02.7. PT.

Painting Techniques FINA20026

Semester 2, 2018 Charensia Pricilla Rompis 860209 Charensia Pricilla Rompis 860209

#W1 Visual Diary

Stretcher Bars

Oil Paint

Canvas Paper

Linseed Oil

Brushes

Painting Techniques Material Kit Palette Knife

MDF Boards

Spalter Brush

Image 1.1. Preparation Materials.

Acrylic Paint

- Raphael Golden Kaerell Brush Round #0, #2 #8; - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, Cadmium Yellow Light, French Ultramarine, Cadmium Red Light, and Burnt Umber; - Matisse 75ml Acrylic Paint in French Ultramarine Blue, Yellow Light Hansa, Napthol Scarlet, and Titanium White; - PQ Light Weight Stretcher Bards 8” x 1 pair and 10”x 1 pair; - Art Spectrum Refined Linseed Oil 100ml; - Canson Canvas Paper Pad A4 10 sheet 290 gsm; - Visual Diary A4 60 sheet; - Trowel Palette Knife.

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MDF PREPARATION Materials

Process

Image 1.2. MDF Board.

Image 1.3. Bondcrete (Glue) and Medium-Sized Brush.

Image 1.4. Bondcrete Applied on MDF Board.

Image 1.5. Wet MDF Boards.

Apply a thin layer of primer (bondcrete) onto the MDF board using medium-sized brush. Apply the glue starting from one edge to the end of the board to avoid uneven surface on the MDF board.

The glue is applied to create a layer where the paint will sit, hence, the MDF board is used as a support.

Leave the MDF Boards to dry for about 10 minutes and apply the bondcrete onto the other side of the MDF Board. Application on both sides of the MDF Board enable multi use where the medium can be painted on both sides of the board. After the application on the other part of the MDF board, leave it to dry.

Reflection: Applying bondcrete as a primer requires not much attention. I just had to make sure that the brush has a desired amount of bondcrete (not too much - not too little) and also make sure that the bondcrete does not spill all over the place when applying.

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Project 02. Tonal Oil Painting.

Brief: construct a paper model and use it as study for the tonal oil painting on MDF Board.

Step by Step: 1. Create a paper model from a sheet of paper.

1st trial: I used an A4 sheet of paper and crumple it to create an abstract shape that results in a multiple tones and shades

(see image 1.11 - 1.16).

2nd trial: I created a parametric paper model with an even pattern showing different directions of the shadow

(see Image 1.6).

3rd trial: I created a paper model of a plane and a boat (see Image 1.17 - 1.22).

2. Take a photograph using phone to document different views of the paper model (see Image 1.7).

3. Use Black and White filter as a guide for the tonal oil painting (see Image 1.8).

4. Create thumbnail sketches from the photographs using pencil to observe the proportion of the object. Also, highlight the shadows to differenciate the tonal colour from the object and the shadow.

Image 1.6. Paper Model 2.

Image 1.7. Photograph.

Image 1.8. Image Filter.

Image 1.9. Thumbnail sketching with Pencil.

Image 1.10. Tracing Shadows.

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Definite curve line.

Require careful detailing on the folded area.

Positive space that shows a darker tone.

Interesting curvature.

Complex area.

Similar tonal colour from the paper and the shadow.

Interesting shadow.

Image 1.11. Paper Model 1 View 1.

Hard to distinguish the tone of the paper and the background.

Interesting curvature.

The white tone is similar to the background colour.

Image 1.12. Thumbnail Sketch View 1.

The proportion in this area is too small.

Majority of the dark tone focuses on the shadow.

Complex folding that results in confusion.

Hard to distinguish the shadow and the tone of the paper.

Image 1.13. Paper Model 1 View 2.

Image 1.14. Thumbnail Sketch View 2.

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Hard to distinguish the tone of the paper and the background.

Distorted on the thumbnail.

Interesting folded spot.

Require more attention to the detailing in this Image 1.15. Paper Model 1 View 3. particular part to achieve a realistic result.

Small folded area.

Similar tone to the negative space which makes it hard to distinguish the tone of the paper and the background.

Need to distinguish the shadow and the tone.

Image 1.16. Thumbnail Sketch View 3.

Negative space that has a similar tone to the paper.

Different direction of the shadows that also overlaps one another showing different side of the paper model.

Simple and direct transition of tone that can be seen from the picture.

Image 1.17. Paper Model 3 (Plane) View 1.

Darkest part of the object from the shadow inside the enclosed space.

Image 1.18. Thumbnail Sketch (Plane) View 1.

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Negative space that takes much attention due to the dark tones.

Transition of the shadow to the tone of the paper.

Simple variation of tone that differ from each side of the paper model.

Interesting shadow.

Image 1.19. Paper Model 3 (Boat) View 1.

Negative space that takes much attention due to the dark tones.

Image 1.20. Thumbnail Sketch (Boat) View 1.

Similar tone to the shadow which makes it hard to distinguish the difference between the paper and the shadow.

Interesting void space.

Image 1.21. Paper Model 3 (Boat) View 2.

Requires more shadow as currently the thumbnail looks like it is leaning on an object instead of the paper background.

Image 1.22. Thumbnail Sketch (Boat) View 2.

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Glossary Primer

Size Support MDF

Gesso

Ground Model/ Maquette Composition Foreground Middleground Background

: undercoat as a preparation coating on top of a support before painting. It ensures the paint to sit on the support and increase the durability of the paint. Also, it is used as an additional protection for the support. : dimension or proportion of an object. : a material/ surface where the paint sits. : Medium - Density Fibreboard, an engineered wood product which is suitable to be painted on. Also, it has a stable dimension in which the size will not expand or contract like wood usually does. : a mixture of white paint with chalk, gypsum, pigment, or any combination of these. In painting, gesso is used as a surface coating for painting on top of a glue. : a background surface or primer where the paint sits, usually a coating applied on top of a support. : a small scale model or a rough draft of a sculpture. : arrangement of different parts that form as a whole. : ground or parts that are positioned or located in front, nearest to the viewer. : a part positioned in between foreground and background. : ground or parts that are positioned or located at the back, furthest to the viewer.

Focal Point Thumbnail Sketches Tonal Scale Colour Greys

Mid Tones Highlights Colour Temperature

: area that become the main attraction point that draws viewer’s attention. : quick and abbreviated drawings that are usually drawn without corrections. Usually drawn with pencil. : transition of greys from lightest tone (white) to darkest tone (black). : grey colour consists of warm grey (umber 2: 1 ultramarine blue), natural grey (umber 1: 1 ultramarine blue), and cool grey (umber 1: 2 ultramarine blue). : colour in between the tonal spectrum, neither dark nor bright. : the lightest spot or area in a painting. : level of warmth that is contained within any specific colour.

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Background Middle-ground Foreground

Image 1.23. Prime (Bondcrete).

Image 1.24. Gesso.

Highlight Mid-Tone

Image 1.25. Foreground, Middle-ground, Background.

Image 1.26. Tones.

Image 1.29. Thumbnail Sketch.

Image 1.30. Colour Greys.

Focal Point

Image 1.27. Support (MDF Board).

Image 1.28. Model/ Maquette.

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#W2 Palette Knife

Fabric

Brush

Oil Paint

Tin

Masking Tape

Linseed Oil

Baking Paper

Week 2 Material Kit

Canvas Paper

Image 2.1. Preparation Materials.

- Raphael Golden Kaerell Brush Round #2; - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, French Ultramarine, and Burnt Umber; - Art Spectrum Refined Linseed Oil 100ml; - Canson Canvas Paper Pad A4 10 sheet 290 gsm; - Trowel Palette Knife; - Masking Tape; - Fabric (to wipe off excess oil and clean the palette knife); - Baking Paper (as a palette paper); - Tin (to put the oil in).

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Tonal Diagram Brief: Creating a Tonal Scale Diagram in Natural Grey, Warm Grey, and Cool Grey with Oil Paint.

Ultramarine Blue

Burnt Umber

White

Linseed Oil

Image 2.2. Oil Paint Used for Tonal Diagram.

Reflection: In this experimentation, I created a colour chart and gradient of cool grey and warm grey. In order to create a clean colour chart, I used masking tape to create a boundary between each colour and I took it off after the oil had dried.

The challenge that I encountered was the warm grey which was harder than cool grey. It took me quite some time to work on the colour and get the correct warm colour.

Nevertheless, I think this experimentation on the colour chart worked pretty good as I was able to get the perfect mixture of warm and cool grey. One problem that happened was when I try to take off the masking tape, it damaged the canvas paper

Step by Step: 1. Lay out a sheet of baking paper and use masking tape to hold it in place.

2. Put the oil paint (White, French Ultramarine, and Burnt Umber) separately on top of the baking paper.

3. Use a palette knife to mix off the paint.

To create a cool grey colour, mix off the ultramarine blue and

burnt umber approximately 2:1.

To create a warm grey colour, mix off the ultramarine blue

and burnt umber approximately 1:2.

To create a natural grey colour, mix off the ultramarine blue

and burnt umber approximately 1:1.

4. Check on the colour after mixing and add a bit of ultramarine blue or burnt umber to adjust the colour.

If it gets too brown-ish, add more ultramarine blue if you want

a cooler grey.

If it gets too blue or cool, add more burnt umber to create a

warmer colour.

5. After getting the desired cool and warm black colour, mix it with White for a lighter colour. The more White you mix with the black, the lighter colour it gets.

6. Continue by adding more white to reach a white colour.

7. In the gradient section, the first thing to do is apply the colour and try to mix it off with the next darker or lighter colour.

8. To achieve a perfect blending, use the fabric and wipe off the oil paint on the brush after mixing it with other colour.

9. After the chart and gradient has been filled with colour, let it dry.

10. Oil paint usually takes a long time to dry.

11. After the oil paint dries, take off the masking tape carefully.

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CLEANING UP Burnt Umber

Ultramarine Blue

Materials

White

Palette Knife

Cool Grey

Warm Grey

Image 2.4 Dissolv.

Tin Brush

Process

Image 2.5. Cleaning Up Process.

Gradient Image 2.3. Colour Chart on Cool Grey (Left) and Warm Grey (Right).

Apply Dissolv into the brush and keep scrubbing the brush until the oil paint is removed. Use soap and scrub it gently to clean the brush and use tap water.

Remember to wash the brush in a sink that tolerates chemical from the oil paint.

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MDF PREPARATION Materials

Image 2.6. MDF Board with Applied Bondcrete.

Image 2.7. Gesso.

Process

Image 2.8. Gesso Applied into MDF Board.

Image 2.9. Finished MDF Board.

Use MDF board with applied bondcrete from last week, and apply a layer of gesso onto the MDF Board using medium-sized brush. The process is similar to the application of bondcrete. Apply the gesso from one edge to the other for an even surface. Make sure that the support has been fully covered with gesso.

Gesso is applied as a coating that sits on top of the support. After the gesso has been fully applied onto the board, leave the MDF boards to dry for about 10 minutes.

Repeat the step on the other MDF boards. The next step is sanding and applying second layer of gesso which will be done next week.

Reflection: The application of gesso was done in the same process as applying bondcrete.

As we have been working a lot in applying primer into the boards, we became more used to it and the activity has become a lot more easier.

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Glossary Palette Knives Brushes:

Round,

Flat,

Bright,

Filbert Ferrule Bristles Canvas Wedges Stretcher Bars Oil Mediums (Fat and Lean) Transparent Opaque Linseed Oil Odourless Solvent

: a tool made of a flexible steel blade and used to mix or apply paint. : pointed tip with long closely arranged bristles for detail. : longer hair compared to bright, used for spreading paint quickly and evenly over a surface. : shorter hair compared to flat, used for driving paint into the weave of a canvas in thinner paint applications, and also thicker application such as impasto. : flat brushes with domed ends with a good coverage and ability to perform detailing work. : metal cylinder surrounding and enclosing the hairs of a brush. : a stiff hair or feather from animals that is used in brushes. : a closely woven, heavy cloth of cotton, hemp, or linen that is used to apply the paint : a pece of hard material with two principal faces, used to tighten the canvas. : wooden stretcher used to mount a canvas. : amount of oil being used, fat (rich in oil) and lean (less oil). : a state in which an object can be easily observed or seen. : a state of being impenetrable to light. : a drying oil that prevents oil paint from drying and also used to mix with the paint. : a medium used to clean brush.

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Bright

Flat Palette Knife Filbert Round Image 2.10. Palette Knives and Brushes.

Image 2.11. Canvas.

Image 2.12. Stretcher Bars.

Bristle Opaque

Ferrule

Handle

Transparent

Image 2.13. Brush Property.

Image 2.14. Canvas Wedges.

Image 2.15. Transparent vs Opaque.

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#W3 Baking Paper

Oil Paint Ultramarine Blue

Burnt Umber

White Linseed Oil Palette Knife Tin

Brushes

Week 3 Material Kit Masking Tape

Canvas Paper

Image 3.1. Preparation Materials.

- Raphael Golden Kaerell Brush Round #0, #8; - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, French Ultramarine, and Burnt Umber; - Art Spectrum Refined Linseed Oil 100ml; - Canson Canvas Paper 290 gsm; - Trowel Palette Knife; - Masking Tape; - Fabric (to wipe off excess oil and clean the palette knife); - Baking Paper (as a palette paper); - Tin (to put the oil in).

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MDF PREPARATION Materials

Image 3.2. Sand Paper.

Image 3.3. Gesso.

Process

Image 3.4. Sanding MDF Board.

Image 3.5. Finished MDF Board.

After the gesso has been applied onto the MDF board and dried, cut a small piece of sand paper and use it to sand the MDF Board.

Sand the board gently until the surface become smooth. Sanding was done to create a smooth and consistent surface. Make sure to wipe off the board after sanding it.

After the board has been smoothened, use medium-sized brush and apply gesso as a second layer onto the MDF Board.

Make sure to apply it from one edge to the end with necessary amount of gesso to avoid uneven surface. Relayering was done to achieve an aquadrant feel.

Reflection: The sanding was done with onlythe sand paper itself. Some people used a block on top of the sanding paper to help make sanding easier, however, I found it more uncomfortable and harder to work with.

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CANVAS STRETCHING Materials

Process

Image 3.6. Sretcher Bars.

Image 3.8. Mounting stretcher bars by joining each edges together.

Image 3.9. One Side has to be flat and the other angled.

Image 3.7. Cotton Duck Canvas.

Image 3.10. Aligning stretcher bars with a hammer.

Image 3.11. Stretcher bars has to be in line with the cotton canvas.

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Image 3.12. Fold the canvas inward and staple the middle part into the stretcher bars.

Image 3.13. Repeat the step to all sides in perpendicular arrangement.

Image 3.14. Pull one corner outward.

Image 3.15. Pull the corner upward.

Image 3.16. Fold the inner part of the canvas to have a smooth edge.

Image 3.17. Fold the canvas inward and use staple to hold it in place.

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Image 3.18. Repeat the step to all four sides of the canvas.

Image 3.19. Finished Canvas.

Reflection: In this session, I learned mounting a canvas from using stretcher bars and cotton duck canvas. The first problem that I encountered was assembling stretcher bars. At first, I had them mixed up and I ended up with uneven panel. Therefore, I had to take it off a number of times and tried to assemble it all over again.

In order to attach the cotton duck canvas to the stretcher bars, I used a large stapler.

At first I could not get the stapler to work, however, after trying and playing around with it, I got to finally work it out. The next issue that I encountered was folding the corners of the canvas. I found it the hardest and challenging. I tried to follow our tutor’s instruction, but it was really hard to follow up. Everyone seemed confused and therefore, she had to re-demonstate it for us for a couple of times.

Eventually, after a number of trials, I could finally get it to fit and I stapled all sides until I get a nice folded corner. In short, I found this this activity was fun and engaging.

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Project 02. Tonal Oil Painting.

Natural Grey

Continuing from Week 01.

5. Select a desired image from week 01 and use it as a reference.

I chose the boat paper model as it was the simplest out of all and straightforward.

6. Create a colour palette (see Image 3.23).

7. Prepare the canvas paper and put on masking tape at the edges of the paper so that the paper will stay in place. Also, the painting will have a nice border when it is taken off at the end.

8. Start tracing the image into the canvas using oil paint of a light colour mixed with oil just to have the idea of where the object will be. Pencil is not a good material to use because it will leave mark on the canvas even though it will be covered with paint (see Image 3.20.

9. Create a general blocking on the object with oil paint and brush. Use different shade of grey to distinguish the tone from one another and also to differenciate the shadow (see Image 3.21).

10. After blocking in, start to create a finer detail on each block using a smaller size of brush.

Use fabric to help clean up the brush while blending the colour. I used white oil paint to highlight the folded area. White colour helps to achieve a realistic result (see Image 3.22).

Image 3.20. Tracing the Object.

Image 3.21. Blocking the Object.

Image 3.22. Detailing.

Gradient Image 3.23. Colour Chart on Natural Grey.

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Needs more paint.

Needs a stronger outline.

Image 3.24. Finished Details.

Image 3.26. Finished Painted Object.

Reflection: In this first trial, I chose the simplest paper model I have made which was the boat. I decided to start with this object because it contains a general blocking with minimum detail required. I chose this object to paint to familiarise myself with oil painting. In this experimentation, I feel that the hardest part was about getting the correct proportion. I started off by sketching the outline of the boat paper and then I blocked each parts with different shades of grey. After blocking the object, I started to put detailing with small brush. The detailing was a bit challenging because it requires more attention. The next thing I found challenging was blending. Blending and detailing requires a lot of time because I had to keep wiping excess oil paint on the brush and keep going back forward.

Image 3.25. Filling in the outer areas. Errors in the painting in Circle.

Also, I realised from this trial that in order to get a realistic looking result, white paint is really helpful. One important thing that need to be aware of is to always keep the brush clean so the colours will not get mixed up when painting. In my first trial, I think I need to be more confident in outlining the edges of the object, and also paying more attention to the background so that it will have a nice texture.

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PROJECT 02: TRIAL OUTSIDE CLASS Oil Paint

Object

White

Burnt Umber Ultramarine Blue Linseed Oil Palette Knife

Masking Tape

Brushes

Image 3.28. Paper Model.

Fabric

Canvas Paper

Paint Palette

Materials consist of: - Raphael Golden Kaerell Brush Round #0 - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, French Ultramarine, and Burnt Umber; - Art Spectrum Refined Linseed Oil 100ml; - Canson Canvas Paper 290 gsm; - Trowel Palette Knife; - Masking Tape; - Fabric (to wipe off excess oil and clean the palette knife); - Paint Palette instead of Baking Paper as it is more comfortable to use.

Image 3.27. Preparation Materials.

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My second trial was done outside class.

Step by Step: Similar to my first trial, the step-by-step was done in the same order.

1. Prepare canvas paper with masking tape, oil paint, and fabric.

2. Put the oil paint (Ultramarine Blue, Burnt Umber, and White) into the palette.

3. Create a mixture of Ultramarine Blue and Burnt Umber 1:1 to achieve a natural grey colour.

4. Use a bit of oil paint and mix it with linseed oil for sketching.

5. Sketch the crumpled paper by looking at the image (see Image 3.29).

6. Differenciate each area by blocking with different shades of grey (see Image 3.30).

7. Create different shades of natural grey in the palette so it can be used easily while painting.

8. Remember to start painting with a clean brush, may use oil and fabric to clean it faster.

9. Start to do the detailing with smaller brush.

10. Use lighter colour to create a gradient and blend it together.

11. When blending, it is necessary to use a clean and dry brush to avoid the colour getting mixed up.

12. Use fabric to wipe excess oil paint on the brush.

13. Repeat the step in all areas.

14. After all the detailing was done, fill in the outer area of the crumpled paper (see Image 3.32) 15. Let the oil paint dry and take off the masking tape carefully to avoid damage on the paper.

Reflection: I found painting outside class is more comfortable because there is no time constrains. In this trial, I wanted to challenge myself with a more complex tonal oil painting, hence, I decided to paint the crumpled paper model. I found it really hard and time consuming to do the detailing in a small area, so it took a long time for me to do the detailing. Overall, it took me around 5-6 hours to finish this painting.

The detailing started from the left area in which was more consistent than the right area. Looking at the overall painting, I think I need to push myself and be more confident in outlining the object and also when filling in the background. Also, the shadow that I created was a bit dark and should have been more lighter in colour. In some part, the blending was a bit rushed resulting in an inconsistent gradiation.

I found that the background has to be done with more oil paint as at the moment, I realised that I used too much linseed oil.

In the future, I need to pay more attention to the background and the outline of the object.

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Image 3.29. Sketching with Oil Paint.

Image 3.30. Paint Blocking with Different Shades of Grey.

Image 3.31. Detailing and Blending.

Image 3.32. Finished Details.

Image 3.33. Filling in the outer areas.

Image 3.34. Finished Painted Object.

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Glossary Trompe L’oeil : technique that uses realistic imagery to create an optical illusion in three dimension. The purpose is to trick

the viewer to make them believe that the painting is real.

Plein air : creating artwork outdoor instead of painting inside of a studio.

Gesture : a painting that has a record of the movement or action.

Drybrush : technique of using a paint brush that is relatively dry, but still holds ink.

Scumbling : applying opaque coats of oil paint over a tinted background to achieve a more subtle tones or shadows.

Sfumato : technique of blending colours or tones without an apparent transitions, lines, or edges.

Sgraffito : technique of applying a number of layers and then scratching the surperficial layer emerging the pattern

or shape into the lower colour.

Chiaroscuro : technique using a strong constrasting colour of light and dark.

Triptych : a series of three panels that are combined together Diptych : a series of two parts that are formed as an art.

Relief : sculptural technique that gives an impression of an artwork coming out from the background plane.

Embossing : technique of giving impression of a pattern on a surface like paper, cloth, metal, or leather.

Tempera : a permanent and fast-drying painting medium that consist of coloured pigments mixed with a water solube binder medium.

Enamel Paint : a paint of a hard, glossy, and opaque finish used for coating surfaces.

Pictorial Perspective : a perspective drawing that depicts a three dimensional object onto two dimensional plane.

Linear : composition of an extended or arranged in a line.

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Image 3.35. Trompe Lรณeil.

Image 3.36. Scumbling.

Image 3.37. Sfumato and Chiaroscuro.

Image 3.38. Sgraffito.

Image 3.39. Gestural Painting.

Image 3.40. Pictoral Perspective.

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#W4: NGV Hans Hemling (1430-40 - 1494) was originally from a small town near Frankfurt am Main. Memling became a citizen of Bruges in the Burgundian Netherlands in 1465 and stayed there until his death. This artwork represents Christ as an image of pity. Jesus is shown cradled in the arms of his grieving mother, open-eyed and thus ‘alive’ but with the wounds of his Passion on display. Fervent prayer in front of harrowing images of this type was considered to hasten the soul’s passage through the pains of Purgatory.

Image 4.1. Hans Memling, The Man of Sorrows in the arms of the Virgin, 1475/79.

Material: oil and gold leaf on wood panel.

- The gold leaf was created from gold sheeting that has been hit out to be the finest sheet of gold. It was made so fine that if blown by the air, the gold will shatter away.

Usually, the gold sheeting will be beaten out to a small square to make it easier to use. The gold does not really have a reflective quality.

- The oil on top of the gold sheet almost look like a piece of collage, showing a story on the background.

- Tonal variation of warm and cool.

- Central main figure, collage element in the background, symmetrical painting.

- The painting was done with a fine brush (small sized brush) for tiny detailing.

- Glazing was used in the painting (transparent layer on top of the painting to create a texture).

- Palette: local colour (true colour), simple, and realistic.

- Tonal: slight variation to give formation.

- Flat space due to the collage and the pattern.

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Image 4.2. Palma il Giovane, Portrait of an old man, 1600.

Image 4.3. Palma il Giovane, Portrait of an old man, 1600.

Image 4.4. Palma il Giovane, Portrait of an old man, 1600.

Palma il Giovane (1548 - 1628) came from a distinguished family of Venetian painters, and was known colloquially as II Giovane (the younger) to distinguish him from his celebrated great-uncle Jacopo Palma il Vecchio (the elder). After a period of study in Rome, Palma returned to Venice, where he was celebrated for his contribution to the painterly traditions of Titian and Tintoretto. Palma, however, invested a greater degree of naturalism in his figures than either Titian or Tintoretto did, and steered Venetian art towards a more realist Baroque tradition. In his study, Palma does not idealise his elderly sitter, but rather conveys a reverence for the visible signs of old age and aging.

Material: oil on canvas.

- Weaving of the canvas is still visible.

- Gestural paint mark can be seen through the direction and form of the brush marks on the artwork.

- Use of Sfumato technique can be seen on the beard with soft fan brush.

- Cinematic quality and tonal variation on the dark clothing.

- Palette: restricted colour with dark brown and fresh tone (Chiaroscuro Technique).

- Use of Impasto technique through the thickness of the paint.

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Jean Valette-Falgores (1710 - after 1777) was a student of Anotine Rivalz at the Academie de peinture in Toulouse. Jean Valette-Falgores spent most of his career, except for a stay in Rome, in his home town where he died around 1777. ValetteFalgores specialised in still lifes and particularly in Trompe l-oeil. Here, a variety of objects painted in an illusionistic manner are shows suspended upon a background of wooden planks. These objects include a flute, magnifying glass, compass, key, feather, letter, a pair of scissors, and three engravings or drawings.

Material: oil on canvas - Use Trompe l’oeil technique to trick the eye.

- Use a source of light (definite light source).

- Wooden panel as a background to make it look more realistic.

- Object: life size to trick the viewer further.

- Traditional pins on the painting.

- Smooth blending effect.

- Object was seen with shadows being glazed over the top.

- Heavier tone compared to the Crucifixion.

- Ribbon, Wood, Paper, Metal Ceramic, Robe.

- Highlight the skill of rendering with different material.

- Composition of the object.

Image 4.5. Jean Valette-Falgores, Trompe l’oeil, 1770s.

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The early nineteenth century witnessed a revival of the seventeeth-century Dutch and Flemish tradition of trompe l’oeil paintings, exemplified in France by LouisLéopold Boilly, and in Italy by the lesser-known painter and architect Prospero Mallerini. Whereas Boilly’s visual trickery often involves humour, Mallerini used illusionism to heighten religious experience. The figure in the print is the thirteenthcentury visionary nun Saint Gertrude, who saw herself as the bride of Christ. The figure of Christ is probably based on an actual corpus by a Baroque sculptor, such as Francois Duquesnoy or Alessandro Algardi. A small-format devotional subject such as this was possibly intended for a domestic shrine.

Material: oil on canvas - Use Trompe l’oeil technique to trick the eye.

- Use a source of light (definite light source).

- Wooden panel as a background to make it look more realistic.

- Object: life size to trick the viewer further.

- Smooth blending effect.

- Object was not glazed, instead, a change in colour to match the colour of the shadow.

- Lighter tone compared to Trompe l’oeil.

- Cross, Paper, Sculpture, Twine.

- Highlight the skill of rendering with different material.

- Composition of the object.

Image 4.6. Pespero Mallerini, Crucifixion, 1801.

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Jan Brueghel I, along with his friend Rubens, was one of the most important Flemish painters of the early seventeenth century. He distinguished himself from his famous father (Pierer ‘the Elder’) and brother (Pieter ‘the Younger’) with small-scale, densely populated landscapes with minutely rendered foliage, which were unprecedented in Flemish Baroque art. Many of these were painted on thin panels of smooth copper, a surface which enhanced the enamelled effect of oil colours and fine brushstrokes. Brueghel was one of the most talented painters ever to work on copper. His jewel-like paintings were so admired that he often repeated subjects to meet demand.

Image 4.7. Jan Brueghel I, Calvary, 1610.

Material: oil on cooper - Painting was done directly on a sheet of copper.

- Perspective painting with tonal background (blue).

- Colour reduced on the foreground.

- Tiny faces with expression.

- Incredible amount of time spent on the detailing.

- Glazing can be seen.

- There is so much detailing on the background.

- Small scale.

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David Hockney’s (1937) The second marriage is a visual essay exploring sexuality and domestic relations. Made in 1963, it followed his the first marriage, 1962, painted during a creative phase inspired by a European trip. When visiting the Pergamon Museum in Berlin, Hockney had been amused by the paired profile of a friend standing alongside a sculpture of an Egyptian woman. It motivated him to explore the visual pairings of a married couple. Despite the unplanned feel of the picture, The second marriage was the result of numerous preparatory sketches.

Focusing on the groom in particular in his studies, Hockney may have intended this work as an ironic self-portrait.

Image 4.8. David Hockney, The second marriage, 1963.

Material: oil, gouache, and collage of torn wallpaper on canvas.

- Large scale artwork - Shape of the artwork was a combination of three panels.

- Wine and numbers can be seen on the artwork.

- Diluted areas can be seen.

- Gestural of paint with same sized brush that creates a pattern.

- Impasto technique was used.

- Repetitive mark can be seen.

- Contrast area of flat areas and fluid diluted areas.

- The colour of the guy is very tonal.

- On the right wide was a wallpaper that has been torn and applied over the painting.

- The shape can change in the way the viewer read.

- Visual of an interior.

- Earlier symbolic of clues from the story behing.

- Immediate brush and fine line on the table with flower.

- Fat areas, thin areas, big brushes, and small brushes were used.

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While from 1943 to 1952, Nicolas de Stael painted lyrical canvases devoid of obvious representational references, he always protested that he was not an abstract artist, but a non-figurative one. For de Stael, his seemingly abstract compositions always had firm roots in his eye’s perception of specific effects of light, colour and spatial form. After 1952, he introduced figurative elements into his art, painting landscapes and, as in this jewel-like example, still lifes. De Stael’s hugely successful carreer in post-war Europe ended with his premature suicide.

Image 4.9. Nicholas de Stael, Still life: Nature Morte, 1953.

Material: oil on canvas.

- Complimentary palette with orange.

- Simplified with a cut out shape.

- Ground colour underneath the texture (brown-ish).

- Use of palette knife in the painting.

- Impasto technique was used, where the paint was quite thick as the viewer can see the shadow coming out of the paint.

- Fat surface of paint.

- The paint itself became a subject.

- Actual paint physically sit on the surface as a representation.

- Direction of movement of the palette knife can be seen, also, it indicates the form.

- Ground colour, limited colour, mixed colour.

- Scale: life size.

- Backrgound and foreground with no space or depth, exaggerated by the colour and the thickness of the paint.

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One fifth of Manet’s completed paintings were still lifes. The seventyeight still lifes painted by the artist partially reflect a revival of interest, after 1860, in the eighteenth-century master of this genre, Jean Simeon Chardin (1699 - 1779). But, more than this, Manet’s exquisite studies speak of his dedication to the joy of painting itself - an act luscious, sensual and as essential to the artist’s daily living as the consumption of the foods depicted.

Material: oil on canvas.

- Brushwork can be seen clearly through the size and direction.

- The direction of the brush tells the form of the object being painted.

- Horizontal direction of brush to show the form of the table.

- Tonal and colour variation.

- Organic object that blend well with alla prima.

- Impasto technique was being used.

- Life size scale with focal point.

Image 4.10. Edouard Manet, The melon, 1880.

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The Val d’Aosta lies high in the Italian Alps, across the border from Mont Blanc in France. The Alps were a constant source of inspiration for Turner, particularly during 1840-44, when he returned there every summer to paint. It is unknown whether this work is a study of atmospheric effects, complete in itself, or a background field of colour and texture awaiting finishing touches. Turner often sent incomplete canvases to the Royal Acadmey or the British Institution exhibitions, then finished them in a last-minute frenzy on the so-called Varnishing Day, adding vital details that made clear an intended subject.

Image 4.11. J.M. W. Turner, Falls of Schaffhausen (Val d’Aosta), 1845.

Material: oil on canvas.

- Blending technique was used.

- The brush or knife has been scraped and sanded back.

- The artist try to paint the atmosphere.

- The painting gives a realistic sense of being present in the painting.

- Plain area.

- Scraffito technique was being used on the painting.

- Impasto technique was used on some areas.

- Fat paint.

- Some part shows the idea of stainning and glazing.

- Rug was used to wipe off some areas.

- There is no variation in colour rather than more into physical.

- Material that has been used create different textures.

- Palette knife was also being used.

- On the brownish area, the painter used waxing.

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Warhol’s portrait of Loti Smorgon is a characteristically arresting doubleportrait of the prominent Australian art collector and patron. It is one of only a handful of portraits by Warhol of Australian subjects. In an interview with curator Deborah Hart, Smorgon recalled that Warhol took hundreds of Polaroids during her sitting, and invited her to select those she liked best.

Material: synthetic polymer paint and silkscreen on canvas.

- Comic-like painting.

- Painted on a large scale canvas.

- Minimum blending of colour.

- Pink background.

- Portrait painting of Loti Smorgon.

- Brush stroke cannot be seen.

- Thin paint.

Image 4.12. Andy Warhol,Loti Smorgon, 1981.

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Amsterdam in the Golden Age saw the rise of an industry of exceptionally skilled specialist flower painters, many of whom were women, such as Rachel Ruysch (1664-1750), to whom this painting was once attributed.

The demand for such pictures was fuelled by the contemporary passion for botany and the exotic flower bulbs arriving from Levant; tulips, anemones, hyacinths and crocuses. The king of these flowers was Semper Augustus, the red-and-white ‘flamed’ tulip, which features prominently here, In 1636, at the height of Dutch tulip mania, a single bulb cost several years of an artisan’s wage. Indeed, the price of the flowers depicted in canvasses such as these far exceeded the pictures themselves.

Material: oil on canvas.

- Big craze in Holand.

- Still life painting.

- Great detailing - Realistic painting.

- Life-size painting.

- Blending technique was used.

- Dark tonal painting.

- Glazed

Image 4.13. N. E. Grimwade, Flowerpiece, late 17th century.

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The Flemish artist Jean François van Dael started out painting portraits, decorative and religious subjects, but his career changed direction when he met the flower painter Gerard van Spaendnck in Paris, and became his best pupil. Van Dael’s glowing and minutely finished nature studies were greatly admired by Napoleon’s consorts, Joséphine and Marie Louise.

Material: oil on canvas.

- Blending technique was used.

- Great detailing.

- Realistic painting.

- Still-life painting.

- Life-size painting.

- Lighter tone compared to the flowerpiece by Grimwade - Glazed

Image 4.14. Jean-François van Dael, Flowerpiece, 1811.

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PROJECT 02: TRIAL OUTSIDE CLASS

Paint Palette

Masking Tape

Ultramarine Blue White Burnt Umber

Canvas Paper Linseed Oil Palette Knife Brushes Image 4.15. Preparation Materials.

Image 4.16. Paper Model.

Materials consist of: - Raphael Golden Kaerell Brush Round #0 - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, French Ultramarine, and Burnt Umber; - Art Spectrum Refined Linseed Oil 100ml; - Canson Canvas Paper 290 gsm; - Trowel Palette Knife; - Masking Tape; - Fabric (to wipe off excess oil and clean the palette knife); - Paint Palette instead of Baking Paper as it is more comfortable to use.

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My third trial was done outside class.

Step by Step: Similar to my previous trials, the step-by-step was done in the same order.

1. Prepare canvas paper with masking tape, oil paint, and fabric.

2. Put the oil paint (Ultramarine Blue, Burnt Umber, and White) into the palette.

3. Create a mixture of Ultramarine Blue and Burnt Umber 2:1 to achieve cool grey colour, and 1:2 to achieve warmer grey colour.

4. Use a bit of oil paint and mix it with linseed oil for sketching. Create a division in the middle for variation on the shades.

5. Sketch the crumpled paper by looking at the image (see Image 4.13).

6. Differenciate each area by blocking with different shades of grey and start to put detailing on the painting.

7. Create different shades of cool and warm grey in the palette so it can be used easily while painting (see Image 4.13).

8. Remember to start painting with a clean brush, may use oil and fabric to clean it faster.

9. The painting started from the left part with cool grey tone, and the right part with warm grey tone.

10. Continuing after the colour blocking, start to do the detailing with smaller brush.

11. Use lighter colour to create a gradient and blend it together.

12. When blending, it is necessary to use a clean and dry brush to avoid the colour getting mixed up.

13. Use fabric to wipe excess oil paint on the brush.

14. Repeat the step in all areas.

15. After all the detailing was done, fill in the background area (see Image 4.18).

16. Let the oil paint dry and take off the masking tape carefully to avoid damage on the paper.

Reflection: My third trial was done following the second trial. On the second trial, I only used natural grey, however, in this trial, I tried to use warm grey and cool grey together by having a split line in the middle of the painting. Painting the detail was very time consuming and requires more attention.

In this trial, I painted the left side of the object with cool grey colour. I started off by blocking and detailing. After it has been painted, I tried to work on my previous mistake by creating a stronger and visible outline. After one side has finished, I painted the background with gradient colour from light colour to dark colour. Next, I do the same step on the other part. While doing the second part, I tried to blend in the warm colour and cool colour. It was quite challenging to mix different tones together. Due to the paper model that has a number of folds at the center, it looks like the painting has a one line that separates the object.

Overall, I am happy with the result of my third trial compared to my previous trial with a dark shadow. In this trial, however, the shadow is too minimum and it is not too apparent compared to the previous trial. Also, the background seemed unrealistic and it shows the brushwork through the direction of the strokes.

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Image 4.17. Sketching with Oil Paint.

Image 4.18. Paint Blocking with a middle division that separates the object.

Image 4.19. Detailing on one side and creating a definite outline.

Image 4.20. Painting the background and continue with warm colour on the other side.

Image 4.21. Detailing on the second part and start painting the background.

Image 4.22. Finished Painted Object.

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#W5 Masking Tape

Object

Tin Linseed Oil Ultramarine Blue White

Burnt Umber

Image 5.1. Paper Model.

Week 5 Material Kit

MDF Board

Brushes

Oil Paint

Fabric Palette Knife Image 5.1. Preparation Materials.

- Raphael Golden Kaerell Brush Round #0, #8; - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, French Ultramarine, and Burnt Umber; - Art Spectrum Refined Linseed Oil 100ml; - MDF Board ready to use; - Trowel Palette Knife; - Masking Tape; - Fabric (to wipe off excess oil and clean the palette knife); - Baking Paper (as a palette paper); - Tin (to put the oil in).

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FINAL PROJECT 02 UNDERTAKEN IN CLASS AND FINISHED OUTSIDE CLASS Step by Step: 1. Prepare all the materials such as the MDF board that has coated with Bondcrete and Gesso, Brushes, Palette Knife, Oil Paints, Fabric, and the object to be painted.

2. Divide the area where the warm and cool grey will be painted.

3. Create a palette of warm and grey colour using Ultramarine Blue and Burnt Umber (see Image 5.2).

4. Start tracing the object with a bit of oil paint mixed with linseed oil.

5. Start blocking the focal point of the object with warm grey colour (see Image 5.3).

6. After blocking the area, start to put detailing with blending and add some white paint when necessary.

7. Continue painting the small area at the back with cool grey colour (see Image 5.4 - 5.5).

8. Use smaller brush to do the detailing and blending for greater result/ 9. When blending, it is necessary to use a clean and dry brush to avoid the colour getting mixed up.

10. Use fabric to wipe excess oil paint on the brush.

11. When there is an error, quickly block it with light colour (see Image 5.9).

12. Paint the shadow with a not-too-dark colour.

13. Fill in the background with lighter colour.

14. Let the paint dry.

Reflection: After showing my third trial to my tutor, I asked for her opinion about how I should proceed to the final project 02 and she gave me suggestion about mixing together warm and cool grey based on each face of the paper being crumpled. Therefore, I took the suggestions and try to work out where the warm and cool grey should be used. Therefore, I decided to use warm grey colour in the inner part as the colour is more softer, and I think that cool grey colour would fit better in the outter area to direct viewer’s attention to the center of the object.

The first problem I encountered was getting a correct proportion to fit into the board in portrait position and I had to retrace again the object until I get a correct proportion. At first, I thought I would not be able to cover the trace of the errors, but after covering it with lighter colour, the errors were covered completely.

As for the background, I decided to use light colour similar to white as I do not want the background to distract viewer, but rather to focus on the main object.

I found this activity challenging compared to my previous trial that only use one set of natural grey colour. While working on this painting, I had to think of which tone would suit best on each part of the paper and I found it quite interesting as I get to play with shades of warm and cool grey on the same object. I think the idea of mixing warm and grey colour worked better by dividing the parts rather than splitting the object into two separated tones (see Image 5.10).

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Image 5.2. Palette Colour with Warm and Cool Grey.

Image 5.3. Outline and Blocking. I got the wrong proportion at first.

Image 5.4. Detailing straight after blocking.

Image 5.5. Change of Warm Grey to Cool Grey.

Image 5.6. Continue with Detailing.

Image 5.7. Detailing on the folds.

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Image 5.8. Painting the Shadows.

Image 5.9. Block the errors on the outer part with light colour.

Image 5.10. Finished painting compared to my third trial.

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#W6

Palette

Acrylic Paint

Fabric

Palette Knife Brushes

Colour Wheel Chart

Canvas Paper

Image 6.2. Unknown, Colour Wheel Chart, 2018.

Week 6 Material Kit - Colour Wheel Chart - Raphael Golden Kaerell Brush Round #0, #8; - Raphael Flat Bright Kaerell Brush Flat #6; - Matisse 75ml Acrylic Paint in French Ultramarine Blue, Yellow Light Hansa, Napthol Scarlet, and Titanium White; - Canson Canvas Paper 290 gsm; - Trowel Palette Knife; - Fabric (to wipe off excess oil and clean the palette knife); - Palette.

Image 6.1. Preparation Materials.

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COLOUR WHEEL Step by Step: 1. Print a template of the colour wheel (see Image 6.1).

2. Hatch the back of the paper with charcoal or pencil (see Image 6.2).

3. Use the front side of the paper and start tracing the colour wheel chart with a tool (I used the back of the pencil) and press it to the canvas paper to transfer the charcoal.

4. Start filling in the primary colour - blue, red, yellow.

5. Use palette knife and mix off two of the primary colour to get secondary colour.

yellow + red = orange

yellow + blue = green

blue + red = purple 6. Mix off the secondary colour with primary colour to get tertiary colour.

orange + yellow

yellow + green orange + red

red + purple purple + blue

blue + green 7. If the acrylic paint is too thick, use a bit of water. The purpose of using water is similar to linseed oil in oil paint. In order to get a nice shape when painting, water can also help to spread the paint.

Reflection: This is the first time I have ever done a colour wheel.

At first, I still get confused and mixed the wrong colour together and I had to redo it again. The thing about acrylic paint is that we can always cover it with other colour easily, however, I feel that it is better to redo it and take it as an experimentation.

Also, because we are using acrylic paint, the paint get dries really fast and I had to paint it quickly before it dries.

The hardest colour in the wheel chart is the purple colour. In my first try, I could not get a proper purple, and instead, it gets really dark. These errors can be seen on my first and second colour wheel chart.

In my final colour wheel chart, I could finally fill all the colours including primary, secondary, and tertiary colours.

Another thing that I found challenging was filling in the colour into the chart. It is always easier to work on a rectangular shape, however, in this colour chart, I had to fill each colour in a specified areas. It gets really messy at first, so I learnt that if I use water with the acrylic paint, it becomes easier to get the desired strokes.

Overall, this activity was fun despite of having to paint it really fast before the paint dries on the palette.

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Image 6.2. Hatch the Back of the Paper.

Image 6.3. Flip the page and lay it over the canvas paper.

Image 6.4. Trace the wheel chart by pressing onto the paper.

Image 6.5. Traced colour wheel.

Image 6.6. Filling in the colour.

Image 6.7. Final Colour Wheel Chart.

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Project 03. GEOMETRIC ABSTRACTION Brief: exploring colour within geometric abstraction.

Step by Step: 1. Sketch your chosen ‘geometric abstraction’.

2. Use masking tape when necessary to avoid unwanted area being painted on.

3. Mix off the colour using palette knife to get the desired colour.

4. Use the colour wheel chart as a guide to get the colour.

5. Let the paint dry and retouch it when necessary.

Reflection: I started off by playing around with circles and use masking tape to create an interesting division between the circles. On my first trial, I drew the circles by hand resulting in an odd shape. On my second trial, I used a round object and drew it on the canvas paper. It can be seen clearly from the final painting that the second painting has better shapes. On my third trial, I explored different size of circles. It can be seen from the final painting that the large circle has the tendency to make the brushwork more apparent.

After working on the first three trials, I realised that the colour for the geometric abstraction has to be in complimentary colour, meaning that the colour has to be minimum. Regardless of it, I had fun playing with the colour.

On my fourth trial, I tried to work on the complimentary colour. I found it challenging because the shape that I decided to draw is smaller compared to my previous trials, and it was hard to paint within the shape.

Also, after doing these trials, I realised that I forgot to paint the background, and I think that the background should go first before painting the ‘geometric abstraction’.

Complimentary colour: yellow - purple red - green blue - orange these colours may be mixed with white for lighter and softer colours.

Overall, I found these trials were interesting because I got to explore variety of colours instead of tonal colour that is limited to warm, natural, and grey colour.

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PROJECT 03: FIRST TRIAL

Image 6.8. Draw the shape.

Image 6.9. Use masking tape to block the area.

Image 6.10. Start to paint the colour in.

Image 6.11. Use small brush for small areas.

Image 6.12. Continue painting the colours in.

Image 6.13. Final Painting.

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PROJECT 03: SECOND TRIAL

Image 6.14. Draw the shape.

Image 6.15. Use masking tape to block the area.

Image 6.16. Start to paint the colour in.

Image 6.17. Use small brush for small areas.

Image 6.18. Continue painting the colours in.

Image 6.19. Final Painting.

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PROJECT 03: THIRD TRIAL

Image 6.20. Draw the shape.

Image 6.21. Colour filling.

Image 6.22. Colour filling.

Image 6.23. Colour filling and colour chart.

Image 6.24. Final Painting.

Image 6.25. Colour Chart.

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PROJECT 03: FOURTH TRIAL

Image 6.26. Draw the shape.

Image 6.27. Colour filling.

Image 6.28. Colour filling leaves.

Image 6.29. Colour filling on the base.

Image 6.30. Detailing on the flower.

Image 6.31. Final painting.

on the

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Glossary Masking : the use of material to protect some area being painted.

Hard Edge : a term used when an object is being painted in a well defined outline.

Soft Edge : a term used when an object is being painted to disappear or fades into the background.

Glazing : technique of applying a transparent layer of paint over another thoroughly dried layer of opaque paint,

usually with a wide-sized brush.

Blending : technique of gently merging one or more colours to create a gradual transition of colour.

Tooth and Weave : texture or the canvas or paper.

Synthetic Polymer Paint : a paint made of acrylic resin or vinyl resin or both, in a water-based form.

Acrylic Paint Properties : fast-drying paint made of pigment suspended in acrylic polymer emulsion, water-resistant, water-soluble when wet, dries fast.

Colour Wheel : an abstract illustrative organization of colour hues around a circle, which shows the relationship between

primary colours, secondary colours, and tertiary colours.

Primary Colour : colours that cannot be mixed from other colours, in other words, primary colour are the source to other

colours. Primary colours include blue, yellow, and red.

Secondary Colour : colours that are mixed from two primary colours adjacent to each other on the colour wheel. Secondary

colours include orange, green, and purple.

Tertiary Colour : colours that are mixed from primary secondary colours. Tertiary colours include red-orange, orange-yellow, yellow-green, green-blue, blue-purple, purple-red.

Complementary Colour : colours that are opposite each other on the colour wheel. Complimentary colours include yellow-purple, red-green, blue-orange.

Geometric Abstraction : a form of abstract art based on the use of geometric forms most of the time and placed in non-illusionistic

space and combined into non-objective compositions.

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Image 6.32. Masking.

Image 6.33. Hard Edge.

Image 6.34. Soft Edge.

Image 6.35. Blending.

Image 6.36.Colour Wheel

Image 6.37. Geometric Abstraction.

Charensia Pricilla Rompis 860209

#W7 Burnt Umber Object

Cadmium Yellow Light Cadmium Red Light Ultramarine Blue White Baking Paper

Masking Tape

Image 7.2. Object.

Week 7 Material Kit Sketch

Linseed Oil

Tin

Canvas Paper Fabric

Brushes

Image 7.1. Preparation Materials.

- Raphael Golden Kaerell Brush Round #0, #8; - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, Cadmium Yellow Light, French Ultramarine, Cadmium Red Light, and Burnt Umber; - Art Spectrum Refined Linseed Oil 100ml; - Canson Canvas Paper 290 gsm; - Trowel Palette Knife; - Masking Tape; - Fabric (to wipe off excess oil and clean the palette knife); - Baking Paper (as a palette paper); - Tin (to put the oil in).

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Project 04. ALLA PRIMA OIL PAINTING Brief: Paint still life object through observation in real life.

Step by Step: 1. Prepare the object and arrange it on top of a cloth.

2. Draw some thumbnail sketches and choose one to paint.

3. Prepare all the materials needed, such as brushes, canvas paper, palette knife, masking tape, and water.

4. Paint a layer of acrylic paint on top of the canvas paper.

5. Sketch the object over the acrylic paint with light paint or pencil.

6. Prepare the colour palette.

7. Paint the object using alla prima technique *glossary.

8. Apply the paint with wet-on-wet technique, meaning that the painting will have a number of layers.

9. Paint the background object (cloth).

10. Let the paint dry and take off the masking tape.

Reflection: This is the first time I have ever painted with Alla Prima in oil paint. I chose to paint a flower because it has different parts and textures in one object. I learned from this project that alla prima is a technique that require minimum detail and also it is not necessary to blend the colours. It is simply painting over layers of paint. I found alla prima challenging because of the technique that I am not familiar with. At the early stage of painting, I painted a realistic looking rose, however, I realised that it was not alla prima. Therefore, I had to re paint it a number of times to make a thick paint. Also, I get to understand the importance of using different brush as it will affect the final result of the painting.

In my first trial, I was struggling to make it kind of abstract looking, but realistic at the same time. The flower petals that I have painted was flat paint while it was supposed to be thick paint. It is really hard to get it to work at first, therefore, I had to leave that part and continue working on the other parts. While doing the part of the leaves, I started to get the hang of it and use a lot more paint on the brush. It was hard to apply a layer of paint over another layer of paint because the colour would get mixed up and get too messy. I can see my progress in alla prima when I worked on the part of the leaves. I can see the brushwork happening in a direction forming the shape of it.

Another challenging part was painting the background. Now, I feel that I am more used to blending technique as it gives more realistic appearance. However, in alla prima, it seemed so hard to work on the technique, especially because I want to achieve a three dimensional painting. Therefore, I think that I need to keep doing more experimentations before I work on the final painting on MDF Board.

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Image 7.3. Draw thumbnail sketch.

Image 7.4. Layer the canvas paper with acrylic paint.

Image 7.5. Tracing the object.

Image 7.6. Traced Object

Image 7.7. Paint the Outline.

Image 7.8. Filling in.

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Image 7.9. Paint the other part of the object.

Image 7.10.Paint the leaves.

Image 7.13. Final Painting.

Image 7.11. Filling in the background.

Image 7.12. Apply more fat paint.

Charensia Pricilla Rompis 860209

Glossary Wet on wet : a technique of applying wet paint onto wet paint.

Alla Prima : a painting technique that is used mainly in oil painting, where layers of wet paint are applied over previous layers.

Collage : a technique of creating artwork that is made from a composition of different parts and form as a whole.

Appropriation : a technique using pre-existing objects or images in their artwork with a minimum transformation from the original.

Image 7.14. Wet on Wet.

Image 7.15.Alla Prima.

Image 7.16. Collage.

Charensia Pricilla Rompis 860209

#W8

Object

Linseed Oil

Image 8.2. Object.

Fabric

Masking Tape

Tin Oil Paint

Canvas Paper

Brushes & Palette Knife Image 8.1. Preparation Materials.

Week 8 Material Kit - Still life Object - Raphael Golden Kaerell Brush Round #0, #8; - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, Cadmium Yellow Light, French Ultramarine, Cadmium Red Light, and Burnt Umber; - Art Spectrum Refined Linseed Oil 100ml; - Canson Canvas Paper 290 gsm; - Trowel Palette Knife; - Masking Tape; - Fabric (to wipe off excess oil and clean the palette knife); - Baking Paper (as a palette paper); - Tin (to put the oil in).

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PROJECT 04: SECOND TRIAL

Image 8.3. Preparation.

Image 8.4. Sketching with paint.

Image 8.5. Colour Filling.

Image 8.6. Continue with Detailing.

Image 8.7. Painting the Flower.

Image 8.8. Painting the Background.

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Image 8.9. Final Painting.

Reflection: I tried to arrange a number of still life objects to explore different formation of colour as from my previous trial, I learned that it is easier to work with object that has more textures. In this trial, I had to paint a smaller scale of the objects to fit in the canvas paper. Therefore, it can be seen that the proportion is not accurate. I tried working on the mushroom, however, I feel that the object is too small and it became hard to put the details. The next object I worked on was the egg. I cannot really tell if it is an egg from the painting because the nature of the egg that does not have a texture, therefore, I feel that it is better not to use egg on my final project. Next, I painted the chilli flakes. Due to the texture of the flakes, I think it works really well with wet-on-wet. However, the hardest part was painting the lid as it requires small detailing. Also, I think that the colour of the oil inside the bottle works pretty well and it looks realistic. Other objects that I think are successfull are the carrot and the chilli. However, while I was painting the flower inside a vase, I realised that the proportion is wrong and I had to fit it.

Also, the chopping board looks a bit off, however, I can see the alla prima technique works in the painting. Overall, from this experimentation, I get to learn a lot by trying out different textures, different forms, and different materials, as well as playing around with the colour.

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PROJECT 04: THIRD TRIAL

Image 8.10. Arrangement of Still Life Object.

Image 8.11. Start with the main object (Watermelon).

Image 8.12. Blocking the colour.

Image 8.13. Paint blocking on the rose and chilli.

Image 8.14. Detailing.

Image 8.15. Painting the Background.

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Image 8.16. Final Painting.

Reflection: In this trial, I chose to work again on the rose and chilli because I found it easier to paint compared to the other objects, also, I tried to use a bigger fruit which is the watermelon. Furthermore, I wanted to challenge myself by using a more complex clothing, therefore, I decided to use a cloth with pattern. In my opinion, I think that it looks realistic, however, I found it hard to work on small areas and it ended up getting mixed with other colour. Also, I learnt that it is important to use different size of brush for the pattern to make it work. The rose has a fat paint with texture which can be felt from touching it. Wet on wet technique can be seen used on the watermelon which I used different layers of green tones. I tried to apply fat paint on the watermelon, however, due to the nature of the fruit with minimum texture, I think it is hard without much experience.

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PROJECT 04: FOURTH TRIAL

Image 8.17. Arrangement of Still Life Object.

Image 8.18. Layering the background and paint block the object.

Image 8.19. Paint block the plants.

Image 8.20. Detailing and Sgraffito technique.

Image 8.21. Detailing on the left plant.

Image 8.22. Use Palette Knife for Impasto technique.

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Reflection: In my fourth trial, I wanted to explore other techniques of painting such as sgrafitto and using palette knife. Firstly, I blocked different parts with minimum paint, and I started to do wet on wet technique. After doing wet on wet, I thought maybe I could use sgrafitto to create the texture on some of the plants, therefore, I used the handle of the brush to take off some of the paint to create a texture. Also, I tried to work on using palette knife instead of brush on the vase and the grey background.

At first, it was hard to control the shape while using palette knife in which I had to fix the errors in some part of the vase. In the final painting, I can see and feel the texture from the canvas paper. Overall, I found that the sgrafitto working really good as it was able to portray the texture from the real life plants.

Image 8.23. Final Painting.

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#W9 CANVAS PREPARATION Step by Step: 1. Prepare the canvas.

2. Apply a thin layer of primer (bondcrete) onto the canvas using medium-sized brush. Apply the glue starting from one edge to the end of the board to avoid uneven surface on the Canvas.

3. Leave the canvas to dry for about 10 minutes.

4. Paint a layer of gesso (primer) onto the canvas using medium-sized brush. Apply the gesso from one edge to the other for an even surface. Make sure that the support has been fully covered with gesso.

5. Let it dry.

Materials:

Image 9.1 Bondcrete.

Image 9.2. Gesso.

Image 9.3 Canvas Charensia Pricilla Rompis 860209

Process:

Image 9.4. Applying Bondcrete onto the Canvas.

Image 9.5. Applying Gesso onto the Canvas.

Image 9.6. Dried Canvas.

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Project 05. SELF-DIRECTED PAINTING Brief: Paint a collage consisting of two paintings from the National Gallery of Victoria (NGV) with oil paint.

Step by Step: 1. Take a picture of your selection of painting from NGV, Melbourne.

2. Use photoshop and create a collage by cutting and pasting it into one collage.

Reflection: In my first collage, I chose two of my favorite paintings from NGV which are paintings by Vincent van Gogh and Salvador Dali.

From my previous trials, I feel that I personally have interest in realistic painting and blending technique, therefore, I decided to choose the Persistence of Memory by Salvador Dali. Also, because I want to challenge myself with wet on wet painting, I decided to create a collage with a Wheatfield by Vincent van Gogh.

I am familiar with using Adobe Photoshop, therefore, I had no difficulties in editing images and making a collage.

In the end, I ended up not using this collage because at first, I thought I can choose any painting as long as it has been exhibited in NGV, however, after discussing with my tutor, she suggested me to choose the ones that are still being exhibited so I can observe the painting in real life.

Image 9.7. Vincent van Gogh, a Wheatfield, 1889.

Image 9.8. Salvador Dali, the Persistence of Memory, 1931.

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Image 9.9. Import to Adobe Photoshop.

Image 9.11. Paste the cut-out to the first picture.

Image 9.10. Cut some area from the second picture.

Image 9.12. Final Collage.

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SECOND COLLAGE

Image 9.13. Maurice de Vlaminck, The bridge on the Seine at Chatou, 1908.

Image 9.14. Jacob van Ruisdae, The Watermill, 1660.

In this trial, I want to try making a collage from scenery paintings. Both paintings were done with different techniques. The bridge on the Seine at Chatou was painted with alla prima technique, while the watermill was painted realistically with blending technique.

The scene from both paintings are similar, however, both paintings have its own characteristics. The first painting was done in a more blue-ish tone and was painted with larger brush and minor detailling. The second painting was painted in a darker tone and more realistic style. The one thing I found interesting on the second painting was the watermill and the sky that were painted in great detail. The process of making the collage was done by cutting the foreground objects on the first painting, and pasting it into the second painting. The final result of the collage consists of two techniques and it looks like it has a same background story.

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Image 9.15. Cutout from Adobe Photoshop.

Image 9.16. Paste the object from other painting.

In the end, I did not choose this collage because I found it too hard to begin with. The collage has a lot of details and if it were to be painted on a small canvas, it will be very hard and time consuming. Also, I feel that I still need to learn a lot to step up into this level of painting, considering the details and the techniques being used on the artworks.

Image 9.17. Final Collage.

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THIRD COLLAGE

Image 9.18. Andy Warhol, Loti Smorgon, 1981.

Image 9.19. Norton E. Grimwade, Flowerpiece, late 17th century.

In my final trial, I decided to create a collage that has a connection to one another, a collage that would look like it is coming from one piece of artwork. The process is similar to the previous collages that were done with editing software (Adobe Photoshop).

The step of step was basically cutting and pasting the object into one artwork. I chose this collage as my final painting because I think I would enjoy painting a realistic and comic-like self-portrait. From my previous trials, I can see that I am more into realistic painting compared to alla prima kind of painting, therefore, I think this is a good opportunity to improve my skill. Also, I chose the comic-like self-portrait instead of realistic portrait because I wanted to approach a new style of painting. The portrait contains only a few colours which makes it look simple but beautiful and suits even better with a flower crown. The portrait was painted on a square-shaped canvas and I had to edit a bit of the background to match up with the size of the canvas I will be working on.

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Image 9.20. Cutout from Adobe Photoshop.

Image 9.22. Final Collage.

Image 9.21. Paste the object from other painting.

Image 9.23. Final Printout with added background.

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#W10 CANVAS PREPARATION Continuing from W9 ...

Step by Step: 1. After the canvas has been dried with gesso, use oil paint in Burnt Sienna colour and apply it to the canvas to create a base soft colour.

2. Apply the oil paint with big flat brush and apply it evenly to have a smooth surface.

3. Let the paint dry.

4. Print out the desired collage to size so it fits with the canvas.

5. Trace the collage using chalk (the process is similar to the tracing of the colour wheel before).

6. If the result does not come out clear, use a chalk to refine it on the canvas.

Image 10.1. Oil Paint in Burnt Sienna.

Image 10.2 Application of oil paint to the canvas.

Image 10.3. Painted canvas.

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Image 10.4. Printout and canvas.

Image 10.5. Align it with the canvas.

Image 10.6. Use chalk to trace.

Image 10.7. Trace through the image outline.

Image 10.8. Result from the tracing.

Image 10.9. Refining.

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Image 10.10. Colour Mixing.

Image 10.11. Colour Palette.

After the tracing has been done, start preparing for the colour palette with oil paint.

From the collage, it can be seen that it has a pink-themed colour, therefore, red becomes the most used colour for this painting. As for the background and the flowers, I experimented by adding a bit of white or burnt umber to create a lighter pink and darker pink.

After getting the desired colour, transfer the oil paint into a clean baking paper and cover it with cling wrap. Then, the paint can be used later on by mixing it with linseed oil.

Reflection: colour mixing is a bit hard at first and it took awhile to get a similar colour to the collage. Although the main colour is red, it is quite hard to get the proper shades of it. Even in some cases, blue is necessary to achieve the desired colour from the collage.

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#W11

Fabric

Printout

Oil Paint

Week11 Material Kit Tin

Baking Paper

Linseed Oil Image 11.1. Preparation Materials.

Brushes & Palette Knife

- Printout - Canvas from Week10 - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, Cadmium Yellow Light, French Ultramarine, Cadmium Red Light, and Burnt Umber; - Art Spectrum Refined Linseed Oil 100ml; - Trowel Palette Knife; - Fabric (to wipe off excess oil and clean the palette knife); - Baking Paper (as a palette paper); - Tin (to put the oil in).

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Image 11.2. Apply pink colour to the background using medium-sized brush.

Image 11.3.Fully painted background.

Image 11.4. Tan colour for the neck and face.

Image 11.5. Blending from darker colour to light colour.

Image 11.6. Paint the lip with darker red colour.

Image 11.7. Colour block on the flower.

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Image 11.8. Paint the hair with black colour.

Image 11.9. Add details onto the hair and lip.

In week 11, I mixed the previous colour palette with linseed oil to make it more fluid. I started off by blocking each part of the collage with different colour to differenciate each areas. While blocking the portrait with skin tone colour, I tried to avoid painting the face lines and leave it blank, however, I think it is easier to block all the areas first and trace it later when the paint has dried. For the background, I mixed too much linseed oil with the oil paint resulting in translucency. For the background and the portrait, I think I need to paint it with less linseed oil and make it more opaque. Another important thing is the part of the hair as it needs to be painted black. When painting with black colour, I need to put more attention and make sure that it does not go over to the other part of the painting.

What I found challenging in this activity was trying to get the exact same colour with the printout collage. It is very time consuming and sometimes it gets really confusing. For example, at first, I thought there is no need to use ultramarine blue because the colour is more oriented to red, however, in some part of the flower crown and neck, I had to use a bit of ultramarine blue.

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#W12 Brushes & Palette Knife

Linseed Oil

Oil Paint

Printout

Week12 Material Kit

Palette

Canvas Image 12.1. Preparation Materials.

- Printout - Canvas from Week11 - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, Cadmium Yellow Light, French Ultramarine, Cadmium Red Light, and Burnt Umber; - Art Spectrum Refined Linseed Oil 100ml; - Trowel Palette Knife; - Fabric (to wipe off excess oil and clean the palette knife); - Palette; - Tin (to put the oil in).

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Image 12.2. Colour mixing for detailing.

Image 12.3. Start detailing on the flower crown.

Image 12.4. On-going detail on the flower crown.

Image 12.5. Detailing on the other flower with similar tone.

Image 12.6. Finished painting on both pink flowers.

Image 12.7. Detailing on the last remaining flower.

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Image 12.8. Repaint the skin, lip, and hair.

Image 12.9. Repaint the background to make it more opaque.

Image 12.10. Trace the face lines from the printout on a tracing paper.

Image 12.11. Trial on using pencil colour to transfer the colour.

Image 12.12. Placement on top of the canvas.

Image 12.13. Trial on cutting the face lines with X-Acto and apply paint on top.

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This week, I continue painting Project 05 at home.

I did the details on both flowers with a similar tone at first and did the white flower in the end. I decided to work from left to right to avoid smudge on the other area. The original flowers have a lot of small details and I was not able to detail it to that extent, however, I still try my best to paint it and make it look realistic.

After the details and repaint has been done on the painting, I tried to figure out of a way to trace the face lines. I tried transferring the colour from pencil colour, but it did not work. Therefore, I tried other option by cutting the tracing paper with X-Acto.

After cutting it, I lay it on top of the canvas and I applied paint over the tracing paper so that the oil paint can be transferred through the canvas. The result is still not that clear, but it helps a bit on the position of the eyes, eyebrows, and nose. Next, I mixed a bit of linseed oil with black oil paint and start painting.

The thing I found challenging in this project was the last step of painting the eyes, eyebrows, and nose because it is hard to paint with black oil along with other light colour. However, I managed to work it out although there was some minor mistakes before. I found this project fun because I get to challenge myself with this kind of comic-like painting. The other thing that I found challenging was the part of colouring the skin tone. It was a bit hard to achieve the skin-tone colour and when I was running out of the oil paint, I had to remix the colour for a number of times before I get the same skin tone colour.

Image 12.14. Final Painting.

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GLAZING During the demonstration of this technique, I was unable to attend the class, therefore, I asked my friend about the information and did some research online.

Glazing: a thin, oily, transparent layer of paint being spread over the top of a painting.

Function of glazing include: - enhancing colour, - deepen and darken tonal colour, - create a thin layer of transparent colour, - alter underneath colour but also retain existing brushwork, - retain the luminosity of under painting, and - colour correction. note: Glazing has to be transparent and it can only contain a small amount of oil paint.

Glazing can only be applied to painting that is already dried.

To test it, lay a sheet of paper and press it against the support and see if the paint is dry.

Step by step: 1. Make sure the painting is dry.

2. Use baking paper and palette knife to mix the desired colour.

3. Use brush to take the lean medium and also the colour from the baking paper.

4. Apply it onto the painting to be glazed.

5. Let it dry.

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SWOTVAC

Palette Paper Brushes & Palette Knife

Acrylic Paint

Final Project 03 Material Kit:

MDF Board Image 13.1. Preparation Materials.

- MDF Board - Raphael Golden Kaerell Brush Round #8; - Raphael Flat Bright Kaerell Brush Flat #6; - Matisse 75ml Acrylic Paint in French Ultramarine Blue, Yellow Light Hansa, Napthol Scarlet, and Titanium White; - Trowel Palette Knife; - Fabric (to wipe off excess oil and clean the palette knife); - Palette Paper; - Tin (to put the water in).

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PROJECT 03: FINAL PAINTING

Image 13.2. Start off by painting the whole board with orange.

Image 13.3. Use masking tape to create a pattern.

Image 13.4. Start by painting each area of the same blue colour.

Image 13.5. Continue with different shades of blue.

Image 13.6. Fill in all the blank areas.

Image 13.7. Finished painting and ready to take the masking tape off.

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For the final painting of geometric abstraction, I decided to create a rule-based pattern. In previous trials, I used a random colour and I realised that I have to use secondary colour. Therefore, in the final painting, I decided to choose orange in constrasting with shades of blue. At first, I was thinking of creating a geometric shape similar to my previous trials with different size of circles, however, I think it will be better to explore different shape of geometrical abstraction. Therefore, I came up with the idea of using masking tape to play around with the geometric shape. I developed the idea of the pattern by following each edge of where the masking tape ends. Along the process, I did not find any difficulties mixing the colour as the palette colour is pretty basic. The only problem is that the paint dries really fast, meaning that if I want to use the same colour, I have to paint it quickly. Therefore, I painted each area that needs the same colour at once and continue with mixing other colour when I had finished. The process is the same for all colours, and lastly, taking of the masking tape. After I finished the painting, I had to wait a bit and make sure the acrylic paint has dried on the MDF board. After checking the acrylic paint, I started to take off the masking tape carefully so it will not damage the paint. After I take off the masking tape, I had to repaint a view areas and did some touch-ups so it will look neat and clean.

Image 13.8. Final Painting.

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PROJECT 03: FINAL PAINTING

Image 13.9. Use red acrylic paint with medium-sized brush as a base,

Image 13.10. Base colour of the MDF board,

Image 13.11. Drawing on top of the MDF board with white pencil colour.

Image 13.12. Start by painting contrasting colour (green).

Image 13.13. Use masking tape to avoid other areas being painted on.

Image 13.14. Continue with other shades of green.

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Image 13.15. Final look on one side and prepare to continue on the other side of the board.

Image 13.16. Draw with white pencil colour and continue with the same step.

Image 13.17. Use masking tape and take it off after the paint is dry.

For the second final painting, I decided to create a pattern that has a three dimensional effect. I developed this idea from a paper fan and I used two different tones of green to create a shadow looking effect. This painting took me longer to paint than previous painting because it requires a lot more detail due to its shape. As for the colour, I decided to use red and green because learning from my previous painting that I used orange, I thought red would stands out even better if I contrast it with green. The benefit of using acrylic paint for this geometrical abstraction painting is that it helps saving time on the process of using masking tape. If this to be painted with oil paint, it will take a much more longer time because I have to wait for the paint to dry first before I start continuing on the other part of the painting. I really enjoy painting this geometric abstraction because of the colour and shape that matches really well. While painting the small version of the paper fan, I realised that I have to change the proportion of the drawing (see Image 13.17). In the end, the paper fan looks bigger than the other because I had to cover the white pencil mark. Overall,I need to say that the painting looks more successful than my previous final painting.

Image 13.18. Final Painting.

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PROJECT 03: FINAL PAINTING

Fabric Object

Cup Image 13.20. Object.

Linseed Oil

MDF Board

Oil Paint Brushes & Palette Knife Image 13.19. Preparation Materials.

Final Project 03 Material Kit: - Still Life Object - MDF Board - Raphael Golden Kaerell Brush Round #8; - Raphael Flat Bright Kaerell Brush Flat #6; - Rive Gauche 40ML Oil Paint Sennelier in White, Cadmium Yellow Light, French Ultramarine, Cadmium Red Light, and Burnt Umber; - Art Spectrum Refined Linseed Oil 100ml; - Trowel Palette Knife; - Fabric (to wipe off excess oil and clean the palette knife); - Palette; - Cup (to put the oil in).

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PROJECT 03: FINAL PAINTING

Image 13.21. Soft Base Colour mixed with Linseed Oil.

Image 13.22. Base Colour

Image 13.23. Outlining the Object.

Image 13.24. Start painting on the darkest colour.

Image 13.25. Continue with detailing

Image 13.26. Continue painting on the other object.

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After doing a number of trials on alla prima, I decided to do my final painting on two different objects. The process was done in a similar way as my previous alla prima paintings. I started off by painting the base colour and continue with outlining the object on the board with a small brush. The first object that I painted was the bottle. I used this object because I have tried painting oil inside a plastic bottle in my previous trial.

From this painting, I can see that the alla prima was not working good and I think at some point I might have to repaint it. However, I decided to keep going and see the end. The second object that I painted was a ripe lemon. I tried to create textures by applying a lot of oil paint onto it but the result was far from satisfactory. At that time, I was really confused and i was not sure where it goes wrong.

I tried to paint a thinner oil paint, however, the colour could not blend well. In short, I can say that this painting is a failure and none of the objects look realistic. I know alla prima does not mean realistic, but I wanted to achieve something that look realistic despite of the techniques being used. After I finished painting the rug, I decided to leave out the background and give it some thoughts.

In the end, I decided to repaint it from the start and I wiped off all the oil paint from the board. In this case, I believe that it will be easier to start from the beginning than fixing it.

Image 13.27. Final Painting.

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PROJECT 03: FINAL PAINTING

Image 13.28. Still Life Object.

Image 13.29. Preparation with the previous MDF board.

Image 13.30. Colour Mixing.

Image 13.31. Outlining the object.

Image 13.32. Filling in the area with oil paint,

Image 13.33. Continue on the other part of the object.

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Image 13.34. Detailing and continue on the next object.

Image 13.35. Painting the shadow to make it look realistic.

Image 13.36. Painting the background.

From my previous painting, I decided to start painting a new still life object.

And this time, I decided to use different brush and see how it goes. After I start painting, I can see that it worked better than my previous painting. I can feel the gesture from the brush. Therefore, I am thinking that the problem on my previous painting was because of the damaged bristle that I have on my previous brush.

Image 13.37. Final Painting.

By doing this painting, I feel like I learnt something new that I really enjoy. Playing around with thick paint was really fun and interesting as I have been working with only thin paint before. The process of this painting was done in a similar way as my previous alla prima paintings. As for the background, I decided to paint it with palette knife. I like the texture coming from using palette knife as I have previously experimented. The background looks like it has a combination of translucent and opaque, making it look more artful. The problem that I see on this painting is the shape that looks a bit odd, and the blending that looks a bit unrealistic.

But overall, I am really satisfied with the result of this final painting on alla prima.

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PROJECT 03: FINAL PAINTING

Image 13.37. Still Life Object.

Image 13.38. Painting Base Colour.

Image 13.39. Outlining.

Image 13.40. Filling in with Oil Paint.

Image 13.41. Detailing and Shadowing.

Image 13.42. Final Painting.

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Image 13.44. First Final Painting.

Image 13.43. Second Final Painting.

For my second alla prima, I decided to paint in a similar way I painted my first final alla prima. The process was also done in a similar way. The success of this painting is 50/50. I think I was not able to achieve the effect from the glass of the candle and I think that the shape of the heart shaped object looks a bit odd as well. Learning from my first final alla prima, I wanted to paint the background with a thicker paint to achieve a stronger effect and I think it is successful. From both paintings, I prefer the first painting better compared to the second painting because the first final painting has a more rich tecture and shadows. Also, the first final painting looks more realistic compared to the second final painting. Nevertheless, I am happy for the results despite of the minor mistakes from the paintings.

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OVERALL REFLECTION This subject has been really fun and exciting.

From this subject, I get to learn how to paint with oil paint and acrylic paint, and also use different techniques of painting, such as blending, alla prima, sgrafitto, etc.

What I found interesting with this subject was the four projects undertaken throughout the semester. I feel that I learned and improved a lot on my understanding of painting. These projects helped me explore and develop my skill in painting. I also learnt a lot from my tutor, Colleen, throughout the semester. She helped me and gave me constant feedback every time. She is a kind tutor and always willing to offer help to everyone in class.

What I found challenging with this subject was the painting techniques and detailing. I found it really hard and time consuming especially with oil paint. Therefore, I had to learn to be more careful and patient.

Throughout the semester, I have always been working on creating paintings that look realistic and I tried to achieve this goal by doing trials and experimentations. in the end, I believe that I have improved a lot and I have achieved my goal.

In the future, I wish to be able to apply all the skills I have learnt in this subject and improve even better.

THANK YOU Charensia Pricilla Rompis 860209