Formative feedback for assignment 2

My main takeaway from this was that my sense of developing a personal voice is not a delusion and that I’ve succeeded in upping my game with regard to the research elements. I think the latter is due to growing into the subject matter and I’m very glad I put this module on hold until I had finished the Drawing module because that was really the place some elements fell into place.  I found a ‘buddy’ who was also struggling with this new vocabulary and had no background in any sort of historical or artistic canon and we have nudged … Continue reading Formative feedback for assignment 2

Part 2, project 4, research point 4 – Dutch realist genre painters

Project 4 is about interiors and this task requires an investigation into the way the Dutch genre painters, as they were called, achieved their sense of realism, space, and the occupants in the room. Johannes Vermeer (1632-1675) was one of these and happens to be one of my favourite artists because of the warmth he brings out in his portrait models. His interiors, though, impress as well; their domesticity and mundane but beautifully intimate and gentle compositions where so often the key character is shown in light from a high window. This one, The Milkmaid c 1658-60 (left), for me … Continue reading Part 2, project 4, research point 4 – Dutch realist genre painters

Part 2, project 3, research point 3 – optical effects

I’ve discussed elsewhere on the blog how Seurat and Signac, amongst others, following on from Chevreul’s meticulous account of colour the ways colours interact with those adjacent to them, how leaving a white space between dots was said to emphasise the effect, and what the optical impact was on the viewer. Pissarro is reported to set his paintings in white frames in order to capitalise on the effect of complementary colours, and Monet used the principle to enhance colour intensity, his many poppy fields being cited as good examples of this. Seurat is said to have summarised ‘the six principles’ … Continue reading Part 2, project 3, research point 3 – optical effects

Part 2, project 3, exercises 1&2 – contrasts

The objective of this exercise is to demonstrate the influence of similarly toned or complementary colours on each other (ex 1), and experience the illusion referred to as ‘successive contrast’ (ex 2). Exercise 1 requires a base layer of mid-grey over which a series of squares is filled with colours of differing relationships. Squares 1-5 follow the brief, using ultramarine blue as the central colour with the surrounding squares filled with similarly toned colours including cadmium green, payne’s grey, and white mixed with the original blue. The sixth square contrasts the blue with its complementary colour, orange. In the next … Continue reading Part 2, project 3, exercises 1&2 – contrasts