Observations of the human figure - 1

I have been looking forward to this part of the painting module. I find the representation of people in art and graphic design fascinating and would like to develop my own response to the shapes and movement I see around me every day. I perceive this part as an opportunity to explore the impact of my marks, colour, shapes and texture on a complex and varied subject matter.

During a recent visit to Coventry I was inspired by the art associated with the Cathedral buildings particularly the sculptures and and glass engravings based on human forms. The scale and positioning of these works of art added to the visual and emotional impact. The choice of material be it stone, metal or glass provided opportunities and limitations which the artists had exploited.

When working in paint on a two dimensional surface an artist can exploit the two dimensions or through the use of tonal effects create the impression of a solid three dimensional person. At the Herbert Art Gallery & Museum adjacent to Coventry Cathedral, I came across two portraits by the artist John Howard Jepheott (1910-1984) which interested me. Both "The picture of a girl - the innocent" (illustrated here) and "Portrait of an intellectual",  painted in 1959, are angular portraits where colour variation contained within bold lines create interest within a predominantly two dimensional image.

My own initial sketches for this part of the course were prepared at a local art group evening with a professional life model. Short pose pencil sketches were followed by slightly longer poses that provided the opportunity to experiment with colour. The professional model was able to vary and hold poses with relative ease. However, the provision of the model at the evening event was a change to the published programme so I only had my A4 sketch book available to practice in.

Whilst progressing the course exercises, I have referred to John Raynes books "Complete Anatomy and Figure Drawing", Batsford 2007 and "The Figure Drawing Workbook", Collins & Brown 1997 as well as continuing my visits to galleries and searching examples of artists work on the Internet. My wife has been the principle subject for the exercises for which I am most grateful.

Pencil and charcoal sketches enabled me to observe structure, proportions, tone and weight. I find that using water soluble pencil provides the flexibility to move from line to tonal washes easily which suits life drawing. The need to fix charcoal, I find more limiting than pencil or pen work although the ability to achieve greater density of line and a range of soft tones means this medium can not be ignored. I used images of Euan Uglow's (1932-200) work as inspiration for poses suitable for my life model (i.e my wife) to hold comfortably.  

Having produced a number of quick sketches, I moved into experimenting with colour. I tried to contrast the warmer skin tones with cooler colours for areas in shadow. Each of the images below were produced in single, relatively short sittings using acrylic paint.

The study of the reclining nude enabled me to experiment with colour and brush marks. The work was completed in a single sitting and as such feels unfinished and flat. I have yet to decide whether to re-work over this initial piece as I am happy with the overall structure. The composition of the sitting pose does not feel as balance as I would like with the left foot sticking out. I have been freer and more expansive with my marks working in places with a painting knife. There appears to be more energy in this piece which again was produced in a single sitting fairly quickly.

At this stage I looked for more inspiration from the work of other artists and selected a few whose approach I found interesting.

I have decided to pause on this exercise whist I reflect on the study of other works and move onto the next exercise in the module before revisiting my study of the human form in paint.

Assignment 2

I chose to use the four man-made objects I had used in earlier studies for the still life subject of this assignment. I set up the objects in my studio placing them on a board on a table.

For my first study I prepared a collage with mono-chrome pen and ink background. In the image I tilted the board creating a false perspective and used magazine text to add tone to the board. I was pleased with the contrast between the coloured foreground and predominantly black and white background.

Using a pencil study in my A6 sketchbook, I worked out tonal qualities of the still life and the impact on its composition. I prepared the sketch from memory whilst travelling on a train into London.

I continued with a colour study in my approx A4 sketchbook returning to the blue and orange contrast combination I like. I used this study to experiment with applying acrylic paint to with a palette knife to add texture to the tall vase. I also experimented with acrylic gloss medium adding this to the "Mother Hen" and jug. By only using the gloss medium on two objects in the still life I discovered that the effect was to confuse the painted highlights from the reflections off the gloss medium.

I felt the view adopted so far was too similar to that used for earlier exercises so I changed my view point and working in my sketchbook produced a new line sketch to which I tried out colours.

Having decided on a the view point for my composition I proceeded to block out areas on my prepared support with acrylic washes.



I gradually build up the tones and hue mixes on the foreground objects. I wanted to maintain a warmth and true to scale proportions to the perspective overall. I also wanted to create a feel of interest beyond the view painted - what was behind the doors? what was Mother Hen looking at?

I, therefore, adjusted the doors so that the left hand door appear to be partially open and increased to brilliance of the table's orange finish. On reflection I realised the table's hue was drawing the viewers eye away from the main subjects. Also the tall vase appeared lost against the background.

I toned down the table to a more realistic colour and added warmth to the vase to help it stand out. I adjusted the hue of the vase further to increase the contrast between it and the jug by lightening the vase. Finally I modified highlights to the objects and added reflection to the picture in the background. I am particularly pleased with the quality of light that I have created within the picture.

By showing more of the room in which the still life was set up the composition has become busier and has created a storey beyond the man-made objects. As an illustration that effect may be useful. However as an image in its own right, I prefer the focus more on the sill life subjects as created in an earlier exerice. Framing the work helps to improve the focus too.

Compared to my work for Assignment 1, I believe I have improved the composition and my use of colour. I have stretched myself further too in exploring how to paint interior perspectives.

Drawing and Painting Interiors

I visited the Fitz William Museum in Cambridge and the National Gallery in London to view works by Johannes Vermeer and his contemporaries. I particularly liked "The Music Lesson" and "Lady seated at Virginals" as examples of interior perspective in which he has captured the effects of light through his use of tone. In both pieces he has used windows as a source of side lighting and tiled floor pattern to enhance to the feel of perspective. Your eye is drawn to the person in the composition which provides a point of rest and focus.

Working in my study, I prepared a number of pencil perspective sketches of my own, both from standing and sitting view points.
The use of perspective within the closed room draws the eye into the composition. The space I have chosen is quite busy with many objects on work surfaces and shelves making it harder for the eye to rest on any particular object. The sketches were prepared fairly quickly with a simple indication of tone through the use of cross hatch marks.

Including the window in the composition as Vermeer has in some of his images, provides a visible light source. It also suggests a link with another space beyond the room creating a sense of mystery.

The view from the study across the hall towards my kitchen seems to draw the eye through the space with nowhere to rest and focus. The open door draws the eye into the middle space which is quite a complex space with the staircase, stairwell and doorways leading into other rooms.

I decided to paint the view into the hall as I found this the most challenging subject. I sketched out the composition onto a prepared support and started blocking in the main areas. In order to capture the colour of the hall ceiling I experimented with blue greys and orange/brown greys as there was reflected colour from sunlight and the carpet. Ultimately I settled on a cool blue grey but am still not happy with the outcome. The composition also made me feel uncomfortable as my eye had nowhere to rest. I therefore added a blue coat and shoes in the hallway which I feel succeeded in creating sufficient focus. On completion I realised that I had not got the perspective of the picture frames correct neither had I achieved sufficient contrast in tone or brilliance between the three zones of foreground (study), middle ground (hall) the distance (kitchen and landing). Technically too I found that controlling a paint brush less responsive than a pen or pencil so the marks defining edges are not as straight or even as I intended.

 

Colour Relationships

I continued to use the same reference sources for this Project as I did for the first part, "Understanding Colour".

Itten (1973) discusses seven colour contrasts: hue, light-dark, cold-warm, complementary, simultaneous, saturation and extension. From my own experiments, I was able to recognise greater contrast between the yellow and dark blue-green than where the yellow was surrounded by a yellow-orange or yellow-green. Here the colours close to each other on the spectrum were appearing to cancel each other out. The complementary contrast examples I used, of yellow surrounded by violet and violet surrounded by yellow created an effect where the smaller square of colour appeared to sing out from its complementary. Using a neutral grey it was possible to set up simultaneous contrast effects with the grey appearing tinged with the complementary of the surrounding hue. Then using a large red circle I produced a successive contrast effect. Itten (1973) provides examples where varies artists have exploited the effects of contrast. I was able to observe how David Hockney has used these contrast effects with great skill and experience at the recent "A Bigger Picture" exhibition at the RA. In so doing Hockney has created spectacular landscape images that sing out and are able to express the changing seasons and changing light throughout the day in the Yorkshire countryside.

For the "Still Life with Complementary Colours" exercise I decided to continue to study the man made objects from the previous "Still Life" project. I have a tendency to work with blue and orange/yellow complementary colours so I chose to work with yellow and the complementary purple for this exercise, using white and mixtures of the hues to create tone and colour contrasts. I worked in my sketchbook for speed. I discovered I was tending to create a grey hue as I attempted to darken the tones and needed to add more yellow to keep some warmth in the hue. I was pleased with the tonal quality of this study and note that my choice of hues has created a cool image.

Whilst working on this exercise I had the opportunity to try my hand at lino cut printing. Using the the same still life theme I cut the image then experimented with colour mixing using the "Chine Colle" technique.

The lino cut process encouraged me to work more loosely and naively. The mark making was bolder than I would normally create in paint which I enjoyed. I believe I could probably produce a similar effect with paint using a sick rather than paint brush.

Wanting to explore the emotional response to my work, I chose the exercise  "Still Life with Colour used to evoke mood". I also wanted to explore the impact of playing with the objects' proportions and juxtaposition on the overall composition. Itten (1973) asserts that specific colours generate particular emotional reations and relates this to particular works of art. I wanted to create warmth and a degree of familiarity with the objects.


I produced some studies in my sketchbook before deciding on creating an image on a square support, in this case acrylic paper. I had originally started out in a more abstract manner but found I was drawn back to trying to reproduce the still life more accurately. I built up the composition working on the background and still life objects at the same time. I avoided using black and restricted my pallet thus creating a more harmonious outcome.

As the image developed I adjusted the colour of the background and "Mother Hen" figure as well as the alignment of the junction of surface and wall. Initially I planned to restrict the composition to three objects but felt there was something missing having carried out prior studies with a set of four objects. I therefore added the fourth object but at a reduced scale to balance the composition.

Comparing my studies of this group of man made objects, I am surprised by the range of effects I have been able to create even though they have developed over a number of weeks. Playing with the scale of the objects created interesting compositions enhanced by the juxtaposition of different hues. I have noted that by varying the chose of colours I can turn the outcome form a cool to a warm image and that by adding tone creates depth and a feeling of perspective.

Close to Home - Still Life

I was not sure if there was going to be sufficient interest for me in studing still life subjects but discovered that in the process of searching out interesting objects I was encouraged to view my home in a different way. I started by just sketching various subjects around my home not limiting myself to just still life.

I found this very liberating and fun. I worked with pencil sketches, some with water colour washes and also oil pastels. I found I was seeing and becoming more aware of the every day objects all around me - an infinite number of jewels that could be explored and observed in varying lighting conditions throughout the day.

My children have moved to their own homes but my daughter's bedroom still retains a flavour of her character and contains groups of objects that make me smile. Soft toys and novelty items sit on shelves and other surfaces sharing memories and providing compositions with stories of their own.

Sketching cut flowers exposed me to the aging process of the individual plants. Coming back to the flower arrangement several days after the initial sketches offerred new subjects as yet unexplored.

On receipt of the feedback to Assignment 1 from my tutour I researched, as suggested, the work of Patrick Caulfield (1936 - 2005) and Giorgio Morandi (1890 - 1964). I like the clean lines and even blocks of colour produced by Caulfield in his screen prints. Although I enjoy their simplicity and the associated happy memories of growing up with Pop Art images , I do not see this as a style I want to develop myself. I did however, use this research as inspiration for collage experiments i.e. Bottle on Green Background" and "Mother Hen".

I selected approximate compementary coloured paper from old magazines. Then using one colour for the image and its complementary for the background. To enhance the object I added a black ink outline with a fibre pen and an indication of tone. A single horizontal line behind "Mother Hen" places the object in space. I have subsequently added horizontal, vertical and diagonal black lines to the "Bottle on Green Background" to stop the object appearing to float in space and now it appears to be in a corner (see sketchbook). From this study I went on to reproduce a group of bottles in blue/orange complementary acrylic colours (the colours have not reproduced very well in this blog).

Having completed these early studies I was ready to progress with the "Drawing in Paint" and subsequent "Still Life with Natural Objects" and "Still Life with Man Made Objects" exercises. I decided to follow my tutour's advice and avoid using black pigment for this series of exercises instead mixing the selected hues to achieve darker tones where necessary.

A selection of plastic ducks in my daughter's bedroom caught my eye and formed the basis of the first excercise. I undertook a series of studies before settling on a group of three; one yellow, one blue and one green.

Working on a watercolour paper support, I started by preparing  a ground of white emulsion paint mixed with a little cobalt blue. Onto this ground I drew the outlines of the three ducks and position of the shelf on which they sit with a light wash of paint. I then blocked in the approximate hues of the objects and background areas. I gradually built up the intensity of the hues for the ducks in layers. The green duck being created from a mix of the cobalt blue and orange yellow. Red was used to provide greater warmth to the background, darken the shadow below the shelf and form the orange for the beaks. Shadows and tone were created from blue and red blue washes. Finally highlights and eyes were added to bring the ducks alive.

The next exercice I chose was the "Still Life with Natural Objects". I selected some readily available objects from my kitchen, positioned them on a board and produced a few studies in my sketchbook. Working with pencil, pen, colour washes and acrylic, I studied tone, natural colour reproduction and experimented with composition.

Once I was satisified with the studies I prepared my watercolour paper support as before with a ground of light green as I would be working in reds and oranges. I built up the intensity of the hues adding layers using a moist brush for the smooth pepper and a dryer applied finish on the onion to enable under-layers to show through. Adding blue to the red of the pepper provided the tonal effect. The tonal effect to the multipal colours of the onion were more challenging and also more satisfying to create. I am however disappointed with the shadow cast by the pepper which feels too dense and laboured. The carrots were almost an after-thought but help to balance the composition.

Working with objects that had different textures and shapes as well as hue variations encouraged me to use different approaches to the aplication of paint in this exercise. I also focussed in on a part of the subject which created a more satisfying composition for this work. I was pleased with the final arrangement with the most complex object, the onion, in the foreground. However, I feel that by showing the edge of the supporting shelf in the ducks painting helped to position the objects better than I achieved in this exercise.

For the third exercise I chose "Still Life with Man Made Objects". I carried out a few stuidies including photos, pen and colour sketches before I turned to the work of Giorgio Morandi for inspiration.

 

I completed this exercise to approx. A4 size within my sketchbook so that I would work fast and not get too bogged down with perfecting the outcome. I was pleased with the painterly feel particularly the different tonal effect achieved in the background.

 

Compared to the previous exercise, I felt this was less overworked and still created interest in the hue variations and contrasts within and between the objects their foreground and the background. The shapes and textures of the objects in this last exercise were more complex and challenging than the choice of three similar ducks in the first exercise. I managed to introduce my desire for some fun in both the ducks and use of "Mother Hen" in the final exercise. I felt the exercise with the natural objects was a technical challenge but less motivating than the first and last exercise.