4):
Figure 4. Stencil results
After that I used my son’s new 3D pen to make an outline painting of the pencil sketch in my sketchbook and continued experimenting with the shadows produced by this shadow of a shadow, thus producing sequential abstract paintings derived at the same time from both natural and man-made forms:
Figure 5. 3D pen and the self-propagating shadow
This series of experiments was highly enjoyable and revealing regarding the wonderful possibilities arising from the creative process involved in becoming aware of emergent properties. Equipped with these results I embarked on turning the patterns seen into paintings for my Assignment 5 submission.
22 June 2016. Due to an immense amount of work and dates to be kept outside the OCA I needed to be very careful with the time I have to prepare for Assignment 2. Therefore I am glad that I have done lots of preliminary research and work in my exercises leading up to this assignment. Since my first attempt at a setup showing aggression by movement and choice of colour was not exactly successful I need to change both. So I had a look at Giorgio Morandi and his “communicating vessels” (The Art Story, 2017) and found that the spouts of jugs are incredibly useful in creating the illusion of a talkative atmosphere. I will therefore add at least one of these to my setup.
When looking for “aggressive setups” for still lifes I came once again across the cubists and Pablo Picasso’s (1881-1973, Spain) “Mandolin and Guitar” painted in 1924. The aggression comes, besides the bold mark-making, from the positioning of the objects, which form a mask-like face. Picasso painted another still life, which seems to be more or less tumbling out of its frame “The Vase, Bowl and Lemon” (Picasso, 1907). This reminds me of my attempt at doing the same and neither his nor my painting convince me regarding the communicating vessel aspect. The red and yellow bowl does seem to both hide behind the green bottle and appear cheeky by “rolling the lemon out”. The green bottle appears to back off by seemingly hiding a “face” (the brown opening) behind the blue cloth on the left. The red colour of the bowl, although in the same picture plane as the green bottle, seems to push forward, out of the painting. This effect reminds me of Mark Rothko’s (1903-1970, USA) studies, where black automatically takes the position apparently furthest “inside” the picture on the lowest possible plane, whereas red comes out to appear to hang in mid-air above the actual plane (see e.g. Artsy, 2017). My original choice of colours was not completely wrong, but in order to be able to manage the multitude of interconnected effects I will have to reduce objects and colours considerably.
24 June 2016. So, changing my setup while remembering to still serve poisonous cocktails, then doing preliminary sketches in pencil and watercolour. Prepare the Rothko-like background, paint on that with a brush with different colours and let the picture develop.
The following photo sequence (Fig. 1-5) shows how far I have got today and irrespective of the possible final quality of the painting I am pleased that I can stick with my planning now, including using the sketchbook for collecting annotated cutouts and computer prints.
The red OCA tissue paper behind the decanter gives an impression of a forward movement. When comparing this with my first pencil sketch to test the setup, the difference without the added colour is striking. It lack that particular illusion of movement:
So, my choice of colours depended on the following idea: If I have a Rothko-type background, a red area should automatically push forward. If I put some of the glasses on that background and choose my colours so as to enhance this effect, I might be able to create the illusion of relative movement when e.g. comparing with a subdued vessel on a black background. In order to test my idea I made a quick watercolour sketch. The red area does indeed push forward and the orange watercolour pencil used to reinforce the decanter increases that impression. The same is true for the smaller bottle on the left. I am not convinced, however, of the strength of the black area, but this may be due to the bottle outlined in blue reaching over the top and bottom end of that area:
Next I prepared my background with acrylics on an A2 painting carton, landscape format. It was next to impossible to take a photo that would not show the reflective surface in some way, so the colours are not exact, especially the black looks blue and the red area does not look as strong as it really is:
The first coloured sketch of my objects went relatively well, but since a lot of thinking is involved here I will have to give it a short break in order to let my idea develop further. I quite like how the red of the background seems to have somehow invaded the decanter and seems to push it towards the viewer. I will need to take care to balance the picture, however, especially the bottle in the black area, whose top needs to be far less strong. I am also not sure yet whether I want the violet-blue between decanter and conical glass changed. At the moment it does help to push the decanter, but it gives it a far to prominent position while holding the green glass back, and I have not found out yet why that may be. Also, I will need to think carefully how strong the glass in the bottom left corner can become without tipping over the balance:
27 June 2016. Today I was informed that I would be transferred to another tutor, since my former tutor had resigned from her post. Since I am not even halfway through Painting 1 yet I hope to be able to adapt quickly to a new tutoring style and that the respective expectations are not too divergent.
I also continued with my painting, trying to carefully think about the above ideas and how to give them weight in dealing with the developing work. So, first of all, I changed the shape of the red area to make it less prominent and by coincidence it started looking like a brightly lit room behind a dimly lit bar. This change required changes to be made to the lighting of the objects in the foreground. None of that is real and I had to rely on my intuition in placing tonal values. Also, there is now a contradiction in the painting. While red pushes forward, its place here is at the far back. I think that it does work, because the decanter is also filled with it. The funny thing here is that it looks by far better in the photo than in the actual painting (Fig. 6):
Then I tried to reduce the reddish glow of the decanter, since it continued to be a far too dominant feature in the setting. Again it looks much better on the photo than on the painting) (Fig. 7):
Finally I remembered to fill the vessels with the remnants of my poisonous cocktails and this change allowed the balance among the objects to be shifted. By removing much of the glow inside the decanter the glassware appears much more delicate now. The glass on the right has started to look somewhat like the aggressive intruder I wanted it to be. This makes it believable that the blue glass on the bottom left appears to be leaving the scene by the forward action initiated by the intruder. The movement across the canvas is probably not totally convincing yet, but I am happy that I found a way of suggesting such an action at all (Fig. 8).
Here are some details (Fig. 9-11):
Considering that most of the contents of this painting is purely from imagination I am quite happy with the outcome. There are several places, which do not look quite right yet, e.g. when looking closely the red wine left in the decanter needs its surface extended to the right. Also my style of painting is still not consistent over the whole surface, although I think I am making some progress in that respect.
The last day for submitting Assignment 2 to my previous tutor is the 30th of June. I decided to stick to that date during the “interregnum”, but I expect to be allocated a new/later date by my new tutor. In that case I might return to the painting once more and see whether I might improve it further.
Updated on 22 Fwebruary 2017 (Harvard referencing).
21 April 2016. Going through the steps to finish my painting of the water tap was enlightening in various ways. I will show the steps in the following photos and discuss the problems (and solutions, if there were any):
Mixing the colours
We have some giant aubergine-coloured tiles in our bathroom and I wanted this hue to be the dominant element in my painting. Referring to my grey ground with the mixing experiments I chose the combination that had given the aubergine colour. It was Naphthol red deep (a red with some yellow in it) and primary blue (cyan). With this as a basis I added some more primary yellow to achieve something like a neutral mix – the greyish brown stuff in the centre of my tray (above). I think that I was relatively successful in mixing the hues I wanted (Fig. 1 above), but I find increasingly that my tray has huge disadvantages. I noticed that despite the comparatively liquid brand of paint I use (Amsterdam standard series), I need a fair amount of water to make the paint “paintable” at all, especially when using a soft hair brush to create lines. What I have been doing so far is to use a spray can to cover the whole tray in a film of water now and then. This means that the water accumulates along the edges and between the heaps of paint and will, if I am not careful, mix in with all colours. Sometimes I think this is desirable, because I like to use “dirty” colours, i.e. such that are not straight from the tube. In some cases however this means having to choose the correct hues with great care from the centre of a blob of paint. Consequently I bought some proper plastic palettes with deep wells now in addition to my tray and am thinking of trying out different makes of paint.
Regarding the linear quality of the chosen subject I found the contrast interesting between the fittings, which are mostly defined by line, including the reflections, and the large surface area of the bath itself.
The neutral colour I had prepared I used to draw with on a longish nearly A2 acrylic paper. I instantly noticed that I had forgotten to prepare my paper with a background layer. Consequently the drawing was a bit awkward and much less fluent than my usual marks. I also got some of the sizes and positions wrong and had to correct them, something that rarely happens to me when drawing with pencil or ink pen.
The vertical pencil line visible on the right in the photo below was there to define the edge of the finished painting. The superfluous strip of paper I cut off right at the end of the exercise. This idea I used to counteract my mind, which I knew would attempt to avoid letting the hose travel off the paper and back on again by distorting the view so as to fit the whole thing in anyway (Fig. 2).
3. Putting in colour
Figure 3a. Adding tile colour
Figure 3b.Adding first bath layer
Figure 3c. Correcting
I then began filling in the chosen colours (Fig. 3a-c above), all of them mixed from my original aubergine plus primary yellow mix, by adding white, more primary blue or a little bit of black. My neutral colour was extremely dominant and it took me a while and a few layers of additional paint to correct the mistakes I had made drawing the objects. Since I had not realized that this might become a problem I had not taken enough care drawing the original lines. This I will have to remember for the exercises and assignments to come. If in a large part of my painting the hue will be light, I will need to draw my first lines with a light mix. At the end of this series I noticed that in attempting to cover the wrong lines defining the curvature of the hose my bath had become far too dark, while the lines were still visible under two or three undiluted layers of paint. I then decided that I would need to be more generous with the amount of paint to form the correcting layer on the bath.
The form of the fish I first added using a violet hue made up from the above pigment. Only much later I mixed some bright pink from primary magenta and white, a hue which was new to the selection and which I hoped would serve in a believable way as contrast and small eyecatcher in the composition.
4. Correcting the colours and lines
23 April 2016. Apart from a strange effect visible on the rim of the bath, where the different lighting conditions to the left and right of the fittings give an impression of a break in the direction of the rim I think that I managed to get the lines more or less right. I tried to correct the rim several times, but found that in order to achieve a noticeable change the painting over the older layers would have to be done with a degree of precision, which my combination of paint and fine hair brush would not allow. So, while overall I am happy with the linear aspects of the painting, I will need a different approach and better technique regarding the use of layers of paint in larger areas, especially if the hue is near white.
However, I seem to have a problem regarding the correct amount of water required in order to allow my acrylic paint to be distributed on the paper evenly. No matter how long I mix water and paint, and no matter what type of brush I use, I will always get a highly variable mark, part of which is strong and opaque, while the rest is so transparent that it appears to be almost non-existent. I will therefore try other makes of paint and see whether the problem persists. In some way, on the other hand, I like these characteristics, because they force me to use paint in a rather more crude way than I would opt for if I had a choice. Although the surface of the bath is nowhere like the real thing, I think that the difference in texture between bath and fittings looks interesting. It also forced me to rethink the way I wanted to depict the shadow thrown by the hose. I tried a relatively bright blue and a strong geometrical outline and I am happy with the effect, although of course, since it was not planned when starting the picture, it is inconsistent over the whole painting.
On the side: While browsing videos on common beginners’ mistakes I came across an important hint on youtube regarding the diluting of acrylic paint with water: Apparently, the using of more than 30% of water may cause “underbinding” of the pigment on a primed canvas. This may result in the eventual flaking off of a diluted background. It was strongly recommended to use airbrush medium instead. However, if used on watercolour paper or any other non-primed surface the problem does not occur (Theberge, 2014).
The problems I encountered made me realise that unless it is the goal of an exercise it does not matter if I do not use the correct colour the first time. I can always change it by adding additional layers. If the layers are somewhat transparent, the shining through of older layers may add luminosity to the surface. And importantly, something which I learned by looking at painters from impressionism until today, the real colours of an object may lose their importance as the painting develops. There are no limits whatsoever in changing them in all sorts of interesting ways.
What I am quite pleased with is the overall composition of the painting. I made the test I did while researching the famous Dutch still life paintings. By covering up parts of it I believe that I can see both the tasks each part fulfills and the lines of communication between the different objects. In this exercise both the fish and plughole, for example, seem to work like anchor points. By creating an invisible line between them, which to my feeling travels through the air between the two, they help to emphasize space where otherwise there would be a more or less two-dimensional area.
The more I come to think about it, the more I realise how valuable this particular exercise is for me in developing my skills as a painter. There is so much in it to learn that I am planning to come back to it throughout the course every time I am starting a new project.