Painting with acrylics, Painting, Drawing, Printmaking, Art Courses,

Painting – bright backgrounds and creating luminescence

Setting a challenge for yourself when you are learning to paint can be quite daunting. You look at a pear (in this instance) and you want to get out the yellow and the brown paint and paint a yellow and brown pear with maybe a touch of green. All quite normal, but as many of you will know if you want to play it safe the one thing I’ll do is set you a challenge to push yourself.

To make painting the pears more of a challenge I set them on to two very bright file folders (one is a light cyan and the other a pinky magenta) but painting he whole background in these two startling colours the challenge became to paint reasonably believable pears over the top and allow semi translucent paint layers to only partially obscure the under painting.

So not only was the re a challenge in eh compositional layout of the two pears on a stark background but also the play of colours between the two parts of the painting.

It certainly did prove a challenge and took everyone out of their comfort zones. But what happened during the process was truly satisfying.  This technical exercise took two sessions (four hours) and I admired the tenacity of the KA who certainly struggled as the painting came and went. She struggled with the form of the pear the strange affect of the pink and blue through her pear colours and the wetness of her paint for much of the two lessons.

However, there was a turning point. She stuck with it and turned her painting round. For the last hour of the session she worked back into all parts of the pear and the fore/background. Took risks with the colours she used, and took proactive decisions on the tonal properties of her painting. She even scratched into the paint to reveal underlayers of colour and I almost did a jig round the room when I heard her comment “Wow! That has made the painting luminous.” Well done KA.

I am not sure whether to record that she did later add that she wasn’t sure that if left to her own devices that she wouldn’t get out the yellow and brown paint! ……Just give me time, I thought ,and yellow and brown will have a whole new meaning for you 🙂 (See left hand photo)

Well Done KA – I am very proud of you. Keep at it.

Drawing Tips

Drawing: critical reflection on compositional errors

Possibly one of the most difficult things to do when you are drawing is to reflect on your own work. It is vital that anyone learning to draw learns to evaluate their own compositions.  The style in which you draw or your approach are obviously influencing factors in the aesthetic of your image but, however you approach your project there should be an element of realism to your delivery if you have chosen to draw from life.

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Constantly checking the still life (landscape etc) in front of you against the image appearing on your page is all part of realising a reality in your work. Even abstract work needs to have roots in reality to have a proper integrity.

Given that the ratio to looking at the still life set up to drawing is a minimum of 65/35 it can be easy to overlook small assumptions in your drawing.  After all we all know what an egg/apple/flower etc look like don’t we?

However, the honesty you can give yourself when critically evaluating your work will make all the difference to its credibility. Also mistakes in compositional integrity create a strange jarring quality even if the viewer has not seen the original set out of objects.

Learning to see and more importantly correct your mistakes (however far on in the drawing you are) will pay dividends as you progress. It’s very hard to say to yourself, “no that is wrong I must alter it but the end result will bring you one step closer to a harmonious and believable composition.

Drawing Tips, Painting, Drawing, Printmaking, Art Courses,, West Darmoor Art Courses News

Drawing shapes – re-seeing form as a series of shapes

Quite a task for a Monday morning!  We all hold a visual memory of an object in our head. We know what something looks like. If I asked you to draw an apple for instance, you would know that it is a solid distorted sphere with a hard often shiny skin. You might even add a stem for good measure.

The likelihood however is that when presented with an apple as a study piece you will see that an apple is less round than you thought. It may be wider, longer or bumpier. Certainly, the inner shapes in terms of surface pattern and light fall will be more interesting and detailed than in your drawing from memory.

I took todays exercise from Bert Dodson’s book Keys To Drawing available very reasonably priced on @worldofbooks.

The intention of today’s session was to help us see the form of an object through the shapes on it.  This called for an object which would trigger the “I know what that is” response. We spent 45 minutes on three drawings of a plastic toy soldier!

The first step is to draw an outline of the edges of the object as a single line before beginning to identify negative spaces, larger areas of shade before refining the drawing down into more tonal areas. The soldiers had to be dropped from shoulder height to set the placement. (no cheating allowed! This meant that, inevitably, the figure was placed in a non-familiar way so it would be more difficult to use automatic responses when drawing.

Repeatedly the comment was that it was very difficult “indeed” to look at the shadow shapes without labelling them as a leg, or shirt, or hat. As we progressed through the morning it became apparent through the confidence shown in the progressive drawings that everyone was beginning, more easily, to identify larger and larger areas of pattern within the figure and divorce these areas from the need to label particular forms. As an aside I noticed that the description of the outside shapes of the small plastic soldiers became more accurate with each rendering.

As a reward for sticking at it we finished the morning with a simple clothes peg. A simple and easy way to realise shapes in the shadows and lighter areas rather than through contour drawing.

Drawing Tips, Painting, Drawing, Printmaking, Art Courses,

Drawing – using tone instead of line and changing the emphasis of your own drawings marks

I set a real challenge today for the drawing class. The idea was to use our tone/value aid to really concentrate on lost and found edges.

This required, not only really looking very hard at the daffodils, our chosen object for today, but also making decisions on which parts of the flower head qualified as what value of light and dark on the scale.

To help a little participants took a black and white photograph of their chosen blooms to use as reference as the photographs could easily emphasise the dark and light areas when set to monochrome or noir and then darkened a little.

The drawings and decisions for shading were taken from eyeballed (al la Hockney phrase) and the photos used as an aid and by  working across the drawing to ensure that the right values where being put down proved really quite hard to get a handle on. (I guessed this from the many “this is very hard” comments!!!!!!) however as the second hour progressed I could see a definite understanding of how to work the drawings, but also how a new understanding was creating a new shorthand from each of the artists drawings.

I have to concede that it was a hard thing to grasp especially when, to date, we have tended towards line drawing (outline drawing) before adding and tone or mark making to the drawings.

Today was no exception but as the drawing progressed it became apparent that at least some of the outline would have to be removed as the value of the colour tone being laid down was lighter than the outside line. Similarly with the lost lines in the shadows or in very light areas changed the emphasis from the outside line to the form and shape of the inside of the object being drawn.

One helpful tip today has been adopted to reassure that their drawings were not “messy”. Many of the attendees where perplexed and rather discombobulated by the marks they were making. I explained that the flowers where looking messy because the image was showing the lines as very prominent on the white paper.  So the outside of the images were softened with dark shading to enclose their pencil marks. We had worked into drawings already as a warm up this morning using old drawings.  It had been a revelation to everyone how much it changed their drawings and how they needed to work back into the drawings to create more contrast.

This simple approach really bought out the lights and made them believable. Very satisfying.

Painting, Drawing, Printmaking, Art Courses,, printmaking, West Darmoor Art Courses News

Open Printmaking Sessions on Thursday Afternoons

I love these session. With our small group sizes we are able to let everyone chose what they want to do. Today we had dry point with chine colle, water colour prints and wiped monotypes. Everyone worked very hard and produced a wonderful variety of prints today and here is the selection. Enjoy.