Exercise to ENCOURAGE you to combine the previous colour work with experience. A series of a still life group that stays the same.3 painting exercises to study~ Colour accuracy , complementary colours and colour to evoke mood.
The first problem I had was the day light moving to fast to capture the intense shadows. The winter sun is much lower and sets away from the studio. At first I had a brilliant green glow on the wall from the reflection of the ‘Pierre’ water bottle but it just disappeared so quickly that I didn’t paint it into the composition.
This exercise could have taken days and I thought; as it was an exercise – not to get to precious about it. I spent 2 days on this A3 painting and the colours are ok but the brush strokes are not and they therefore have an impact on the overall impression of the colour. I like to check my colours by painting onto a photo of the still life or onto the objects themselves, i.e. leaves or the bottle.
Not happy about the pewter vessel as the intensity is not strong enough. Maybe if I darken the shadows this will encourage the light to be seen as being stronger. The reflections in the green bottle are really busy and tend to dominate the composition. These reflections were always changing due to the day light reacting with the glass.
The white background and white table cloth are dull, but when looking to Van Gogh compositions or Giorgio Morandi ,they did not fuss with interiors beyond the still life (EXAMPLES OF WORK AS HYPERLINK). The next section is interiors, so I will work more on the surrounding of the still life objects in the next exercise. The overall tones are darker than the actual objects as I started off lighter and then got heavier with paint. The layers of paint have had a effect of darkness to the tonal values. I worked on a white background to help with the colour accuracy as it was such a sunny day. If I had worked on a darker ground then this would have been more difficult to gain the accuracy of the colour as when mixing the colours on the pallet and then transferring them to the coloured ground I would have found the colour hue would have changed. I also noticed that by working on a wooden board and not a white board, that the interruption of the colour wood interrupted with my observation
Still Life with Complementary colours.
I worked on grey paper for this exercise as I was meant to use a limited colour pallet so by utilising the colour ground I was able to use this as shadows ,so to focus my colours on the objects. I used reds, greens and dash of yellow. This painting was much easier to complete and only took an afternoon. I’m not going to do any more studies as I am satisfied with this attempt. I read the exercises before arranging the still life so the colours and the set up of the objects was created from an understanding of the briefs. I looked for objects that were colour complementary like the bright red leaves and the green bottle and the succulent plant and the grey pewter so that all the colours could bounce off one another. I SPENT TIME ARRANGING THEM AND LOOKING TO OTHER ARTISTS with regards, CONTEXTUAL RESEARCH and took photos of the objects from different view points and then made final drawings. Doesn’t matter how much time I spend organising the exercise because once I put paint to paper something always needs adjusting. The use of paint and brush has a power over my best intentions. I first was going to have a hat and a Halloween pumpkin in the set up but this just became to linear. I like the shape around these objects and the colour balance to background is not great but allowed me to focus on the colours of the objects and their shadows onto the White ground and walls.
The first exercise is more colour intensive than the second but this is due to more paint being used in the first exercise and that the second exercise was painted on a neutral ground.
Still life with colour used to evoke mood.
I went for a colour pallet that I find very vibrating and Influenced by the NOW tv logo colours. Purple and orange with yellow and blue. I also went for a reversed colour tone where dark tones became lighter colours and lighter tones were painted with dark colours. The overall effect looks like a poster, commercial in function because of the unrealistic morphology. The image becomes something other than an interpretation of reality, it therefore becomes a interpretation of feelings or an impression, expression or OP~ART
The pewter vessel is close to being an appropriation of op~art due to the strong contrasting colours and the effect that it has within the composition where it nether sits in-front or behind the other objects. It is out of place and because of its centralisation it reminds me of a portal to another dimension- OP~ART.
My aim was to paint with unrealistic colours and just see what happens. I changed the background colour about 3 times as the colour balance wasn’t right, either to light or to bland compared to the objects. This exercise was less about getting the drawing of the painting correct and more about creating a mood. My objects and the shadows have become shapes and less detailed. By painting with colour; intensify the impression of morality. A black and white to grey photo transcribes as atmospheric. A yellow to red tonal image will create a warm to hot impression. The combination of hot colours with cool to calm colours will create vibrations and vivid intensity. ‘One of Fauvism’s major contributions to modern art was its radical goal of separating color from its descriptive, representational purpose and allowing it to exist on the canvas as an independent element. Color could project a mood and establish a structure within the work of art without having to be true to the natural world‘ ~ ART STORY.
Compared still life’s
- The first is detailed and more accurate in form but intensive in colouring.
- The second is calming, cool and not very intensive in detail or colours .
- The Third is vivid and bright and uneasy on the eye. The background has flattened the image and is not about the objects but more about the shapes and colour.