Assignment 4
Part four
Landscape elements.
Project 1
Linear Perspective
Exercise: Distance – preparatory drawings. (page 118)
20-25 /1/2015
I made several drawings in my sketchbook using pencil, charcoal, pen, markers and watercolour. In some of the drawings I mainly explore the relative sizes of the buildings. Those drawings that were worked tonally, could also count as aerial perspective drawings even though the distance is not sufficiently far. At the same time they are drawings of linear perspective, but they don’t have receding lines to a specific vanishing point.
I think pen or pencil are more suitable for exploring linear perspective. You can use the thickness of the line to assist in showing the distance and you can easily concentrate on the relative shapes as the size of the line gets smaller and the same shapes of buildings repeat smaller and smaller to the distance.
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
310 X 418 mm smooth cartridge paper
310 X 418 mm smooth cartridge paper
Exercise: Distance – linear perspective drawing and painting (page 120)
I decide on the drawing with the balcony for the painting of linear perspective. This specific view starts from a very closed point ( the balcony that I paint from) and moves to the distance in the same pattern of buildings that get smaller to the back. Also the lines of the road are mostly useful for linear perspective as they move towards a vanishing point.
I think I have conveyed a sense of distance in a very good extend. The view is open and the aerial perspective is also present adding to the effect of distance.
The painting element enhanced the drawing which could work also on it’s own.
The use of warm colours at the front and cooler colours towards the back enhanced the sense of distance. Also, the tonal distribution is additive for the perspective purpose.
I see possible subjects everywhere, not only in the village area that I had already worked, but also in towns that I might draw when I have the opportunity.
210 X 297 mm 160 g/m² acid free paper
406 X 305 mm 300g/m² grain fin cold pressed not
Project 2 Aerial Perspective
Exercise: Aerial perspective in an urban landscape – drawings (123)
Exercise: Aerial Perspective urban landscape – painting (page 124)
11/2/2015
I made several tonal studies of a view with buildings although it was difficult to find a location that shows long distance. I believed that those drawings would count more for linear perspective than aerial perspective.
I decided to go to a friend’s apartment from where you can see long distance urban view. I made a few quick charcoal sketches because I thought that the charcoal was suitable to convey the tonal differences that appear in long distance views.
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
Then I started the painting with a pencil initial drawing for establishing the main composition. I worked quickly because of time pressure. The weather was changing rapidly and this did not help me to work. The weather was misty and I didn’t have time to wait for the paint to dry for the necessary proceeding. I decided to add the darker tones back home later on.
Well, I did some rectifications, but I also did some detrimental alterations and at some areas the colour became dull.
406 X 305 mm 300g/m² grain fin cold pressed not
I plan to repeat the project either in location or at home using some photographs I took, the sketches I made and the painting as information.
13/2 /2105
I used my source material and started a new painting for my urban aerial perspective painting. I reconsider composition as I think the landscape fits better in the horizontal paper. This time I used charcoal for my initial drawing, because I wanted it to help me creating the tones.
406 X 305 mm 300g/m² grain fin cold pressed not
I think the painting is quite successful. I restrict myself from making any alterations because there is a strong possibility that they won’t be for the best. I don’t want the colours to become dull and this is very possible if I overwork the painting. It is better if I repeat the project later for further exploration rather than overworking one painting.
Also, at some areas of the painting the levels and distance id=s not very clear, especially in the middle.
However, generally I am satisfied with the the outcome and the learning process. I realize how gaining experience from each project is evident in the work subsequently.
Exercise: Aerial Perspective in rural Landscape (page 125)
13/2/2015
For days I was sketching and searching fro the proper view for my rural perspective landscape. Nothing seemed to p;ease my intentions. None of my sketches urged me to proceed to the subject with my desired way.
I was working on the sky project and suddenly I saw it! A view that I see everyday from my home. As the weather was changing the aerial perspective was more clear and having studied a few hours before the painting of John Cotman (On the dawn 1835) and some Turner’s paintings everything came in an order/ I rushed to do the painting before the weather changed again.
I didn’t put any details. I tried to find the best colour and tone in an abstract composition of the view that reveals depth .
I am content with the result. It is constructed with distinct planes. I used blue and yellow as complementary colours for colour harmony in warm hue for foreground and cool hue for the distant mountain in order to convey atmospheric perspective.
I think I was able to convey aerial perspective successfully in that simple composition along with other picture elements such as expressive qualities that I think are present.
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
406 X 305 mm 300g/m² grain fin cold pressed not
406 X 305 mm 300g/m² grain fin cold pressed not
Project 3 Painting Sky
Exercise: Tonally graded wash and simple clouds (page 129)
13- 15 /2 2015
It was a cold day with a sky that kept changing. At moments you could see little cloud and a few minutes later fast moving clouds at the top and at some areas many cumulus clouds.
At a time pint there were few clouds when looking up at a near distance. I tried to make a study of that. I used ultramarine and cobalt in the mix. On a dump paper I applied tonally graded wash. Then I used brush and tissue paper to reveal the thin clouds. Painting even simple clouds it is not easy as It may seems.
In another study I tried to show the fast movement of the clouds on the quite bright blue of the sky at that moment. Using tissue paper I removed paint imitating the direction of the clouds. The initial wash should have been more intense and opaque so the the effect was more obvious.
305 x 229 mm 300g/m² grain fin cold pressed not
305 x 229 mm 300g/m² grain fin cold pressed not
305 x 229 mm 300g/m² grain fin cold pressed not
Exercise: Different kinds of clouds (page 130)
I did several studies of clouds working freely and quick. Some are successful and some are not.Either way it was an opportunity to be creative in finding ways to depict such a fluid subject. Each type of clouds needs different experimentation and practice is what is needed because you have to work fast in such subjects and not many corrections can be made. You need to get to a point that you get the effect you want right from the start.
305 x 229 mm 300g/m² grain fin cold pressed not
305 x 229 mm 300g/m² grain fin cold pressed not
305 x 229 mm 300g/m² grain fin cold pressed not
305 x 229 mm 300g/m² grain fin cold pressed not
305 x 229 mm 300g/m² grain fin cold pressed not
Exercise: Sky dominated landscape (page 131)
16/2/2015
In the first painting I worked only with paint, without any initial drawing since it is a very simple composition. I used ultramarine and raw umber. I used the same colours on the sky and on the mountains.
I also used burnt umber (a warm colour) on the nearer mountain for showing the difference in distance between the two mountains and also to put some ‘’warmth’’ in the picture.
305 x 229 mm 300g/m² grain fin cold pressed not
In the second attempt I did the same composition , but the sky was more cloudy. The colours are more intense this time and the picture has more form.
406 X 305 mm 300g/m² grain fin cold pressed not
I worked on a third painting in a different way. I used soft pastels for an under-drawing to get more tonal differences and darker tones and form. . the cloud on top left stands out a bit too much, but it could be mirrored in the brown mountain are under and I think this creates a balance and the picture works well.
406 X 305 mm 300g/m² grain fin cold pressed not
Project 4 Painting water
Exercise: Still life with water (page 133)
16/2/2015
The pink bowl was too shallow and the light changed very much before I finished the study. Nevertheless, I believe that the painting works and it is actually one of my favorites of this assignment. This little picture has something expressive. However, it is not very clear that the bowl is filled with water and that the bottle is dipped in it. Closer observation of tones and shapes is needed to get the effect of water and reflections.
Another try of the subject. Again the picture as a whole works well and the use of colour is good. Again, better result should have been obtained with a more cautious observation of tonal variations and shapes created by water reflections.
Generally, you need to assess and reassess the tones continually one in relation to the other and find the shapes within the shapes. It is complicated and it is easy to get drawn by detail and miss the picture as a whole. You need to find the colour reflection on the surrounding. You need to be able to include what is necessary for a good composition that stands on its own even if you know that you omitted some points
305 x 229 mm 300g/m² grain fin cold pressed not
406 X 305 mm 300g/m² grain fin cold pressed not
Exercise: Painting still and disturbed water (page 134)
25/2/2015
406 X 305 mm 300g/m² grain fin cold pressed not
305 x 229 mm 300g/m² grain fin cold pressed not
In those two first studies I should have painted the reflections in darker tones . I should have assessed the tones better. I think I got carried away by a misconception that the reflections are of paler tones and I wasn’t painting what was actually there.
I tried to avoid that on the next studies which I think are better at succeeding their purpose to study reflections on still or disturbed water. I need much more practice in order to be able to show the water effect more fluently.
350 x 500 mm 240gr chlorine free paper (half page used)
350 x 500 mm 240gr chlorine free paper (half page used)
Exercise: Painting moving water (page 136)
26/2/2015
I approached this subject in an abstract way. I decided to work close up.
I tried to grasp the general essence of the subject. Actually I aimed at getting the pattern of the shapes created by the movement of the water and simplify it as necessary for painting. Further I needed to get the main tones and work out how they fir on the shapes. Finally, I should combine these elements to build up a composition that works.
In the first study I used pen to draw the main shapes and masking fluid for reserved bright areas.
350 x 500 mm 240gr chlorine free paper (half page used)
In the second study I worked straight and only with paint.
350 x 500 mm 240gr chlorine free paper (half page used)
I consider both as successful images although not so descriptive of moving water in a ‘’naturalistic’’ way. I like their flow, energy and expression.
Project 5 Pictorial Interest
Exercise: Painting trees (page 139)
20/2/2015
I did a few studies of trees in sketchbook focusing mostly on the lines, curves and shapes of the tree trunks. I really do not enjoy painting the foliage.
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
350 x 500 mm 240gr chlorine free paper
Nevertheless, I tried to work a painting including the foliage. I aimed to be creative and experimenting some ways of depicting it. It came out quit good, but far from the way it suits me. Also, the mass of the foliage stands out and it looks heavy on the painting. In addition it has no flow, it gives a dry and static feeling.
305 x 229 mm 300g/m² grain fin cold pressed not
For another painting I decided to stay on the same view and paint in a very different way. I used pen and ink in order to intensify the tree trunks and make this the main interest of the painting. I thought of putting a thin wash later to represent the foliage getting example from Hilder’s Oast Houses. I started by drawing with ink. Thin or thick lines where applied to show the different planes of the picture from back to forth. I put washes over the different planes of the picture starting from the sky and mountain at the back and moving forward by making my washes in warmer tones of the main cobalt and raw umber mix by adding yellow ochre, cadmium and burnt umber. I was excited by the way the wash wouldn’t attach to the ink lines and created a different tone around it. Then I put wash at the dark areas of the tree trunks leaving the background tones to show through the lighter areas. I definitely love the result.
406 X 305 mm 300g/m² grain fin cold pressed not
I decide not to add a wash for foliage. I think it is not needed because it would affect negatively the relation between the tree trunks and the background. The background wash is what created a connection between the trunk and the background as it moved around the ink lines and left a surrounding effect that could act as the mass of the foliage and the movement of it. It is a windy day as it might be seen from the trunks curvatures and leaning.
Exercise: Painting rocks (page 142)
26/2/2015
I started with a sketchbook drawing and then I extended the idea in a painting.
210 X 297 mm 160 g/m² acid free paper
I worked this subject in a n abstract way. I tried to show the sequence of a close up rocks scene. . there is a flow as the rocks glide one over another that comes in contrast with the sharp form of the rocks. I aimed to make a composition paying attention to tones to get the equilibrium. I used complementary colours orange-blue tones to get a colour harmony through contrast. I used bold charcoal lines as an underneath drawing and areas of shadow to make it more dramatic and interesting. I would like to experiment more in that way.
305 x 229 mm 300g/m² grain fin cold pressed not
Exercise: Animals in the landscape (page 144)
25/2/2015
I decided to work from photographs for this exercise. It was not possible for me to find animals grazing in landscape this time of year. However, I observed animals grazing in the area I live many times before, it is a familiar image for me. I kept my ‘’memories’’ and sensations of that in mind while processing this subject. I believe the photo I used was taken in summer season. I could tell that because of the bare land, without any greens which is how it is here in Cyprus during summer.. The goats eat from the trees…the shining sun almost extinguishes colour variations and you get a pale but shiny brownish colour and the atmosphere looks dry so a flow of the paint wouldn’t be appropriate. I started with some sketchbooks drawings to capture the form of the goats as they move up the crest. I wanted to portray how the animals become one with the landscape as they receive the same shiny sun over them. I kept my palette limited. I started with a drawing with pen to help me show the movement through the line directions. To warm up the painting I put some violet at the back and complemented it with some bright yellow in the foreground.
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
406 X 305 mm 300g/m² grain fin cold pressed not
I think is a successful painting for it’s purpose. However, I could explore the subject more if I worked from life, on the spot.
Exercise: Human figure in the landscape (page 146)
18/2/2015
I had the opportunity to make a few sketches of people in a landscape just by looking out of my window. I am surrounded by a rural landscape and passers by are not usual. Once I noticed a person, who I could see from ma certain distance, walking in the field, I grasped my pencil and tried to make quick sketches. The person kept moving and I only could make sketchy indications of the figure in my sketchbook. However, I enjoyed with a kind of anxiety the process of trying to catch up with the movement.
On another day I was able to observe from a distance a hunter. That person was mostly moving at a short distance and also sitting for some time. However, the distance restricted me from observing the actual pose . I was able though to make some sketches mostly line drawings and include the landscape that was around the figure.
Those studies/ sketches helped me to start getting into the subject of the exercise.
210 X 297 mm 160 g/m² acid free paper
210 X 297 mm 160 g/m² acid free paper
On another day I was lucky enough to be able to observe two hunters form my window seen from a distance for enough time to make paintings.
I worked fast and intuitively painting the landscape and the persons as part of it. I ended up with two atmospheric I wold say painting with colour and tone flow that satisfies me.
305 x 229 mm 300g/m² grain fin cold pressed not
The second painting was made using as resource the first painting and the actual view after the persons had left the scene.
305 x 229 mm 300g/m² grain fin cold pressed not
Assignment 4
Landscape Painting with mixed elements and features
350 x 500 mm 240gr chlorine free paper
This is my final work for the assignment. The painting should have to includes at least three of the following eight aspects or elements of landscape studied in this assignment:
- Linear or aerial perspective
- Sky and or water
- Trees or rocks
- Animal or human figures
I wanted to practice some of the features that worked best for me from the projects. and include the elements required for the assignment’s final painting. I found the way I explored water and rocks in the exercises very interesting and I wanted to convey my ”findings” combined with other elements in a painting. In addition i wanted to further explore the colours I have mostly used in the assignment in a painting with all those combined aspects.
I used various source material including photographs, sketches and my paintings of the previous exercises and worked in studio. Although I had several sources to worked from I tried to approach the painting with spontaneity. I referred to my source material when I felt it was necessary, but I mainly focused on the painting as it was emerging.
I think I used my sources in a creative way and I was able to practice the technical knowledge I gained through the course so far and more specifically the elements of this part which is landscape elements.
In general, I believe that the composition works well in terms of colour and tone. In addition it has a flow appropriate to the medium of watercolour. Further, I was able to show different textures with the use of other media like pencil, pen and masking fluid.
At this point, I feel that I exploited the requirement of the assignment and deepen my artistic potential.
Itten stresses the importance of studying nature as ‘’Nature in it’s rhythm of the seasons,…serve as a model for our individual lives.’’ (Itten,2001 p.79).
Even though I am not primarily interested in painting from nature or deal with subjects from nature in a descriptive or realistic way, I think I gained important knowledge that I could incorporate into my own approaches.
I agree with Itten and believe that when we study nature we study our inner selves, because as a part of nature, I believe we function on the same cycles, from a single cell to the universe.
I am looking forward to Part 5 to widen my options!
Watercolour Practice OCA 