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| linear sketch 1 |
Painting from a working drawing
I began by studying several views in my house using a viewfinder to frame them from various angles and to zoom in and out. After tweaking a few elements within my view, of all of them this one appeared to offer the most possibilities. Unfortunately I temporarily lost my instructions for the exercise and the colour studies I made were probably rather more detailed than they should have been, though I think I did describe the objects with minimum detail I thought was necessary. The main concern was getting the colour palette to my liking. The colour study with the plainest palette seemed the most suitable, especially as there was already a lot going on in the lighting of the composition. It was basically a complementary scheme. For the palette I made three different darks – all ultramarine mixed with orange in various quantities. In certain places two, or all three of them were combined until I obtained a tone that looked comfortable in its location. As I progressed through the prep sketches I also moved objects around, adjusted their size and removed them altogether, as with the dado rail.
Soon after I started the painting I began to realize that despite having thought that some colour sketches were too detailed, ironically they helped me to simplify things. I had quite adequate information from them and didn’t feel any need to also refer to a photograph. In fact if I had used a photograph I think I would have been tempted to put more detail into every element.
After experimenting with the lighting in various ways on the subject I eventually found the most pleasing light and dark balance by directing it from a lamp on the bottom left – the only source not visible unlike the top left – wall light and the middle right - reflection of daylight in a wall mirror.
I think the lighting in this composition makes it perhaps fairly unusual. Because the view is on a flat wall surface it could have lacked depth (I did try other viewpoints beforehand but none of them worked) but the view in the mirror helps to alleviate this. For the painting surface I used oil sketching paper, as I had for a colour study, as the acrylic paint goes on with comparative ease. The addition of a drying retarder made blending easy.
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| colour study |
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| colour study |
I played down certain detail in the picture to draw more attention to the view of the bare winter tree through window reflected in the mirror. I also like the repeating curves and shapes in this. The shadow above the picture points roughly towards the reflection, but is maybe a bit too pointed.
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finished result -
version 1
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Redone - version 2
The first version(1) didn't go down too well with my tutor - I have to agree, it is frustrating that I couldn't see the faults myself, they look so obvious now. Although on plus side there were positive comments about the loose brush marks on the colour study/ies.
In view of the above, I attempted a complete new version (above). The composition was the same but larger. This time, as suggested by the tutor I made an effort to explore the brush marks and leave them visible as opposed to what I did in the first attempt. I allowed a mania for blending/smoothing them away to take over removing any previous potential for personality and basically becomes and exercise in neatness and tidiness. Although the gradations are smooth in the first version it has no liveliness. I have to admit it was a real effort to leave many of the visible brush marks alone.
Though it appeared to work well in the preliminary stages, I found what complicated matters now was the shadow area above the chair at the bottom left contrasting extremely with the very light/bright area above. After leaving it alone for a few days I blended it in with the light area above in pale white/yellow, scrubbing on some lighter tones to reduce the hardness and contrast. In this respect it worked but seemed to make other contrasting lights and darks in the picture more exaggerated, so I carefully toned many of the darkest darks down with a little medium to light tones. Hopefully this looks reasonably balanced now, and perhaps even a little painterly.
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I wanted to use a photograph containing linear perspective to find out if using a grid would make it easier to obtain accuracy. I tried this out with a black and white photo of an art installation, part of which I had cropped from an art journal. I also replaced one or two elements with others taken from another part of the complete photo.
