From Inside Looking Out 1 – View from a Window or Doorway

The brief of this exercise was to:

‘Choose a view onto the world outside. Decide how much of the interior you wish to include and where the main focus of the picture will be.

Decide on the purpose of the composition and the mood and atmosphere that you wish to create. Choose whether or not to use the framework of the window as the external edge of your picture support or whether to actually include the window or door frame as part of your composition.’

To begin with I looked online to see how other artists had tackled this type of composition.

Edward Hopper - Office in a Small City

Edward Hopper – Office in a Small City

I was already very familiar with Edward Hopper’s paintings and I’ve always liked the way (as the brief stated) he creates links between interior and exterior worlds. Although there is generally a good balance between both in Hopper’s paintings the cityscapes, landscapes and even seascapes seen through the windows in his paintings are made up of very basic shapes and fundamental forms.

Raoul Duffy - 1953 Window at Nice

Raoul Duffy Window at Nice

Raoul Duffy’s paintings remind me a lot of the works by many Urban Sketchers. However, as these would usually lock in the outlines first and then sketch, Duffy seems to have sketched the buildings etc first and then defined with dark outlines. The interiors in his paintings are very obvious and therefore the exteriors could be as sketch as he wanted. This sketchiness also helps to create depth to his paintings.

A Corner of the Artists Room in Paris - Gwen John

Gwenn John, A Corner of the Artist’s room in Paris

In comparison to the first two artists, in ‘A Corner of the Artist’s Room’ by Gwenn John the artist has exploited the light shining through the lace curtain with a faint blur shape depicting the buildings outside.

My attempt at this exercise – A View from my Apartment

To start with I walked around my apartment with a camera looking through the lens trying to find a view that would make a good composition in which hopefully I could include part of the walls and window frame. Unfortunately the views from my windows are very complex pretty difficult to simplify which I tried to do in the cityscape exercises in Drawing 1. The best I could do from my apartment was the view from my side window.

2 Sketch from my side window

The watercolour sketch above wasn’t brilliant but it showed potential. I really liked the ‘Industrial Landscape, Leeds’ painting by Joash Woodrow, in the course material and this view would allow me to do something in a similar style. Although the buildings seem cramped through the window the many different colours of the buildings would make the painting pretty cheerful. The only problems I could see was that 1. The window frame and walls were so boring there was no point including them in the painting and 2. The shadows changed very rapidly throughout the day.

A View from Debsirin School

As a teacher in a Thai school, where teachers rotate classrooms rather than the students. At Debsirin School, like my apartment, the views are quite complex as most of the balconies and windows look out on to the metropolis of Bangkok. Though I did find one view, with a good perspective that was quite nice to draw, looking out towards the city over the tops of the red Eurasian style roofs of the school buildings. With this one I could include part of the wall of the balcony at an angle but not looking at it full on.

3 Sketch of the View from Debsirin

A View from the Balcony at Debsirin School, Bangkok

A View from Wat Makut School

1 Sketch from Wat makut School

The view from the window of Wat Makut School turned out to be one of my favourite sketches so far. I’ve been looking at this small street for 7 years and I did draw it before for my Drawing course but it was drawn in pen.

 

 

 

 

 

Debsirin Temple Gates

A View through the Temple Gates

A View through the Temple Gates

This was one of three watercolour sketches that I thought would work out really well, one looking into the temple and two looking out but I just couldn’t get the sketches right. Instead of giving up I should have changed mediums as these would have been ideal for charcoal or even ink sketches.

Wat Debsirin Lake

Wat Debsirin Lake in Wc, Pastel and Pen

Wat Debsirin Lake in Wc, Pastel and Pen

On a walk behind the temple for the first time one lunchtime I discovered these buildings that seemed to be built on rafts or piers on a small lake. From my viewing point it looked like I was viewing them through a window with the scene perfectly framed by the shade of the trees,  fence and plants.

 

 

Preliminary Sketch in Acrylic

Preliminary Sketch in Acrylic

Preliminary Sketch in Acrylic

I decided to do another sketch of the view outside my window in my mixed media sketch book in acrylics so I had some insight into how the painting would look and what mark making techniques and of course brushes I would use in the final piece. Using the filbert for the arched windows of the condominium facing the road helped me to make up my mind.

 

 

 

 

The Final Painting

Final Piece - A View from my Apartment

Final Piece – A View from my Apartment

A friend of mine always said, you could tell that westerners aren’t allowed to be architects in Thailand because all the buildings look like cereal boxes. I’m not sure whether the first part of that statement is true but it is true that most of the buildings here are very boxlike, especially the older ones and I intended to take advantage of that here.

I regret that I didn’t take photos of the different stages of the painting but I managed to get most of the painting done in one day.

I started with the sky daubing on large brushstrokes of blue and white paint mixing the colours on the canvas to depict the white clouds in a blue sky, the orange tint on the clouds was added afterwards.

From there I painted in the two skyscrapers under construction in the background mixing in layers of burnt umber, Payne’s grey, orange and white.

Continuing to work down I then painted in the shapes of the buildings in mixes of orange, yellow, white and pink to give me the different pastel tones with the red and white sign of the pawn shop giving the viewer an alternative focal point from the tops of the skyscrapers.

The arched windows at of the building in the right of the foreground gave me a great opportunity to do some mark making with the filbert brush and I also had a small flat brush that was perfect for the windows of the two apartment blocks.

As I started the painting there were no shadows on the building but by about 5 o’clock the shadow of my old 28 floor apartment block began to fall on the buildings which I think really gave the composition depth.

On the whole the painting did turn out as I imagined albeit a bit too neat. I wanted to be rougher with less defined forms depicting the clutter and mismatch of buildings here in Bangkok where every available space has been built on and buildings have been designed to fit in the smallest of gaps. Moving from the 26th floor of the building next door to this low-rise with the skyscrapers under construction opposite makes me feel really penned in and it will be good to remind myself of that when I move back to England this year.

Regrets

I regret not painting the view from the school window as that had a window frame that I could work with unlike the interior wall and the window frame of my apartment here. However I have paced  the painting against light coloured boards which enhances the feel of the composition and does make it look like you are viewing the buildings through a window frame so I think I have achieved what I set out to do

 

 

 

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Looking Out 1 – Research Point

Do your own research point into the evolution of landscape painting from the 18th century to the present day. As well as the large oil paintings by artists such as Constable, look at how many artists (including Constable) have used oil sketches made on site as a means of recording the landscape for working up into larger paintings. Watercolour as also been a popular medium for English landscape painting.

18th Century Landscapes

1 Jan Griffier the Elder - A view of Greenwich from the River with many Boats

Jan Griffier the Elder – A view of Greenwich from the River with many Boats

You could see that landscape paintings were going to evolve quite quickly just by looking at the artists in the 18th century. The first early landscape I came across was by Jan Griffier the Elder above from the early 1700s. Here he probably pieced together several sketches to get the panoramic scene above in which he was telling a complete story of what was happening in Greenwhich. Perspective isn’t brilliant and buildings, although stacked with detail lack life. Figures seem to be a key part in bringing early landscapes to life.

2 Alessandro Magnasco - The Seashore

Jan Griffier the Elder – A view of Greenwich from the River with many Boats

Alessandro Magnasco or il Lissandrino, was an Italian late-Baroque painter and with other painters of this genre that I discovered seemed to add drama to their paintings with figures braving the stormy weather and violent clouds. The figures in his painting also add depth to the painting, painted on platforms in the foreground, middle-ground and background.

Joseph Wright of Derby - Landscape with Rainbow

Jan Griffier the Elder – A view of Greenwich from the River with many Boats

Towards the end of the 18th century figures were playing a less important role in landscape paintings. Although the rainbow in Joseph Wright of Derby’s painting above isn’t that lifelike (it may have been at the time) the rest of the painting is almost photo real  due to his use of light that lights up the middle-ground. This depiction of natural light advances towards the end of the 18th century and in to the 19th century.

19th Century Landscapes

 

1 Bidauld, Jean Joseph Xavier - The Park at Mortefontaine

Jan Griffier the Elder – A view of Greenwich from the River with many Boats

In The Park at Mortefontaine above by Bibauld, painted in the 1800s he portrays this sunlight perfectly with a clear natural sky, the sunlight reflecting off the trees and the reflection in the water.

John Constable - East Bergholt Church

John Constable – East Bergholt Church

It was here when I was investigating landscapes from the 1800s that I started to come across more sketchy paintings.  John Constable’s painting of the East Begholt Church above, is not one of the best examples of his work and his probably a study for one of his larger paintings but it is a great example of en plein air this you can tell by the thick, loose brushstrokes.

Albert Bierstadt - Farralones Islands, Pacific Ocean

Albert Bierstadt – Farralones Islands, Pacific Ocean

 

These rough and somewhat wild brushstrokes are great for painting outdoor natural objects that don’t require intricate details. In the painting above by German American artist Albert Bierstadt (of the Hudson River School) you can also see that it is en plein air by the roughness off the rocks in the foreground when enlarged. What I would have liked to know here though is which did he paint first? The blue of the background or the rocks in the foreground.

 

1875 Morisot Laundry

Berthe Morisot – Laundry 1875

Looking athe paintings of the late 19th century I came across my first impressionist landscape by an artist new to me called Berthe Morisot. Of all the paintings I researched so far it was the first painting that included an industrial landscape with chimney’s blowing smoke in the background. The painting depicts workers at a laundry hanging clothes out to dry. It’s the first, of what I would call, modern landscapes that I came across and it reminded me of LS Lowry’s paintings with the almost stick like figures and the grey-blue paint she uses for the factories and hills in the distance.

Vincent van Gogh - Starry Night - 1889

The Starry Night – Vincent van Gogh 1889

The Starry Night by Vincent van Gogh depicts the view from his bedroom at the asylum in Arles. The artist painted the Starry Night in the day time in his ground floor studio at the asylum, all though some believe it was painted from memory, Vincent painted the view no fewer than 21 times in different variations and so this was more from studies than from memory.

The 20th Century

George Bellows - Fern Woods -1913

Jan Griffier the Elder – A view of Greenwich from the River with many Boats

Entering the 20th century I came across this wonderful painting by American realist painter George Bellows in which you can see the individual brushstrokes that make up the bare branches of the tree. During the latter part of the 19th century and the early part of the 20th century artists seem to be doing more and more experimenting and not just concentrating on panoramic views anymore but concentrating on the beauty of smaller sections of the landscape.

Anita Ree - Dorfansicht -1920

Anita Ree – Dorfanischt – 1920

Things were also starting to wobble as people discovered more artistic freedom, not just to play around with natural forms but to find more ways of depicting the contrast of natural forms against made objects such as in Anita Clara Rée’s painting above.

Thomas Hart Benton - Chilmark Landscape

Thomas Hart Benton – Chilmark Landscape

American painter and muralist Thomas Hart Benton’s painting  ‘Chilmark Landscape’ above, also seems to have a certain wobbliness about it. However, from what I have seen from his other works, Benton as with Grant Wood seem to notice the natural patterns that occur in nature as well as well as the patterns that man’s impact on nature as created and exploit these in their landscape paintings.

Stone City, Iowa , 1930 oil on wood panel

Grant Wood – Stone City, Iowa, 1930, oil on wood panel

Grant wood along with Thomas Hart Benton was at the forefront of the Regionalist art movement in America. His paintings are notable for the lines of lollipop trees bending around exaggerated rolling hills with swooping roads making his landscapes some of the ‘softest’ ever. Unlike Lowry, who’s colours fade out to depict the distance, Wood keeps the same tones but uses the size of the trees, buildings and hills to depict the distance. This gives his paintings a cartoon feel to them.

1958 - Industrial Landscape - LS Lowry

LS Lowry – Industrial Landscape – 1958

 

Famous for his industrial landscapes and ‘matchstick men and matchstick cats and dogs’ L.S. lowry will be one artist who will be definitely having an influence on my work through this part of the course. Living in Bangkok, a sprawling metropolis of tall buildings I will hopefully be employing Lowry’s technique of using pale hues to depict buildings in the distance through the gaps in the skyline.

Watercolour

Gammelshausen, county Göppingen, Margret Hofheinz-Döring 1980s

Over the last few years a variety of watercolour painting technique’s have appeared, in the painting Gammelshausen, county Göppinge 1980s,  Margret Hofheinz – Döring has used watercolour as a drawing medium, sketching in much the same way as an illustrator.

Steve Greaves - All Saints Church, Darfield

Steve Greaves – All Saints Church, Darfield

Where as  Steve Greaves in his painting above ‘All Saints Church, Darfield’ has used it as both a drawing and a painting medium in a style that has become known as urban art.This style is unlike the paintings of ZL Feng from Shanghai below, where the artist has used watercolour in a more traditional way, although he has exploited the vivid colour of the medium and painted what I can only describe as some of the most beautiful watercolour landscape paintings I have ever seen.

 

 

 

 

 

Assignment 3 – Self Portrait – Painting

3 - Peaky Blinder

Study in Oil Pastels

First Attempt

As I said in previous post, Assignment 3 – Research, I would attempt to reproduce a similar style to that of Nikos Gyftakis, the study I produced actually reminded me of the works of Genn Brown. I wasn’t sure of the techniques, either artist used to create their paintings. I thought about a couple of techniques but I wasn’t certain if they would, one was adding the paint in different hues to get the swirling effect and to keep going at it until I was satisfied, the other was to add different hues to the same wide brush adding the different colours at the same time to create the swirling effect, I chose the first technique. I now regret not researching the techniques that they used.

I worked from both the study and a photo, (reversed) that I took of myself at the time, I first drew the outline in paint and then blocked in the base colours as a reference, I then began to work on the face. I had bought a heavy gel medium, that I mixed in with the paint to which I added, retarder and flow aid to the water the problem was though the paint was still drying to quick so I couldn’t really work it on the canvas as much as I wanted to.

After an hour the painting wasn’t going as well as I expected and I sat staring at it for a about another hour picking faults with not only the technique I had decided to use but with everything about it, the pose was weak and there was really no kind of feeling to it. I wasn’t happy with the way things were going and I remembered what my replacement tutor at the end of my drawing course said, ‘If you’re nat happy with the drawing, change it!’. And so I did.

2nd Attempt – A new pose a different technique

I searched for videos on YouTube looking for clips of Francoise Neilly at work. I couldn’t find anything only videos by an Artist called Voka. Both artists had very similar finished pieces but Voka used brushes rather than knives and so to see the way he worked was very helpful. The thing with both artists though was that their paintings weren’t lifelike enough for me and the eyes and lips on Francoise Neilly’s painting’s were just too perfect.

The old painting was too straight and too small so this time I wanted my head to be bigger so I could use a wide flat brush as well as a palette knife. I sat in front of the mirror in the bathroom with my camera on a tripod in the sink taking photos while checking to see if I could actually keep my head in the angle of the best photos as painting from life was better for this technique in the earlier stages.

Too start with I needed to paint over the existing portrait so with thick mixes of black, blue and white mixed with a heavy gel I roughly painted in my hat, face and shoulders using both a knife as well as a number 22 flat brush loaded with paint. The knife was more difficult to use than I imagined so eventually I developed my own technique of picking the paint up on the underside of the knife and splatting the paint on the canvas.

7 - Reworking and a New Pose

Correcting the Pose

This stage took about 25 minutes and when I was satisfied that it was ‘something like’ I covered the rest of the previous portrait with yellow, just u til I could work out what kind of a background I would be doing for this portrait.

 

The following stages were basically a case of thickening the paint up as well as experimenting with the juxtaposing of colours, both primary and secondary as well as seeing how they looked along side skin tones.

At this stage I stopped working from life and flipped a photo of a very similar pose that I could relate to so I didn’t stray too far from the source. I wasn’t satisfied with the colours I wanted to go a lot darker. The colours in the photos above reminded me of early 90s Shell-suit bottoms. I needed to go a lot darker and I found a great painting to use for a colour reference.

Francoise neilly Untitled

Study in Oil Pastels

11 - Going Darker

70 % Complete

These two portraits are very different Neilly’s is very smooth while mine was very rough especially at this stage but what would help me is the colours she used under the peak of the hat.

 

 

 

 

Day two and I was still messing around with colours I purchased an opaque red and gold but I still had to layer them on with a palette knife so that the paint below didn’t show through. I added the gold to the hat and face and on the right hand side of the face I painted a thin layer of red over the gold, hoping that this would create the illusion that that side of my face and hat was catching the light from somewhere.

I painted the background in a dull medium grey which catches the light at certain angles so it does look like the light is shining in from the sides.

Conclusion

I am quite happy with the finished piece and have received some good feedback from workmates and friends. I am happy with the piece and that I was dared to try something different. The result was as I expected, a strong but unfinished piece and I’m sure that’s what the viewer would see.

Use of Colour

To me the colours do not take over the piece, the features are still strong and clear and the colours do their job accentuating the light, shade and features of the face.

Technique

I am quite happy with the technique that I used, the research helped and introduced me some really good techniques. I would really like to practice techniques that the other artists in my research used but I’m sure they will be time consuming and so I will have to set aside some time for that.

Conveying Character

There is character here and it’s pretty much the character I wanted to convey, a look of arrogance with the hat tilted to one side.

Mood and Atmosphere

I’m not sure what mood or atmosphere I have depicted here that will be left for the viewer to make up their own mind.

Choice of Background

I think I chose the background wisely with the colours that I used in the portrait, their may have been other options such as using the same technique with darker colours on the background and maybe depicting light coming in from the sides but I could have messed up the feel of the painting.

 

12 - Finished Piece

Finished Piece

 

 

 

 

 

 

 

 

 

 

 

 

Assignment 3 – A Self Portrait – Research

For this assignment I chose to paint a self portrait, living alone that seemed to be the best bet. The painting was going to be in acrylics on a canvas panel, I wasn’t going to start using oils this far into the course especially on an assignment piece.

To begin with I began some self portrait studies in the medium I had started to like so much, water soluble oil pastels, these can be used wet or dry so I could do some experimenting with them here.

1 - A Nod to A Scanner Darkly

1 – A Nod to A Scanner Darkly

With the first study I wanted to continue playing around with line like I had in Assignment 2. I began by drawing in the outlines in pencil then drawing over strong outlines with a Pentel brush pen before adding detail and tone in water soluble oil pastels, wet for the face and dry for the clothes. I chose my background wisely with light shining in from a window (at school) and a bright orange picture board. I liked the way the light reflected off my head and used this in the study by leaving that part of my head oil pastel free with the line determining the outline of my head.

Up until now apart from the Conveying Character exercise I hadn’t really included any background in a portrait painting. Would I paint one in the final piece? I’m not sure where this would take me but hopefully the following research would help me to determine that. From here I went on to look at self portraits where the artists used line.

Self Portrait with Line

van Gogh - Self Portrait 1989 - Detail

van Gogh – Self Portrait 1989 – Detail

My search for self-portraits with line took me in a different direction, while I was actually looking for famous self-portraits or portraits that had some kind of outline I came across artists who had created whole paintings using line, such as Vincent van Gogh.

In Self-Portrait 1989 (left) van Gogh uses thick brushstrokes to create a serious weathered look to his face and to depict hair and facial hair. The line he uses for the background is equally important, it turns a plain background into a significant part of this painting.

 

Nikos Gyftakis - Self-portrait 1 - oil pastel on canvas

Nikos Gyftakis – Self-portrait 1 – oil pastel on canvas

Nikos Gyftakis, a 33 year old Greek artist, produces some amazing portrait and self-portrait oil paintings where he uses swirls of line to depict depth and contortions in the faces. A number of his portraits include background which he has also used the thick swirls of paint to distort, leaving the viewer to make their own mind up to what is actually in the background.

Self Portrait 1 (right) includes no background whatsoever and the entire canvas is filled up with the face and hands. I love this piece but I have to question, is this technique feasible with acrylic in the short time I have for this assignment? and would it be easy enough to replicate on a smaller canvas?

 

3 - Peaky Blinder

2 – Peaky Blinder

The next study was a result of this research. Using the same medium I drew myself this time using my hat as a prop using swirls of colour. I kmew I couldn’t replicate the technique perfectly with this medium but I could get some idea as to what the piece would look like in a painting medium such as acrylic or oils.

 

 

 

 

 

More Self-Portrait Studies

2 - Fauvism Inspired

3 – Fauvism Inspired

Moving away from the window I set myself down so that I had the brightly coloured picture board behind me. Inspired by the research into fauvism in the earlier portrait reserach  I used quite a limited palette of fairly bright colours and carrying on with more experimentation into using line in my portrait I used only vertical line to complete the picture apart from the check on the shirt.

I really liked the way this turned out, it reminded me of not just the fauve painters’ portraits but with the texture of the paper it kind of reminded me of the pointillist portraits as well.

 

 

Fauvist Portraits

André Derain - Portrait of Henri Matisse 1905

André Derain – Portrait of Henri Matisse 1905

Researching fauvism I came across the painters I had researched in the earlier research point such as Henri Matisse as well as some new ones. One fauvist portrait I really liked and in a style that would probably suit the study above was a  André Derain’s Portrait of Henri Matisse (1905). I later found out that Derain was the joint founder of Fauvism along side Matisse. His technique in this painting was very crude with what seemed to be a large flat brush and yet parts of the painting could have also been done with a knife. A keyword that I added into my search that took me to an artist that i had never heard of before, palette knife painter Francoise Neilly.

 

 

Untitled by Francoise Nielly

Untitled by Francoise Nielly

I love French palette knife painter Francoise Neilly’s  amazing use of colour and how she uses it not just to depict light and shade but all the features of the face. While searching for a video of her painting I came across another artist named Voka who paints similar portraits but mostly with brushes. The name he uses for his genre of art is spontaneous realism, I’m not sure whether Francoise Neilly would agree it seems like her paintings well thought out.

I looked on the web for amateur artists and students’ work painted in the style of Francoise Neilly and they hadn’t quite managed to pull it off, this made me want to take up the challenge. With the right pose, the right colours and props this style of painting would create a good atmosphere.

3 - Experimenting with Line and Mixed Techniques

4 – Experimenting with Line and Mixed Techniques

I had an idea for my next study but I wasn’t sure how it would turn out. My idea was to complete a self portrait with the dry medium (water soluble oil pastels) and then to work in verticle strips of the portrait with a watercolour brush to see what kind of an effect the water blended pastels had against the dry. A friend said that it looked like water running down a pain of glass but to me something about this painting reminded me of Gerhard Richter’s portraits with the strips of distortions across the face. Although I liked this effect I wasn’t sure how I was going to recreate it with acrylics and so I carried on with my search for portraits using different colour techniques.

 

 

 

Pointillist Portraits

There’s no doubt about it, pointillism is a very time consuming technique I have done a couple of paintings myself using a very crude technique and they took weeks to complete the simplest of paintings so attempting to use it here would slow me right down.

Georges Lemmen - Self-Portrait 1890

Georges Lemmen – Self-Portrait 1890

However, the oil pastel on the mixed media paper I was using left white spots and did remind me of pointillism and so there was no harm in taking a look at some of the self portraits and portraits by artists using this technique. One of the strongest of these Self Portraits, other than Vincent van Gogh’s 1887 Self-Portrait was this painting by Georges Lemmen where he seems to use layers and layers of dots that are close knit rather than spaced out like the works of Georges Seurat. This seemed to be a quicker, less time consuming method.

 

 

 

Self-Portrait by Chuck Close 2002-2003

Self-Portrait by Chuck Close 2002-2003

Chuck Close

My research into pointillist self portraits took me to a self portrait by an American Artist called Chuck Close, who actyally suffers from face blindness. When I enlarged the image I realised that it wasn’t a pointillist painting at all but what seemed to be a distorted photo-realist painting.

I was lucky to find a photo of Chuck Close at work, In the photo he was working from a photo of himself on a very large canvas and what he seemed to be doing was adding flesh tones into squares that were already painted with an array of colour and swirls to get this distorted effect that looks like he his behind a pane of patterned glass.

Conclusion

From the research above I concluded that I wouldn’t be painting a background in this self-portrait for assignment 3 but I would be relying on a strong technique to give the painting strength.

I really liked the paintings by Francoise Neilly and I wanted to have a go at something similar myself I just wasn’t sure if:

  • Using this technique or at least something similar would demonstrate the skills and knowledge that I have acquired through this part of the course.
  • Using a knife with acrylics would create the same affects as a knife with oil paint. Maybe I could use both a knife and a wide brush.

 

3 - Peaky Blinder

2 – Peaky Blinder

I also loved the technique used by Nikos Gyftakis and the way my self-portrait inspired by his paintings turned out. Out of all the new artists I have found so far he was my favourite. The problem as with Francoise Neilly’s technique how possible would it be to create something similar with acrylics.

What I decided to do was to go into this assignment attempting to create a self portrait inspired by Gyftakis paintings butI would have a back up plan just in case it wasn’t working out. Neilly would be my back up plan.

 

 

 

People in Context 3 – Telling a Story

The brief for this exercise was to create a simple narrative, involving one or two human figures and produce a painting that gives the viewer the clearest idea of what is happening.

I came across a photograph of a monk reading a book and praying in a temple in Ayutthaya which gave me an idea for this painting and also ideas for how I would go about depicting the stone wall inside the temple. To avoid plagiarism I would adapt the scene to my own painting in myself as the monk and also adding a twist to what was going on. I wasn’t sure of how it would turn out but I was focused on what I wanted the end painting to look like the problem was getting there was to be very time consuming.

1 - Trying Colours

1 – Trying Colours

The first thing I did was to look at the colours I would use in the painting by drawing the main figure from the already existing photograph just to give me an idea of what colours I would use in the painting. I completed this in water soluble oil pastels, a medium that I had started to use a lot lately.

 

 

 

 

 

2 - Background with Dripping Technique

2 – Background with Dripping Technique

From there I continued to examine the photo to figure out which painting techniques I would use to complete the surroundings. I decided on a dripping technique to start with which would hopefully help me to depict the water stains on the ancient stone walls. As I stated in my previous post I begun this exercise before the ‘A Figure in an Interior’ exercise and so like most of the other exercises I completed it on backing board. I only wish I had painted it on a canvas panel to see how this technique would have turned out on a canvas support.

 

3 - Backgroud Detail

3 – Backgroud Detail

After first using the dripping technique I begun to define the stones themselves. These were very irregular with all different colours, shade and patterns so I wasn’t to worried about doing a brilliant job. When finished it did look like the wall was catching light shining through a window somewhere but the source wasn’t clear it was the figure in the painting that would help determine where that light source came from. I then went on to do some figure studies…

 

Figure Studies

4 - First Figure Study

4 – First Figure Study

With my camera mounted on a newly purchased but cheap tripod I set the camera up on remote and started to snap photographs of myself sat in my best attempt at the lotus position and the orange monk cloth, that I have used as a prop in a lot of previous exercises during the last two courses, draped over my left shoulder.

 

 

 

 

 

 

5 - Second Figure Study

5 – Second Figure Study

I already new I was going to paint something in the window to the right of the painting and so I positioned a lamp to the left (my right) and faced in direction of the window in all of the photographs, making simple gestures with my left hand.

 

 

 

 

 

 

 

6 - Third Figure Study

6 – Third Figure Study

Looking back at the these three drawings, which to me were really great studies, especially the ‘Shhhh!’ pose in figure 4. I didn’t really need to paint anything else apart from one of these very suggestive figures which had ample information to complete this exercise.

The water soluble oil pastels gave the drawings a really oily effect, which I loved and so I shall be working on larger paintings from these studies, hopefully in oils in some future project.

 

 

 

Painting in the Figures

7 - Painting in The Robes

7 – Painting in The Robes

After choosing one of the studies to work from, the pose with the pointing figure, I began to paint the figure onto the larger painting. So I wouldn’t mess up the already painted background I drew in the figure in the same oil pastels which could be removed by my battery eraser if I made any mistakes. I was to find out that I could actually paint over any section of the wall if I needed to with a thin mix of paint in thin vertical strokes to keep up with the effect of the water stains.

 

8 - Starting the Figure

8 – Starting the Figure

With the  basic outline drawn out I began to paint in the robes using a medium paste mixed in with the paint to make them stand out more, then I started to paint in the figure. By this time I was having doubts to how the painting would turn out, the pose I had chosen looked quite weak but I carried on nonetheless.

 

 

9 - Painting in the Shadows

9 – Painting in the Shadows

After painting in most of the figure I began to work on the shadow and other objects in the painting. Firstly I began to paint as though the floor was a mirror forgetting about distortions that would be caused by the ancient wooden floor. By this time I had already deleted the photo so I couldn’t copy it making the painting quite hard to paint I decided on painting the shadows by puling the brush down in a slight zig zag motion.

 

10 - Painting in the Second Figure

10 – Painting in the Second Figure

Once I had most of the reflections painted I set about painting in the second figure. At first I though about painting myself hising in the shadows with a lasso around the vase on floor attempting to pinch it, Then I thought about just a pair of evil eyes in the darkness but after another photo shoot with the girlfriend I decided on painting her standing in the shadows to depict the fight with the temptation that all men of the cloth in all religions must go through.

 

11 - Correcting the Pose

11 – Correcting the Pose

A this stage I realised the pose I had put myself in as the monk in the painting was just too weak and so resorting to looking athe photos I had taken earlier and the studies to see which would be a better pose I put together a mixture several poses.

Unfortunately then I had to spend a lot of time changing the reflections on the floor to suit the seated figure.

 

The Finished Painting

The finished painting was very time consuming. over a month with working 7 days and I still think that it is not really a finished piece but more of a study to something that I can can work on later.

My regrets are not working on the solo figures in the study rather than this larger scene as the solo figures were much stronger. The figures in the final piece seem weak, it was a great idea but it needed a lot more time to finish, this maybe something I will continue with but at this time I had to tell myself enough is enough so I can finish this course in time for submission.

12 - Finished Piece

12 – Finished Piece

People in Context 2 – A Figure in an Interior

This was the first exercise of this project, however it was completed after the ‘Telling a Story’ exercise. The reason for me doing this was that the brief for this exercise gave me some interesting ideas and one was to put myself into multiple roles on the same canvas and so I was waiting for a tripod that I ordered.

Then things took a turn while I was doing a photo shoot with the girlfriend for part of the painting I was working on and stumbled upon this almost perfect pose with perfect surroundings and lighting that would help me demonstrate my painting skills and reflect on the previous research point.

At first I fancied painting something with subtle tones along the lines of Gwen John but with this change of circumstances I couldn’t get Hopper out of my brain.

It was late at night and I didn’t want to lose the pose so decided to take a photo and to work from the photo rather from life. The problem was I didn’t want to get back into the habit of producing paintings that were too realistic worrying whether that the painting was as precise as the photograph.

1 First Step - Underpainting

1 First Step – Underpainting

I looked at different techniques that would  help me to overcome this and stumbles across the phrase ‘Underpainting’ the technique itself was one that wasn’t new to me and was already one I had thought about using myself but I just didn’t have a name for it, I do now.

I had completed all previous exercises up to now on either Acrylic/Oil specialist paper or backing board prepared with Gesso. The latter warped a lot and to overcome this I painted the back of the board with a thin layer of paint so it would straighten out, the problem I had then was that paintings stick together when storing them away.  For this painting I decided to push the boat out and buy a canvas panel which are thin enough and light enough to send off for formal assessment.

2 First Step Completed

2 First Step Completed

I prep’d the canvas panel with Gezzo and then a coat of Burnt Umber a colour which I have begun to use more and more of. From there I begun the underpainting process in mizes of Burnt Umber, Mouse Grey and White.

I loved the completed underpainting so much that I actually thought about leaving it in those tones and cleaning it up to give it more sharper detail as a nod to Gillian Carnegie’s paintings but I decided to push on to add colour and detail.

 

 

 

3 Second Step - Adding Colour

3 Second Step – Adding Colour

With the next step I was too thorough and lost one thing that I really liked about the painting in the first step. Although the floor is made up of square ceramic tiles in the first picture you can see that it looks like floor boarding an effect that I would have liked to have kept but in the third photo it looks like a dull carpet, I would have to come back to this and try and recreate that effect.

The skin tones were quite hard to reproduce here and took several pigments mixed together to depict such as yellow, yellow ochre, orange and rose, at times you can see the individual colours that I layered over the top.

 

 

4 Third Step Adding Detail

4 Third Step Adding Detail

 

I added most of the detail, such as the light on the curtain (impasto), the face and shadows which were too dark and so the next step was to tone down which i would do by painting over them with thin layers of colour namely pink and yellow mixed with white.

By the now I had also repainted the floor which took almost three hours to get it to how I wanted it too look complete with the reflections from the light on the curtains.

 

 

 

5 Fifth Step - Adding Detail and Props

5 Fifth Step – Adding Detail and Props

I could have left it like this but the table was empty and didn’t look natural at all so from here I would add some of the items that were on the unkept table, a bottle of beer, a half empty glass, glue and some screwed up paper.

The bottle and glass were a challenge, I had never painted detail so small, the earlier Chiaroscuro exercises helped with this, particularly modelling the light around the glass.

6 Table Close Up

6 Table Close Up

 

 

 

 

 

 

 

 

Finished Painting

My thoughts on the final painting are that overall I thought I had done a pretty good job and it was enhanced by the texture of the canvas panel.

Shadows particularly on the figure are a bit hard, they were any way but they do look a bit harder in the painting, I’m not sure whether I should try and soften the lines up a bit or leave them as they are.

The feet are a bit deformed making them seem smaller, hopefully this wont be a focal point for anyone, I will not continue to mess these up and will leave them as they are,

7 Finished Piece

7 Finished Piece

 

People in Context 1 – Research Point – Figures in Interiors

Look at some paintings of figures in interiors from different periods and choose two or three pictures that particularly appeal to you. At least one of these should be from the twentieth or twenty-first century. Consider what you think the artists’ intentions are and look at the technical and creative solutions that they’ve brought to the subject.

Two artists that came straight to mind for this research point are two artists that I have already researched David Hockney and Edward Hopper.

David Hockney

Mr and Mrs. Clark and Percy david Hockney

Mr and Mrs. Clark and Percy David Hockney

The relationship between the figures in David Hockney’s paintings are not exactly clear as he separates them leaving you the name of the painting to work this out for yourself.  His subjects especially in his 1970’s paintings were often wealthy, and in Paintings such as Mr and Mrs. Clark and Percy (left) you do get the impression that they are wealthy professionals of some sort.

David Hokney My parents

David Hokney My parents

Linear perspective plays a big part in Hockney’s paintings. The subjects in his more familiar figures in interior paintings were often set in front of a flat back wall with a mat, table or chair painted in perspective to add depth to the painting. As well is this he also painted open doors or a view through a window to create depth.

David Hockney Card Players No1

David Hockney Card Players No1

When you look at the painting card players left you can see that he knew others were also aware of the linear perspective to his paintings. Here he reverses it adding a little confusion for the viewer.

Edward Hopper

Edward Hopper Morning Sun (1952)

Edward Hopper Morning Sun (1952)

Edward hopper’s paintings portray the loneliness of life in America at that time, a big country that like Thailand probably had a lot of folk from the country to the city for work, where they knew no one. To get this loneliness across he painted lonely figures in almost empty apartments using cold colours to depict bare walls and it worked.

Vadim Zanginian

While browsing through hundreds of paintings for this research pint I came across this Armenian artist who’s approach to painting this subject has really opened my my mind up. Vadim Zanginian paints with wild, wide brushstrokes that don’t allow you to focus on the interior behind the model even though you are well aware of it and the furniture in the room.

John Singer Sargent

The Model Interior with Standing Figure - John Singer Sargent

The Model Interior with Standing Figure – John Singer Sargent

A similar technique can be seen here in John Singer Sargent’s painting ‘The Model: Interior with Standing Figure’. This is probably one of the most beautiful paintings I have come across this year. At first glance I saw a wonderfully clear figure standing in front of a sketchy background with beautiful tones as I enlarged it I could see it was almost a tonal study, painted quite quickly or so it seems but very effective.

Pierre Bonnard

Pierre Bonnard - Model in Backlight

Pierre Bonnard – Model in Backlight

In the painting ‘Pierre Bonnard – Model in Backlight’ (left). The foreground and the model are solid but as you move towards the background the swirls of colour separated  by white spaces force you to see light shining through a window or patio door covered by a net curtain.