Understanding Painting Media
Part 4 – The tondo: domestic interior
Summary of Tutor feedback
Learning points from tutor feedback:
- Interactive aspect of Assignment piece – being able to handle and open it like a book – is quite an original take on this assignment, but need to think more about the kind of cover material used.
- Context research could have fed more directly into my own development and work produced.
- Still more use of sketchbook needed: e.g. painterly quick work, drawing with a brush; experimenting with collage (torn rather than cut) in sketchbook work – exploring themes with painting in mind.
- Continue with preference to work broadly with large brushes and thin layers of paint – build on painting skills.
- Experiment with incorporating painting with brush into monoprint work (Part 3)
- Compositional placement of objects and cropping techniques show a good understanding of aiming for balance – could take this further, e.g. segmenting/cropping/deconstructing work even further.
- Controlled handling of paint in this assignment (tight, constrained) is perhaps a step backwards from my handling of paint in the Part 3 monotype work (broad brush, painterly).
- Elements of my course work show intriguing juxtapositions between the serious and the trivial (themes) – mixing cultural references – and this could be expanded as progress with course.
- Evidence of thinking about my colour palette in terms of appropriateness for subject matter.
- Use of found/appropriated formats and supports interesting and in the main connects support with subject matter quite well – but, be careful not to overdo this, in my tutor’s words “be careful not to fall into a souvenir trap”. However, there is still scope to experiment with this approach, for example working on glass was quite successful.
- Pencil drawings on paper plates can be seen more as preparation sketches for painting rather than as pencil sketches in their own right – they appear as “finicky’ and not adding much to my painting journey.
- Beginning to get closer to finding a personal voice in my work.
Pointers for Part 5:
- Look at the work of Robert Delaunay and Howard Hodgkin in relation to including/painting over the frame.
- Continue to explore how examples from art history can inform and contribute to fresh ways of looking.
- I have made statements about my own intentions and vision for developing my painting – painterly/gestural/broad brush approach to painting – and I need to hold onto these – keep reminding myself of my own objectives throughout the coursework and assignment.
Stuart Brownlee – 512319
9 May 2017