01.2. PAINTING PORTFOLIO.

EDUC10054 2017

Charensia Pricilla Rompis 860209

CONTENTS

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Painting Folio Interpretive Painting Negotiated Painting

1 2 10

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Written Analysis Reference List

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1

Painting Folio

Fig. 1.1. Starry Night (cropped) by Vincent van Gogh in 1889.

2 Interpretive Painting

ABOUT THE PAINTING

Vincent Van Gogh 1853 - 1890 Starry Night was painted by Vin-

cent van Gogh in 1889 during his stay at Saint-Paul-de-Mausole near Saint-RĂŠmy-de-Provence. Van Gogh was a painter who used to paint from what he sees, such as landscape scenery. Nevertheless, he derived the idea of the Starry Night from his own imagination. The painting represents an illusion of dream and nature, where the sky swirls and conform with the stars, the moon, the hill, and the trees. Hence, it becomes one of the most remarkable paintings that he had ever painted.

3 Interpretive Painting

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Fig. 1.2. Process 1: Starry Night.

4 Interpretive Painting

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Fig. 1.3. Process 2: Starry Night.

3

Fig. 1.4. Process 3: Starry Night.

4

Fig. 1.5. Process 4: Starry Night.

Interpretive Painting

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Fig. 2.1. Melodrama by Sam Mckinniss in 2016.

Interpretive Painting

ABOUT THE PAINTING

Sam Mckinniss 1985 Sam

Mckinniss is a Brooklyn-based painter who recently collaborated with a New Zealand singer-songwritter, Lorde. Last year, the painter asked his friend to help him took a number of photographs of Lorde laying on a bed with coloured light bulbs to create the sense of red-ish and yellow-ish on her cheek and body. Thus, he painted the image of Lorde through the photographs and shortly, the painting was produced as Lorde’s album cover that is called as Melodrama.

7 Interpretive Painting

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Fig. 2.2. Process 1: Melodrama.

8 Interpretive Painting

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Fig. 2.3. Process 2: Melodrama.

3

Fig. 2.4. Process 3: Melodrama.

4

Fig. 2.5. Process 4: Melodrama.

9 Interpretive Painting

Fig. 3.1. Sunset by Charensia Rompis in 2016.

10 Negotiated Painting

ABOUT THE PHOTOGRAPH

Charensia Pricilla Rompis 1998 Charensia Pricilla Rompis is a first

year student in the University of Melboourne studying architecture.

Painting was one of her hobbies and on the beginning of the semester, she decided to take Drawing, Painting, and Sensory Knowing as her breadth subject. The photograph of sunset was taken by her last year in her home country, Indonesia.

The Sunset portrays a sense of silhouette by the existence of the boat and trees that covered the scenery.

11 Negotiated Painting

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Fig. 3.2. Process 1: Sunset.

12 Negotiated Painting

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Fig. 3.3. Process 2: Sunset.

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Fig. 3.4. Process 3: Sunset.

4

Fig. 3.5. Process 4: Sunset.

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Written Analysis

Painting is a process of creating an artwork

that is established progressively through the form of colour. This activity can be done on a canvas, painting paper, and even a cardboard. By using different materials such as brush, palette knife, and sponge, we can create different outcomes to our artwork.

Similar to From the workshop, I have developed my painting skills through different range of techniques and materials. First thing that I learnt was using a base colour with foam roller. Base colour can affect the colour performance of our artwork. White base allows a lighter and more transparent colour into the painting, while coloured base emphasizes a particular colour in the painting. To create a coloured base, we can mix the colour and a small amount of water together and apply the combination to the base using foam roller (Smith, 2010).

On my first interpretive painting (see Fig.

1.2), I applied a blue coloured base to enhance the effect to achieve my personal interpretation to the painting. Moreover, on my second interpretive painting (see Fig. 2.2), I was curious to see the difference between using a colour base and not using a colour base. Therefore, I decided not to put a colour base to achieve a lighter colour on the blue-themed painting. My last painting was filled with a grey colour base to emphasize the melancholy mood (see Fig. 3.2).

The concept and goal of my interpretive and negotiated painting were to establish a painting with my

personal interpretation and expression. If someone was to see and compare my paintings with the original painting or photograph, I wish that someone will have the thoughts of wondering which artwork is the real one. Thus, in order to achieve my goal, I tried to get the right colour, detail, and measurements of the objects inside the paintings and photograph. Similar to drawing, painting also "requires that you look at something for a long time, perceiving lots of details, registring as much information as possible." (Edwards, 2001, p. 82). As in the previous drawing workshop, I learnt about the statement from Simpson (1987) that “Angles can be measured by comparing the unknown direction with a known one.� (p. 10). Therefore, before I start to paint, I measured each object with a ruler and start to create the outline with guides from the measurement. After creating the outline on my paintings, I tried to interpret and fill in the same colour from the original artwork. Last process of my paintings was detailing the object and getting the same result where possible. Hence, as a finishing, I put a glossy paint on all my paintings. In short, from the photographs that I took, it is clearly seen that the process of establishing the artwork was done in the same order of outlining, filling in, detailing, and finishing.

The challenging part that I always encounter was

detailing the artwork to establish a similar result to the original. At first, it was quite hard and challenging to find the right blue colour for the Starry Night (see Fig. 1.3). However, I kept trying to mix different blues and other colour together to achieve the right blue colour as in the original painting. On my second painting, I was confused with the proportional of the body as I never draw people with the pose of laying on a bed. Therefore, I needed to figure it out and re-paint the neck part (see Fig. 2.4). The least challenging part was the negotiated painting, where there was not much objective on the photograph to be focused on (see Fig. 3.3).

Hence, despite of the challenges that I have encountered on this task, I was able to achieve my goal.

Techniques that I used on my paintings were

hatching and impasto. On my first painting (see Fig. 1.5), I got the idea of hatching technique from Vincent van Gogh (1853 - 1890) as most of his paintings were done with hatching technique. The technique was done by keeping the dabs separated to achieve the underpainting colour (Daniels, 1988, p. 51). I tried to practice with with brush and palette knife to create the dabs. The second painting of my interpretive painting was done with brush and I kept it simple without using any techniques.

The negotiated painting was done with brush and palette knife for impasto, where it was applied on the silhouette of the trees to create a visual effect.

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Reference List Edwards, B. (1986). Drawing on the artist within: a guide to innovation, invention, imagination and creativity. New York: Simon and Schuster.

Eisner, E. W. (2004). What can education learn from the arts about the practice of education? International Journal of Education and the Arts.

Daniels, A. (1988). ing with acrylics.

Introduction to London: Apple

paintPress.

Simpson, I. (1987).

Drawing, seeing and observation. London: A & C Black.

Templeton Reid, LLC. (2013). The Van Gogh Gallery.

Retrieved from http://www.vangoghgaller y.com/painting/star r y-night.html.

Tolentino, J. (2017). The artist Sam Mckinniss on capturing Lonrde in the twilight. Retrieved from http://www. newyorker.com/culture/persons-of-interest/the-artist-sam-mckinniss-on-capturing-lorde-in-the-twilight.

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