practice – Tea and Doodles

Assignment 2 – preparation

Idea 1 development

Pickin' the Pedicles by Carol McIntyre Oil ~ 30 x 24 — Pickin’ the Pedicles. Carol McIntyre

Waterloo Bridge. Effect of Fog. Claude Monet (1903)

Image result for delibes lakme in muscat — Delibe’s Lakmé in the Royal Opera House Muscat

Idea 3 development

Image result for https://www.royal-painting.com window still ife — Still Life in Front of the Window. Fernando Botero

Image result for still life in front of a window — Still life of various fruit on a stone counter, in front of an open window looking out onto a tree filled landscape. After Sebastian Wegmayr

Image result for still life painting open window right hand side leon — Prudence Heward

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2019-04-23 21-46 page 7

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So at this stage I am happy with the composition, in that the eye should flow around from the window frame inwards and out to the mountains. I am however, struggling with the perspective of the window stones. This picture has evolved from a combination of imagination and reality and, although much of it will be referenced, some parts have had to develop from processing the view in my mind.

I sometimes experiment digitally to establish composition and colour plans. It seems to be a more time-efficient tool for planning.

PoP 2.3.4 – Still life with complementary colours

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2019-03-26 15-19 page 8 — These were my initial colours to play with but I anticipated difficulty in creating a consistent starting colour every time.

2019-03-26 15-19 page 6 — I initially found this concept hard to imagine so I tried it out in coloured pencils. This did help me especially where to combine the hues if to create shadow, where to lift tones for lighter values. It didn’t really help me think where to use which hue and its appropriate tone. At this stage RO was for lighter tones and BG was for darker tones in the objects.

2019-03-26 15-19 page 5 — Black and white helped me establish the levels.

2019-03-26 15-19 page 4 — Perspective lines

2019-03-26 15-19 page 3 — Building up and lowering the values. I was starting to see how this works, especially in the darker shadowy areas.

2019-03-26 15-19 page 2 — The blue became functional only in the creating of shadows where it was combined with vermillion.

2019-03-26 15-19 page 1 — The dark glass bottle was tricky but I feel it needed the blue to dominant as an object rather than combine to make a shadow tone.

If I continued working on this exercise:

The surface was too vibrant and needed work to reduce its chroma. It is too high-key against the rest of the picture.
Create shadows around the jar lid
Experiment with creating the dark blue bottle in shadow. How would I combine colours to do this?
Keep the fluidity of my work pace. I was loose and relaxed and this allowed brushstrokes to remain and add atmosphere.

PART 1 Practise for Assignment 1 – Still Life

I almost want to leave it at this gestural sketch!

PART 1 P2: Exercise 4- Reflective light and shadows. Practice.

The exercise initially was hard, although maybe more for the fact that I thought it would be difficult to capture the sheen and reflections of a silver surface. I’ve been practicing this with different media just to have some playtime. I’ve never tried biro. This has a glow to it, I love it!

As my annotation shows, the proportion is out.

It is all too easy to focus on perfection sometimes and miss the aim of the exercise!

A brushed chrome seemed harder to replicate; a diffused reflection was difficult. Maybe in charcoal?

The ornament was easier initially as the reflective areas were more definitive against the contrast of the dark wood colour. However, lifting the conté to highlight the figure was not easy on such a small area – this would become easy when I work with a larger scale next for the actual exercise.

I’ve realised I need a much better quality sketchbook, this one is awful, the surface lifts and disintegrates as I wiped the conté dust with a chamois.