Tag Archives: acrylic painting

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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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

 

Looking at Faces 3 – Head and Shoulders Portrait

I begun this exercise looking at faces of my colleagues. This would help me to decide:

  • How much shoulder to include in the painting.
  • Which Angle to paint the face at.
  • The best way to paint the hair.
  • Whether to paint with eyes open or close

My tutor recommended three artists to my in my last tutor report and one that I thought about for this exercise was an artist called Gwen John. The artist was recommended for her subtle use of tone but it wasn’t this that came to mind when I started working on this exercise.

Gewn John - The Convalescent 1924

Gewn John – The Convalescent 1924

Among the works of Gwen John were a couple of paintings that I thought would really help me cope with a head and shoulders portrait, these were ‘The Convalescent’ and ‘The Precious Book’.

In these two paintings the artist painted her subjects with eyes facing down, reading. With Thai girls it is hard to keep them posed for long lengths of time without them wanting to browse at their Facebook profile or Line Messenges. So what better way to get them seated still than actually give them their smartphone.

With eyes facing down I don’t have to spend too much time painting the details in their eyes and the South East Asian eye lids are also quite beautiful.

The subtle tones Gwen John employs in her paintings are also quite interesting and very different from my work so far that has been quite bold,I’ve noticed other students have created some really soft tones in their paintings but so far I just haven’t been able to. Hopefully my brush skills will improve and soft tones will be something I will be able to achieve.

Drawings of Colleagues

2nd Sketch - Looking at Faces and Best Angle

2nd Sketch – Looking at Faces and Best Angle

Thai’s have big lips and if you draw them at an angle that is only slightly out they can look too big although the size of the lips to the rest of the face is correct. You can see this in the first portrait drawing in charcoal of Lee, one of the beautiful Thai desk staff at our language centre.

Thai hair can be either dark brown or jet black but they do like to have highlights put in their hair which really helps when drawing them and helped me to create a sense of body to her hair.

Hair can also be used to frame the face, here I have used it to define her cheek bones on a usually rounded face.

1st Sketch - Looking at Faces and Best Angle

1st Sketch – Looking at Faces and Best Angle

For this second sketch of the other girl on the desk, Nah, I was asked to ‘make her beautiful’ which can be translated to ‘make me white’Thais are over concerned about skin colour. Nah has a darker complexion than Lee but here I have managed to capture all her features without using too much shading on the face. Again the hair played a big part of shaping the face and defining the cheek bones.

Thais have unusually shaped heads  and quite often the back of the head is flat so this drawing as with the previous sketch of Lee I stuck to drawing the front of the face and by doing this was only able to add a little bit of shoulder due to the size of the face on the paper.

There was a lot of blinking going on while working on her eyes so I didn’t manage to depict much life in them so at this stage I was thinking that eyes down or even closed was a better option.

3rd Sketch - Looking at Faces and Best Angle

3rd Sketch – Looking at Faces and Best Angle

For the third drawing I chose the only teacher in the staff-room that was willing to let me draw her face but she wishes she hadn’t. Allah is Russian and what I have noticed with a lot of Russian’s is that they have what I would call prominent eyelids which when open can make the eyes look slightly googly.

There is a lot more detail on Caucasian faces than South East Asian and so for this portrait I used a softer less compressed charcoal so I wouldn’t make her look too old while drawing these details such as dimples on cheek, creases on forehead and creases under the eyes.

I would have quite liked to have painted her for this exercise but she wasn’t impressed by the drawing and said that it didn’t look like her, even though others shouted her name and pointed at her as soon as they saw the drawing.

4th Sketch - Looking at Faces and Best Angle

4th Sketch – Looking at Faces and Best Angle

The next drawing was of my girlfriend at home, I have always found her very difficult to draw for some reason. Probably because I know she is my second worse critic, next to myself.

This time was no different, there is a likeness but not much. Her hair however is lovely and I think I managed to capture some of this in the drawing.

This drawing helped me decide on amount of shoulder to paint in the finished piece, deciding that more was better and I thought at the right angle I can make the shape of the head look okay.

5th Sketch - Looking at Faces and Best Angle

5th Sketch – Looking at Faces and Best Angle

With my subject chosen and to be honest it was always going to be my girlfriend as the Thais get a bit suspicious with other women coming into your apartment I went on to look at different head positions. This next one wasn’t brilliant, it might have been me getting bored of the charcoal so I went onto draw this pose again in oil pastel.

6th Sketch Oil Pastel - Experimenting

6th Sketch Oil Pastel – Experimenting

Working in oil pastel for the next drawing of the same pose I thought it was rather bland so chose to do a bit of experimenting running my finger down the the completed drawing which had a rain down a window effect.

7th Sketch Oil Pastel - Looking at Colour

7th Sketch Oil Pastel – Looking at Colour

This was a quick drawing in oil pastel, The likeness wasn’t great, in fact there was nothing much about this drawing that resembled my girlfriend but I liked the way the colours I used made it look like her face was reflecting the colour of her yellow top. This reminded me of Monet’s ‘Women with a Parasol’ where the bottom of her sleeve reflected the yellow flowers. This gave e an idea, to try and depict her in an outdoor scene or at least paint her on a blue background so it would help the viewer come to this conclusion.

The Final painting

8 - Drawing with Paint

8 – Drawing with Paint

1.  I laid down uneven mixes of primary blue and white on the card with random brushstrokes. I was hoping that this would give a nice background to the painting but then when I came to sketch the shape of her head and face I used a paint that was just too dark which may have been okay but then I realised the face was just too large and I had to correct it.

9 - Correcting the Shape of the Face

9 – Correcting the Shape of the Face

2. In order to correct the shape of the face I had to paint in some of her features. This was a valuable lesson. When drawing in paint on to a prepared background it was better to start off smaller and work bigger if needed.

3. The shape of the hair was a major part of this painting so I left off the face to paint in the hair with various colours such as pale blue, yellow ocre, burnt umber and black, this gave the hair some body. As I noticed earlier the hair framed the face and so it was a good idea to to paint the hair at this early stage.

10 - Painting overLines

10 – Painting overLines

4. Painting the hair really helped. From this I managed to get the shape of the forehead, profile and jaw line just right.

I then moved on to the shoulders painting in the basic shape followed by her hair over her right shoulder.

My next action would change the feeling of the whole painting. First I painted over the dark erroneous lines with a pale blue then a pale yellow to see how the portrait looked with each colour as a background. Both colours made it look that it had been painted outside but I still wasn’t sure which I would choose for the background.

The pale yellow on the blue looked like the sun was shining behind her but the light on the face told a different story.

11 - New Background

11 – New Background

5. Once I had painted the hair over her shoulder I decided that I would finish the painting without the model. This was so that i wouldn’t be influenced when it came to adding shadow and other details.

6. I began to play with the background, uneven mixes of blue and white in a swirling motion around the figure. It was the swirl of yellow that was there previously that gave me this idea.

12 - Adding More Shadow and Complimentary Colour

12 – Adding More Shadow and Complimentary Colour

7. After studying the painting for two or three weeks thinking about what was wrong with it and wondering why she looked like, what I would describe as a Spanish senorita. I realised that it was the background that made the painting look flat.

Studying the yellow tones on the face and the models top I went over the background with very thin layers of rose paint following the brushstrokes. The pink mixed with the blue gave me light purplish tones, purple being the complimentary colour of yellow, really helped the portrait in the foreground to pop out.

This was a really hard painting to take a photo of due to the colours used and that’s why the colours look different in every photo which don’t really do the painting justice.

My thoughts on the final drawing

I am quite happy with the the finished painting although the background would may have looked even better with clouds depicted in the background. I did think about this but I painted on a small format and there wasn’t much space around the background to add this detail.