Tag: perspective

Review of Assessment 2 feedback

Tutor led formative feedback is the fuel to fire my next work, inspiring and filling me with energy. I have taken notes from my feedback discussion to construct a mind-map . I find this process consolidates learning. In addition it will act as a summary checklist for future projects.

My last comment in assessment 2 was a realisation that part way through projects I run out of energy and self -belief. This is a challenge that I have carried with me from Drawing 1. Consequently demotivation causes me to abandon my experiments and slide backwards into my comfort zone for the rest of the exercises and assessment work. The mind -map will focus my attention on key processes from PoP Learning Objective 1 while I am also attempting to learn new skills and research artist work in coming exercises. The map addresses aspects of perspective, texture and mark-making, composition and colour which then feed out to other tools to achieve these aims. I notice too that many of the skills feed back in to affect each other. I intend to look back at these regularly throughout each painting and project to keep me on track of development aims in a more considered and continuous way.

For example to achieve LO1 aims check- that my perspective works ( by observing the subject closely/ looking at lines in relation to each other/ by breaking structure into simple shapes) – this feeds into two points (1) a reminder to check back at results and build up layers giving definition and correcting mistakes and (2) picking the type of perspective that I find easiest to use effectively.

Again working quickly with raw fluidity will help me to observe effects that appear in my work – leading to checking that I use fluidity as a recognised strength as the painting progresses to new layers – then leading to checking that I use another passion of mine , curves that are built through attention to negative spaces. This pathway will remind me to keep loose and fluid using a range to techniques. Of course the dotted lines indicate that fluidity leads me back into checks and tips for mark-making. The whole process is inter- related.

Close ups of my mind-map

In the centre- concentrate on basic structure, shapes and tone

Mark making can be suggestive- it does not need to be refined into a polished image. Therefore it allows the mind to form its own story based on personal circumstances and preferences

Colour can suggest mood eg hot and cold , dark and light and red and green hues.

Use a viewfinder to find the most appropriate view. Noisier what is important and crop the rest.

Pay attention to definition of images. Have the discipline to slow down and use appropriate tools to make this right eg a rule for horizon and credit card for straight blades of grass- don’t be lazy and paint free-hand

Observe perspective carefully and pay attention to lines in relation to each other. Break structures into simple shapes to make this easier.

Take the time to work in layers and build these over time. This helps keep texture and thickness of paint right and enables perspective to be achieved through shade and tone and to correct image structure

Study other artist’s work so that their good and bad habits begin to subconsciously affect choices in painting

Maximise use of the type of perspective which works best for me – for now this is non- linear

Observe textures to accentuate perspective and create an illusion of touch for the viewer. Experiment with this including using non- traditional tools to encourage loose marks

Some examples from past work to start me off:

Notice the rawness which I naturally put into my work and have the courage to use this to creat fluidity and development in a piece

Use my tendency to work quickly as a strength- to suggest movement and energy in my work

Use negative painting to accentuate the curves and flow that I love to put into my work

Evening at the stone circle
Colour from my check list- gives the dramatic contrast that I want between the coming cold night and the fire of the sunset still spreading over the ground. The orange /red is almost complimentary to the blue . This combination is striking and draws the attention of the viewer. It suggests a dramatic and slightly mysterious mood.

Following the dotted lines would show that dramatic mark-making links into this point and suggests drama.

However I do feel that if I had looked to the other points on my check list I could have worked further on this piece. For example , while I used mark – making and fluidity of stroke for the standing stones, I ignored this in the sky and lost the chance to make it more expressive and energetic. Looking further round at perspective, I have not tried to break the sky into small segments or compare lines in relation to each other and I have not used non- linear effects like graduated tonal values in the blue. I am glad that I have begun this process and recognise that it will not happen overnight. However if reminding myself of these perspective techniques as I go through the painting reminds me to think about the possibilities open to me, I may eventually hold the techniques in my head and apply them to work automatically.

Texture and colour to suggest perspective. However to improve this I could use a variety of tones of blue
I used pouring medium with undiluted liquid acrylic to increase the fluidity and texture of my stone. I like the way that this produces shine when areas of concentrated pouring medium hit the light. The rough mixing on the support gives a nice diffused watercolour like effect where binding of colours is incomplete. A close up reveals that I used too many unblended tones and short strokes: learning point- observe, experiment then observe the results before attempting a painting then use fewer large sweeping strokes. Come back later to add more tones with a finer brush as required – next observe and build on more layers. This also need to work on the thickness of my paint to get the correct mixture.
I can see that looking at lines in relation to each other and making better use of tonal values in colour could have improved the perspective in this painting.
The image has been cropped from its original (showing the window, wall and a calendar) to concentrate on the best part of the painting which I feel is the curves and fluid marks on the tray. I used negative space between the red petals on the tray to accentuate this. It is one of the perspective tips from my mind map.I have again used non- linear colour perspective to suggest a third dimension.

Understanding Linear Perspective in Art : A Guide to Types of Perspective

From linear perspective to one point perspective, learn how artists leverage mathematical laws to create the illusion of depth and space in two dimensional art.
— Read on www.invaluable.com/blog/understanding-linear-perspective-in-art/

From the fifteenth century onwards artists began to understand how to bring a third dimension into their previously flat work by incorporating perspective. Da Vinci, in the article above, is quoted as comparing the result with looking into the real world through a window . This must have been revolutionary for artists and viewers alike. It would seem that this all happened around the same time as colour theory began to emerge- I imagine as science began to develop. To me the path has been a journey ever since back towards feeling and true expression of idea. I feel this because the natural order in everything is to concentrate on the new to improve but this comes at the expense of totally valid ideas from the past.

I have been restudying the history of cubism and begin now to understand how the necessary progression through colour theory and perspective lead to Impressionism at a time when the world was especially in need of a change from the clutter and fuss of the rich Victorian era- artists began to strip back ideas with the knowledge of technical methods behind them and began to look for the mystery and aesthetic aspects of art that had become so masked by the desire for perfect realism.

The three types of perspective used to bring depth to a work are:

. Single point or linear perspective where parallel lines in the scene ( railway lines, straight paths etc) can be traced back to a single vanishing point on the horizon

. Two point perspective is seen in architectural work where the corner of a building is seen with walls regressing back to two vanishing points on the horizon.

.aerial perspective is achieved by use of lighter tones and blurred edges on the horizon line and in the furthest recesses of a scene with the closer parts of the work being darker sharp shades.