‘Podcast’ tour via collage. The internal geography of the Grand Parade campus has changed since I was last there (1967-68) and so, inevitably, has the premise upon which art is made. At that time we were being psychedelic, free spirited, … Continue reading University of Brighton MA Show
One of his works features in the course materials, a vibrant and energetic piece that uses sweeps of complementary colours to evoke mood. The Bay of Naples is a 1980-1982 piece with a flattened perspective and expansive brushwork that makes the result anything but flat. It seems more abstract than figurative and somehow brighter than I would have expected, given it is painted on a dark ground. This one is similar; brilliantly impactful, a red frame bordering the ebullient fields of intense colour within. This image is from Mary Acton’s 2009 book, Learning to Look at Paintings, published by Routledge. … Continue reading Howard Hodgkin 1932-2017
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 Colour Theory
I came across the term chiaroscuro many years ago and subsequently forgot what it meant then confused it with sgraffito. A little analysis would have clarified that, given the latter’s close approximation to graffiti. Chiaroscuro is about light and the use of paint to create that illusion on canvas. Sister Wendy Beckett (Beckett, 2001) notes an early example of this (see above) and makes the link back from this Roman piece to Hellenistic art. I find this painting startling in its realism; representational without being frozen. It looks alive. The small glass vase in particular has a fragility to it, and a … Continue reading Chiaroscuro
This was a revelation and really supported the course materials. Details such as the ideal tilt, and brush shape that aren’t covered in the text, and the concept of the bead – that leading edge of dilute medium that sits at the bottom of any horizontal stroke – which I’d never heard of and had no idea of its actual use. Liron is using watercolour but I need to try it with acrylics. My guess is it will dry more quickly but we’ll see. First attempts, some with stretched paper and some not. These are prussian blue and raw … Continue reading Washes – a video by Liron Yanil
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
I came across the term chiaroscuro many years ago and subsequently forgot what it meant then confused it with sgraffito. A little analysis would have clarified that, given the latter’s close approximation to graffiti. Chiaroscuro is about light and the use of paint to create that illusion on canvas. Sister Wendy Beckett (Beckett, 2001) notes an early example of this (see above) and makes the link back from this Roman piece to Hellenistic art. I find this painting startling in its realism; representational without being frozen. It looks alive. The small glass vase in particular has a fragility to it, and a … Continue reading Part 1, Research Point 1, Chiaroscuro
Pasted into sketchbooks, this is the latest batch of acrylic washers based on the video by Liron Yanil. Burnt umber and prussian blue, magenta and cad yellow, prussian blue and cad yellow. The video uses watercolours but it seems to … Continue reading Part 1 – washes and objects
I really didn’t get the hang of this first time round, and I’m not so sure I have this time, but at least after making my colour mixing chart I have grasped the idea of dilution. These aren’t very exciting but they give me a better idea of how washes work. There are some plain single colour washes here, and a blended one. The greys are in preparation for the contrast study in which, last time, I’d struggled with trees. Continue reading Part 1 – another round of washes
Sometimes you just have to go back to basics. I’d skimmed over the paint mixing exercise, not quite seeing the point, then for all sorts of reasons I decided to revisit the early pages of the course materials. There on almost the first page was a grid of mixed colours – extensive, careful, neat; I very nearly turned the page. But after a bit of thought it seemed to me that this was the kind of thing I needed to be tackling. It’s not an identified exercise but I thought it would probably help when I moved onto the one … Continue reading Part 1, mixing paint
Strayfish Arts 