Part 2, project 2, exercise 2 still life with flowers

I’m using an A4 sketch book for this, trying to keep things in one place after earlier experiences selecting which books had which best selection to send off with an assignment. This top page is untreated and I used wet-in-wet to make some general flower shapes before mopping with paper towel and training some of the pigmented edges in directions indicative of petals. When it was dry, I used a limited palette of reds and oranges (the flowers) and blue/green for the stems and leaves. Meanwhile, I applied a layer of white gesso to the page beneath for the next … Continue reading Part 2, project 2, exercise 2 still life with flowers

Project 2, Still Life. Research point 2, Dutch still life painters.

Research the still life and flower painting of the 17th century Dutch Golden Age. Make notes on particular paintings you admire and find out about techniques. Research at least one with iconographic significance and discuss the meanings ascribed to the objects. Explore still life through the 18th to 20th centuries and discuss how the subject matter was dealt with; in particular the early Cubist approaches of Braque and Picasso. Consider how contemporary artists are interpreting this genre. Specifically, this task refers to 17th century masters from what’s known as the Golden Age. Running an initial search, my first thought was … Continue reading Project 2, Still Life. Research point 2, Dutch still life painters.

Colour theory revisited – Part 2, research point 1

I’m coming back to this after a few months’ break while finishing the Drawing1 module and my understanding of how to tackle these research areas has grown, along with my ability to process and retain something of art’s back story. The purpose of this research point is to discover more about Chevreul’s role in the development of colour theory and look to see who and how this has influenced in their practice of painting. My first stop was a paper by Georges Roque (Chevreul’s colour theory and its consequences for artists, 2011) which details the manner of Chevreul’s insightful discovery … Continue reading Colour theory revisited – Part 2, research point 1

Research point, Part 2, colour theory

Introduction Colour theory has to do with both the science and biology of colour perception (by humans), and the psychology of it – what minds make of the information they receive. The originators, Goethe and Chevreul in the 19th century, seemingly coming to it from quite different perspectives, provided the working principles by which artists could actively choose colour combinations for their impact rather than relying on instinct. This is from Wikipedia which aggregates the bones of the subject: …two founding documents in color theory: the Theory of Colours (1810) by the German poet Johann Wolfgang von Goethe, and The Law of Simultaneous Color … Continue reading Research point, Part 2, colour theory

Part 2, exercise 3&4 – broken or tertiary colours, research point 1 colour theory

I needed to get my head round the whole additive and subtractive colour mixing thing before going any further, particularly in relation to complementary colours and why they have the effect they do on each other. It isn’t the first time I’ve been round this block and that’s because the terms themselves seem counter-intuitive. Let’s start with light. Light is, to all intents and purposes, white but it is so because it’s a composite of all the visible frequencies that comprise the whole. As Isaac Newton demonstrated in 1666, it can be broken into its component parts using a prism. … Continue reading Part 2, exercise 3&4 – broken or tertiary colours, research point 1 colour theory

Part 2 exercise 2 -primary and secondary colour mixing

Again, I’ve rather strayed from the plot but not without gaining a bit of valuable experience. This is just one of several sheets, most using the lighter grey background but all both grasping and failing to grasp the purpose of the task. I have three kinds of yellow and two of red. Some of these are student grade (the second and third yellow and the second red – all Royal Langnickel) which means their pigment load is not high, and two are professional grade (first yellow and first red – both Winsor and Newton). The brightest yellow and deepest red … Continue reading Part 2 exercise 2 -primary and secondary colour mixing

Assignment 2, response to feedback

Years ago, when the words ‘reflective’ and ‘practice’ began to enter the vocabulary of our clinical trainees, those of us longer in the professional tooth thought it a little fanciful. After all, reflecting was what mirrors do and mirrors are passive so what was the point? As time passed, it became evident that it referred to the process we understood as consideration – a thoughtful balancing and weighing up of events retrospectively in order to learn from them. Latterly though, and seeing it here in this different context, I’d be inclined to expand that understanding to include something more transactional … Continue reading Assignment 2, response to feedback