Through the whole learning process in Drawing, Painting and Sensory knowing, I have learned that “there really is no such thing as Art, there are only artists� (Simblet, 2005). The thoughts of artists can be expressed and shaped through the painting that artists created, and the process of creating painting also can be regarded as a process to inspire, analyse and develop ideas (Seligman, 2016). We know that different artists have a different style, but it also means different artists have a different point of view. We also know that artist in the different period can have a different expression of art, but it also means the thoughts have been changed and different ideas have been illustrated. Artist Julie Ford Oliver was the major inspiration for the interpretative painting (figure 1). The daring and colourful strokes of her painting in a strikingly passionate impasto style are important to subject matter. The goal I wanted to achieve in my interpretative painting was to learn and understand how Julie used various colours and techniques to depict a harmony in her painting, and develop a personal style of painting. Thinking and analysis the vision are important before painting. It is not enough if only rendering the shape, size and position in space of the subject, the intrinsic nature including purpose, meaning and texture also need to be considered (Simblet, 2005). The major technique I used in the interpretative painting was dry paints, which helped to create a more expressive effect (Daniels, 1988). The scumbling and glazing also have been used (figure 5). I also tried different material and media such as the rope to create a unique texture (figure 4). In terms of the most challenging parts of this painting, I found the distances haven’t been illustrated well and the colour used in the background make it cluttered and disordered, which needs to be solved later on.
Figure 1: painting by Julie Ford Oliver
Interpretative painting
Figure 2: Process 1
Figure 3: process 2
Figure 4: using ropes
Figure 5: process 4
Figure 6: final work
The negotiated painting The negotiated painting is the result of my personal stylistic journey. I tried two different approaches to solve the challenges I met and depict what I want people to see when looking at my paintings. I was attracted by the original photo at the first glance (figure 7). The sky creates phenomenal colours as the light bounces in and around the atmosphere. Not to be outdone, the reflection of the sky in the water attract people as well. It was hard to decide where I should focus on when I look at this photo because of the excellent balance between upper and lower parts. My eyes went up and down ceaselessly looking at the sky and the water. It was my first time to draw an oil painting, and I only have a few experiences to draw a watercolour painting. I aimed to depict the muted background and the dramatic cloud formations, and wanted to maintain the balance and harmony between the sky and water. The challenges faced in my interpretative painting also need to be solved. The preparation for painting background with a rose by Alexei Antonov was the major inspiration for my negotiated painting (figure 8 & 9). Though it will be a rose in the foreground, the subtle use of colour and three-dimensional clouds are attractive enough. The effective texture and the subtle use of muted colour are the things that I want to see in my negotiated painting. Moreover, the works of Branislav Markovic were my inspiration for negotiated painting as well (figure 16 & 17). His works indicated a great balance and harmony of the landscape with minimal colour used. The asymmetrical balance which is more flexible, subtle and dynamic than symmetrical balance, often use to create a balance of various visual phenomena (Preble, 1994). To achieve a visual balance between the sky and water, the asymmetrical balance had been used in my negotiated painting. Warm colours are heavier than cool colours and details are stronger than blending (Preble, 1994). In this case, the sky with more warm colours can balance the water which has more ripples on it. Furthermore, various painting techniques including gradient blending, wet into wet, scumbling and so on can also be seen in the negotiated paintings. To draw the clouds in the sky and in the reflection of the water, I tried to hold the brush on the side, not straight on, drew the cloud by using the chisel edge of the brush. It is important to think about the composition of clouds every time when making a stroke. When I moved there are little swirls that give a perfect rendition of the rolling cloud. Blurring the cloud and blending it smoothly by turning the brush sideways and scrubbing gently. I’ve found that using a clean brush to put the stroke on the cloud and apply enough pressure can be a proper way to soften and blend it. I also left little pockets of negative space scattered around. There is a whole lot of overlapping area to build those layers of darks and lights and eventually create some
very dramatic cloud formations. Also, some little softer richer warmer colour is necessary to develop the formations.
Figure 7: Photo. source: pexels:
https://www.pexels.com/photo/scenic-view-of-ocean-during-sunset-760745/
Figure 8: The preparation for painting background with a rose by Alexei Antonov
Figure 9: work by Alexei Antonov
Figure 10: process 2 Figure 11: process 1
Figure 13: process 3
Figure 12: process 4
Figure 14: final work
Figure 15: final work
Figure 17 the works of Branislav Markovic
Figure 18: process 1
Figure 19: process 2
Figure 16 the works of Branislav Markovic
Figure 20: process 3
Figure 21: process 4
In conclusion, it can be said during the whole learning process, I have learned the reason why art is far more than “absence of rule” and “idiosyncratic to the particular work” (Eisner, 2004). Not only words can express thoughts and ideas, all forms of arts including drawings and paintings can also have meaning and build a bridge between the inner world of human being and the outside world (Preble, 1994).
Reference list Eisner, E. W. (2004). What can education learn from the arts about the practice of education? International Journal of Education and the Arts, 5(4), 1-12. Daniels, A. (1988). Introduction to painting with acrylics. London: Apple Press. Preble, D. & Preble, S. (1994) Chapter 5. Principles of Design in Artforms. An introduction to the visual arts. 5th Ed. New York: Harper Collins College Publishers. pp. 88-109. Seligman, I. (2016) Lines of thought. Drawing from Michelangelo to now. London: Thames & Hudson Simblet, S. (2005). The drawing book: an innovative, practical approach to drawing the world around you. London: Doling Kindersley Ltd.