Following some initial feedback from my tutor I prepared another five circular tondos. These were all based on segments of the work I had already produced – but this time applying thinned oil paint more broadly and gesturally.
I decided to work on three larger and two smaller tondo surfaces:
Different colour scheme from my original tondo painted on a ceramic dinner plate – mainly browns, yellows and blues with a touch of orange – painted using a size 8 short flat and a size 10 filbert brushes.
Different colour scheme from my original tondo of this subject painted on a small oval card practice piece – this time painted much larger and mainly using blues and browns with white – again painted with size 8 short flat and size 10 filbert brushes.
Focused in on my original ‘boots & basket’ scene and changed the colour scheme slightly – mainly blues, reds, yellow ochre, browns, pain’s grey, ivory black and white – this time painted with a size 10 filbert brush.
Almost like a spy-glass look into a part of the porch barometer in the background of my Assignment piece – this time using thinned red/white mix, pain’s grey and gold and blue relief paste.
The Egyptian head from my cut off piece of football tondo – painted on both sides using thinned yellow, red and blue oils, with touches of white and gold relief paste.
I pushed myself with this exercise in revisiting painting in the ‘tondo’ experience. In all I produced these five pieces in around one day in total – fast and dirty! – well my hands are extremely smudgy (maybe I should start wearing gloves?)
I am relatively pleased with how these extra pieces turned out and have learnt a good lesson in the process – don’t necessarily follow the course notes too literally! Better to use your own judgement, experiment and paint what and how it feels right for you. These five pieces are painted in a much broader and more gestural style – less fussy – and I would say, more like how I do like to paint. Maybe I’m beginning to ‘hear my voice’?
For a bit of fun, here is an image of my palette for this revisiting – messy, and probably says a fair bit about the way I work!
I have reviewed my work for Part 4 prior to completing the Assignment.
In Part Four you’ve chosen a medium to work with in greater depth. In your learning log reflect on the frustrations, successes and failures you’ve encountered. Keep and document your ‘failures’ – they may have qualities you don’t yet see. Whilst reflecting on the work you’ve made for Part Four, consider how you’d like to develop this in Part Five. You can continue with your chosen medium in Part Five, start again with a new one, or combine it with another medium. Note down in your learning log what you feel are the qualities of the medium/media you’ve chosen and how you hope to exploit these qualities.
Turn back to the end of Part One and use the ideas there to help you think about how you can link your work on Part Four to the assessment criteria.
Thinned oil paint was my medium of choice for the Part 4 exercises. I mostly used Liquin for this, although also tried Reeves Painting Medium, which took longer to dry. However, both did achieve a mix of thinned oil paint that I found worked well. I had painted with thin oil paint in Part 3, but usually in my own practice I favour thicker, impasto like oil and acrylic applications of paint.
Another new departure for me was to seriously use tondo circles and ovals as surfaces for my work, I had tried out both previously a couple of times. Having prepared two viewfinders – circle and oval –
I then set about seeking out suitable domestic interior areas around the house.
Before starting on the exercises, I made five sketches of subjects that interested me and experimented with applying thinned oil paint – https://stuartbrownleeocaupm.wordpress.com/category/sketchbook/ – these included kitchen dresser shelf with china (on oval white gessoed thick card), guitars and bookshelf (on oval black gessoed thick card), stern and cabin of model boat (on clear circle of PVC), kitchen statue (on small oval white gessoed thick card), and porch shelf with boots and basket (on oval black gessoed card).
For the series of exercises, I made a total of nine sketches of different small, focused areas of interest around the house, including bedroom shoe rack, corner wall ornaments (2), model boat, music recording equipment, bedroom wardrobe, tool cupboard, clock and bureau, statue and stove.
For the painted renditions, I chose a variety of surfaces – paper plates, cut off piece of old football, ceramic plate, old kitchen clock, vinyl LP record, and canvas board.
1. Using canvas board as a surface:
and adding varnish on top of dried thinned oil paint.
2. Adding thicker paint onto thinned to lift the image, e.g.:
3. Experimenting with ‘off the wall’ surfaces such as vinyl LP record and old clock:
Not so happy with
1. Thinned oil paint on cut off old football:
very flat and uninspiring result.
2. Using paper plates as a surface generally:
flat and dull.
3. Using unprimed paper plate in particular, due to the waxiness of the surface:
sharper image but more difficult to apply.
How do I think my work in Part 4 stands up to the course assessment criteria?
Demonstration of visual skills: materials, techniques, observational skills, visual awareness, design and compositional skills:
I think that I managed to identify and capture interesting compositions of domestic interior scenes from around my house, utilising a range of perspectives and approaches. The thinning of the oil paint worked pretty well overall and it was fun to apply it to the various surfaces. However, some of the results of applied thinned paint turned out quite dull and flat depending on the surface used (cut off old ball, paper plates), and it was only with thicker applications of medium that the images sprung to life. Coloured pencil is not something I use very much so it was interesting to test myself with the three circular drawings on paper plates and I am quite pleased with the results.
Quality of outcome: content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas:
It is interesting how everyday scenes and objects can become the subject of quirky, focused snapshots of domestic interiors that we take for granted. I enjoyed this aspect of the exercises and can see how the use of tondo (circles and ovals) can act as an intriguing window into specific scenes.
Demonstration of creativity: imagination, experimentation, invention, development of a personal voice:
While more traditional surfaces such as canvas board and plates worked well, I found that experimenting with surfaces such as old vinyl LP record, old wall clock and cut off piece of an old football were more challenging and added an extra dimension to the resulting painted scene. Experimentation is certainly one element that I can see emerging into my work as part of this course. I also like to think that my work here has been imaginatively constructed and hangs together as a series of unusual domestic interiors.
Context: reflection, research, critical thinking (learning logs and essay):
My online learning log https://stuartbrownleeocaupm.wordpress.com contains images and textual commentary of my Part 4 work [no password required]. Also available on the learning log are images from my sketchbook as well as my research notes into artists known for their work in the Tondo format and depiction of Domestic Interiors.
Artists that have influenced me in this part of the course are: Michelangelo, Parmigianino, Titian, Caravaggio, Mindy Lee, Frans Hals, Fragonard, Robert Delaunay, Escher, Dali, Edefalk, Rostovsky, Mark Fairnington, Iain Andrews, Henry Acloque, S.E. Hall, Virginia Verran, Harald Kroner, John Currin, Harold Gilman, Richard Diebenkorn, Philip Guston, Catherine Murphy, Wayne Thiebaud, William Kentridge, Albert Oehlen, Kate Gottgens.
In my research ideas for tondo painting I mentioned trying to create a piece along the lines of Parmigianino’s ‘Self portrait in a convex mirror’. While not painting a self portrait, I did manage to capture some of the sense of the convex format in using the cut off piece of old football on which to depict a domestic interior scene.
Of my other research ideas, I did manage to make use of a variety of surface grounds, layering of paint and some storytelling. However, there is not much sign of abstraction or surrealism and certainly nothing I managed to produce came close to the “visceral, thickly-painted, edible-looking paintings’’ of Mindy Lee’s ‘John’s Overfaced (Bellini)’ – maybe another time?
I plan to continue with oil paint in Part 5 of the course and I want to experiment more with mixing thinned and thicker applications of oil paint to achieve different textures, mark making and painterly effects.
Using the paintings you made in Exercise 4.1, look at the scene you painted and add thicker paint to these thinly painted works. Leave areas of the thinly painted work visible. What effects have you created by applying areas of thicker paint?
For this exercise I thought about adding impasto oil paint to add texture and raise areas above the surface. However, I decided to experiment with different media – relief paste and nail varnish. I did also use touches of thicker/thinned oil paint (is there such a thing?)
Adding gold, blue and green relief paste and brown, yellow and red nail varnish picked up the image on a plate to become a more sizzling version of one of my domestic interiors – particularly the ‘golden road’ in the picture on the wall.
OK, photographed on a slightly different background, but nonetheless the addition of relief paste and nail varnish has definitely lifted the colours.
Judicious use of relief paste and nail varnish has brought this image to life – the gold relief paste has a lot to do with this I think.
Lift off! or rather ‘sail off’ with confidence – brighter, picked out colours again using oil paint, relief paste and coloured nail varnish.
Feeling a wee bit queasy – well look at the horizon and not the clock! I rather like this angle and the beauty of painting on the clock is that the image can be viewed in a number of ways.
Restrained addition of thicker media on top of thinly applied oil paint. Again telling a story, but now with some striking highlights.
Make a very fluid painting of any subject on the list. Once this has dried, paint or spray with gloss varnish or nail varnish. Use any size, any surface, any media. What effects can you create by applying varnish? Make some notes in your learning log.
I selected to make a painting of a corner of our living room at home. In this specific corner is the source of our main form of heating – a wood burning stove. The charcoal sketch of my painting idea can be found here.
For the painting itself I wanted to continue to experiment with thinned oil paint, although this time I used Reeves painting medium instead of Liquin to see what difference there might be.
Using a 20x30cm canvas board I prepared a ground of warm brownish acrylic onto which I drew an appropriately sized oval. I contemplated using a grid system to transfer my sketch drawing to the canvas board within the oval format, but instead projected a photograph of the sketch onto the board, mostly to save time. The image was sketched into the oval using an HB pencil prior to painting.
The first thing I noticed was that the painting medium used with the oil paint took a fair bit longer to dry than the Liquin I had been using in the previous exercises.
However, after a couple of days it was dry enough to run a second pass over the painted image:
In this application of thinned paint I mainly picked out highlights and shadows and to provide additional small detail.
Once dry, the last stage was to add touches of varnish to the image. For this I used a combination of coloured nail varnish and clear picture varnish:
I think that the addition of the varnish, and in particular the coloured nail varnish brings the image to life a bit more – the blue nail varnish on the stove kind of ‘sings’, and I like it. It’s not what it looks like in reality, but it makes me smile!
Finally, the door handle of the stove in the bottom left corner is maybe tempting you to open the door – do you want to let the fire out?
This is the wood burning stove in a corner of our living room. When it is not lit this carved wooden piece sits on top of the stove. I carved this around the time of the opening of the Scottish Parliament in September 2004 and wrote a wee short story (bound in wood) called ‘Connections’, which sits alongside the entwined couple. The story is a bit irreverent and the statue is carved from a piece of recovered 250 years old Caledonian Pine.
Make a series of three circular pencil drawings, using coloured pencils, of a scene in your house. Choose from the list provided, or something different. Any size, any surface.
I made three sketches prior to completing the final drawings – these can be found here.
For these drawings I used Faber-Castell Polychromos coloured pencils.
Drawing on top of the gessoed surface resulted in some interesting mark making. I’m not sure I really recognise this tool cupboard – it’s usually not this tidy!
Reversing the paper plate had the effect of presenting the image forward towards the viewer, rather than inviting the viewer in. Again, drawing on top of the gessoed plate produced interesting results – like unintended swirls of time passing across the bureau letters, the photographs in their frames and the clock which was presented to my paternal grandfather by his fellow workers in the Cathkin Laundry in Rutherglen as a mark of their regard on the occasion of his marriage in 1907.
I didn’t gesso this paper plate and found that the pencil was a bit more difficult to apply to the waxiness of the plate itself. The overall effect seems fresher though. It maybe even comes a bit closer to something I wrote in my research notes for Part 4“Verran’s use of delicate lines may also help with my colour pencil drawings for Exercise 4.2”.