I would like to begin by saying thank you to my tutor for her support throughout Understanding Painting Media. I have enjoyed this course and feel inspired to try out new things.
I will address each point raised in this report in italic type.
This was a very nice completion of your studies Elaine, evidencing a wide range of approaches and a developing understanding of paint as a medium. Primary colours are odder than we might first think. You can have a set of primaries where grey is the ‘blue’ and brown is the ‘red’ for example. In some of your work, utilising the full set of primaries, no matter how strangely comprised, would have enabled a richer deeper palette and therefore more complex relationships and use of space. Do some work on Harvard refencing of your report and consider changing it to analyse a couple of paintings.
Thank you for that tip. I had a wee look through some paintings online just to see how the use of primaries can create a depth and warmth. I liked a piece of work by Patricia Kaufman called Emerald Hues. She uses golden yellows beside blues in the sky to create a warmth and vibrance to the painting. In other paintings by the same artist I noted her adventurous use of primaries that hooked me as an observer. I will really consider how to do this in my future work.
I will go through my references and use Harvard referencing before I submit my final assignment.
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
- This is a nice idea with some delicate brushwork. A development on this would have been to involve some very slight bits of red and yellow – in other words some green bits and some slightly grey bits where you had mixed some ‘blues’ at the edges of blue if you see what I mean. Nothing too mad but just a bit of depth to the blue basically.
I agree with this point and I did think about that at the time. I liked the blues and I think I was busying myself with experimenting with the shape and blue that it wasn’t till I had finished that I wondered about a change of colour. I think I will be more aware of that next time I do something like this again.
1&2 – these are nice and crisp The use of text is successful and that is hard to do. 5. Is a bit less crisp and could do with a bit more definition in the darker bits.
I agree. It sometimes takes someone else to spot things like this. I felt that the text gave the plant identity… I always think I sound a bit eccentric when I want people to take notice of the diversity of nature but I think the writing was as much art as the sketches and of course the handcraft of mother-nature.
- There is some really nice observation in the seaweed which I find the purple bit is running interference on. The purple looks a bit random / coloured in and that undermines the lovely observation of the seaweed?
The purple was a risk that did not work. I regret this because I enjoyed the shape of this beautiful plant. Because the plant was dead I actually took it home and dried it out completely. I just loved the shape. I probably will do this painting again at some point. My father used to say you don’t have to guild a lily. If something is beautiful, such as this incredibly beautiful plant, the background is not necessary.
- congratulations on an experimental but luscious painting, using three different approaches successfully in one work.
This piece was fun to do, albeit a tad time consuming. It was one of these
3 is a bit wobbly.
In my head I was thinking that the shell could be part of a different collection of drawings. I found a piece of china with a blue pattern on it on the beach. I was picturing shells and plants on china. Then I thought about a pebble painting I had painted on a small stone and thought that it would be nice to keep the blue painting on a white pebble, rather like the broken china. I probably should have made my ideas more audible in my write-up at the time. I see it in my minds eye and I hope that I have expressed my vision in such a way that the reader can also imagine this.
- is a nice try at a Vilja Clemins type drawing. You might find that very careful dragging of a finely pointed putty rubber along and around the edge here would help create a sense of This was a strangely therapeutic drawing that I think I probably stopped when I did because it satisfied my need to experience the intimate relationship with my environment in the same way that Vija Celmins clearly experiences. I should have returned to the piece to see how to develop it.
- a very nice sky – a good range of blues that include rosier and greener versions. I wonder if the work you dd on 4 and 10 might have suggested a more informed approach to the sea? The sky is convincing and quite naturalistic, but the sea is more Kurt Jackson. I wonder if cutting back into the white section to make shapes like in 10 would work?
I felt that my work on 4 and 10 were up-close and personal whereas this piece was more about an overwhelming sense of the power and enormity of the sea. I get how approaching the sea in the same way as 4 and 10 would create a very different feeling. I started a painting of the ripples on the water after the assignment but didn’t finish it. I thought the finished piece would have reflected a colourful version of 10 and was becoming too rapt in one concept when I wanted to look inward and outwards at my environment.
- This is fun. I feel as if there is a bit too much cream in this, but then I think that is more about how the sections are delineated. I feel I want to see the cream glaze across shapes and work in layers? Try and get up close to a Peter Doig or similar and see how he approaches this kind of thing. Or Mark Tobey.
I love the work of Peter Doig but have not had the pleasure of seeing it up close. I will endeavour to do so.
Process / Material Research
Demonstration of technical and Visual Skills, Demonstration of Creativity
The little grey street scenes are fine and sensitive. As you say, the last two are particularly exquisite in terms of their working. It is a lovely set. How does this sit with you – do you like working like this? How could this be taken forward into larger paintings? (https://www.saatchigallery.com/artists/michael_raedecker.htm)
I enjoyed working on the natural objects using fine lines and lighter tones. I looked at the work of Michael Raedecker and I can see how the fine lines of the trees can be represented and extended using thread on canvas. I think it might be possible to develop this in a few ways. Perhaps even including the small paintings within a larger painting. The fine work could be built up in the same way that Annie Kevans approaches her work – adding colour and tone gradually.
The tondo looked good at this point – there is more flow between the bits? You can afford to consider how you use space in your paintings and look to open that up. How do the white bits inter relate here compared to your final one? How does the blue move around and connect? You have differing levels of opacity here for the blue and that is important and could be used more if you like it?
I included the tondo at this stage of development because I liked it more than my finished piece. It is another one that I think I overdeveloped when I should have paid more consideration to the shapes and the negative space and the impact of space on those shapes. The blue didn’t ‘connect’. I guess I over-worked the piece and didn’t consider that the gesso could be a part of this abstraction.
Written Research / Critical essays
Context, reflective thinking, critical thinking, analysis
You found out quite a bit about the history of acrylic paint. You do need to reference this essay though, just have a go as it is a skill you need to develop.
You could have done a bit more to investigate how artists have used acrylic practically but your list of images does that job to an extent. For example, do you think Hockney embraced ‘plastic’ paint as a feature of modernity?
I will go back and reference the essay. I ran out of words and used pictures to illustrate how acrylic can be used. I think Hockney did embrace ‘plastic’ paint as a feature of modernity in the same way he digitally manipulates images. Hockney thirsts for new and exiting forms of media to pioneer in his own distinctive way.
Learning Logs or Blogs
Context, reflective thinking, critical thinking, analysis
Your log demonstrates a commitment to understanding your own work and I think you are working hard to extract the learning from the exercises. You do a good job of evaluating your own work and reflecting on its significance. I’m glad we agree about the purple. UPM does a lot to encourage you to work on prepared grounds so don’t forget that.
Thank you. I feel that my work has developed through experimenting with prepared grounds.
Thank you for the suggested reading/viewing. Unfortunately the vimeo was experiencing playback difficulty. Hopefully I will be able to visit the sight at a later date. I was able to access links at paintclub.org. However, I particularly liked the work of Michael Raedecker and his use of thread on canvas. I love how he uses thread as an extension of line giving a beautiful depth to his work. I am itching to dust down my sewing machine and get experimenting.
Pointers for the next assignment
Think more about how you use spatial depth in your paintings, even when they are of surfaces or relatively shallow.
Let the paint move across forms and experiment with opening up areas to enable flow around the painting visually
Value the precision of some of your ‘drawn’ paintings and look to see if that can be juxtaposed into the more lyrical work? Just as an experiment?
Well done, I look forward to your next assignment.
|Tutor name||Emma Drye|
|Next assignment due||n/a This is the date I will put in my diary to review your work, so the work needs to be with me in advance of this date. It is fine to change this date to suit your needs but please do give me notice so that I can manage my workload. Please don’t pay over the odds to get the work to me special delivery – just email and change the date!|
Again, may I offer many thanks to my tutor, Emma Drye, for her support throughout Understanding Painting Media.