Assignment 2

Part 2 – Intimacy

I wanted to build on some aspects of my learning and things I enjoyed in this section. I am keen to return to creating another still life with lower light conditions, inspired again by researching early still life artists from the 16th and 17th century, where often the backgrounds were quite dark, and the objects were illuminated by carefully controlling the lighting. Strong light and shade as a focus is an aspect I have never really considered before in the creation of my own art. 

However, on reflection I have often been struck by the effectiveness and atmosphere created by this in other artwork I have seen, in particular by Caravaggio, although admittedly the focus of most of his work is primarily the human form rather than still life. The Chiaroscuro technique can be seen in this painting by Caravaggio, and ‘Chiaroscuro’ can be defined as: ‘an Italian term which literally means ‘light-dark’. In paintings the description referes to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted’. (National Gallery)

The Dutch artist Adrian Coorte used this chiaroscuro in 1699 in his ‘Still Life of Asparagus’. The background is very dark and the asparagus seem really three dimensional, and they clearly recede into the distance as the light diminishes on the left hand side of the painting. 

Contemporary artists such as James Gillick are still using this technique today.

So, after some reflection about what might make an appropriate subject for this focus, I decided to focus on a bedside table lit by a lamp with a couple of objects on it. 

I made some initial thumbnail sketches exploring possible compositions. 

Whilst there are some strong light and darks in this, there is possibly a lack of sufficient definition or tonal variations in the shadows. More light is needed to stop this being simply a monochromatic study without colour. That will limit my ability to use colour in my artwork, a requirement of this assessment. Perhaps consider a little more cropping as well? All the significant objects just ‘fit in’ the composition. 

The second thumbnail seems to be a little more dynamic with the cropping, but the light from the top of the lamp is very bright and distracts from other aspects of the composition.

In thumbnail three, I like the lamp being cropped from the top as it limits the overpowering white light from the previous composition. I am now more aware of the effects of the light rather than the bright white light itself. The composition, as a whole is a little ‘flat’. However, I like the diagonal of the table edge at the front. Can maybe review what books I chose and move them to a slightly opposing diagonal to the table edge. 

Thumbnail four, has an interesting composition, allowing a large area of negative space on the top left and room for the light and shadow to create shapes on this wall.

Consider cropping the top of the lamp again, but add an extra light source to create a few more halftones in the darkest area. At the moment, there is very little suggestion of colour in the background of the still life, it is a little too monochromatic with blacks, whites and greys. Of course this aspect is not noticable in these compositional explorations, but is noticeable to me as I draw.

I also want to change the selection of books I have as the whiteness of these against the cream table cover does not give enough contrast. The light is also a little too powerful and another light source might help moderate that.

The arrangement largely comprises pale neutral colours, a blue green background and a muted green Dolby pottery lamp base, with a little more contrast through the books that have now been selected. I am excited by the limited range of colours that has almost evolved naturally. Maybe try a slightly higher perspective so that more of the books can be seen.

Thumbnail 5 included a change in viewpoint, the books used, the angles they were placed at, and a bit more of an angle on the table. I also began to experiment with colour in this composition to explore if these colour combinations seemed likely to work.

I tried the landscape format in this composition, with the intention of allowing negative space around the objects to emphasize the light and shadows on the wall. However, on reflection I think the space to the right is to excess and instead weakens the composition.  The window blind was opened a little to let in more light and allow for a greater range of mid tones.

I found that this arrangement did lend itself to muted tones of green, blue and browns. This reduced palette builds on the earlier monochrome study I did in a previous exercise, and I am excited to explore this further. I think there is a good degree of unity with this, and yet enough contrast with the wider range of tones. 

I like the composition of this thumbnail 6. It is like the previous one, but zoomed in. However, I think I prefer the effect of the refraction in the glass in thumbnail 5. I will attempt to amalgamate these aspects.

This final thumbnail is a combination of the previous two. I like the glass position in this one, but somehow the negative space seems to work better in the previous version. I wonder about ‘cropping it to make it appear ‘longer’ and ‘thinner’. 

Now I need to give some consideration to what media I would choose to use.

I did see an artist whose work I was really struck by and I thought at the time it might be nice to experiment with some aspects of her work in my next assignment. 

Lucy Jones is an Edinburgh based artist who creates wonderful artwork using collage and print. This is called ‘Towards Great Stuart Street’. It is vibrant and yet at the same time really captures the atmosphere, architecture and essence of these grand tenement buildings in Edinburgh. 

My initial thought was to lay down simple blocks of colour and draw over them. I decided to experiment first with drawing inks. That did necessitate some colour experiments and swatches before I could start. 

I realised the range of ‘drawing’ inks were much more limited than I had anticipated. They are old and the ones that proved to be useable were mainly varieties of pinks and blues. Many had to be thrown away. So, I made up some small sample bottles of brusho inks. I have not used them before. Having made a colour chart, I chose my limited range of colours of blues, browns and greens.

I decided to work on at least two roughs simultaneously to allow me to fully explore a range of media.. Knowing I was likely to be using a lot of water in these I chose a 200gsm textured watercolour paper. 

I used a pale, thin green wash to draw up both drawings and then ensured that as I prepared each ink wash, I used them turn about on each picture. 

Then I began to build the tones. They both looked very similar at this stage. , although one did not have the key on it as it had been drawn a little larger and I decided to omit it.

I liked the initial undertones that had been laid down but I felt I had pushed these as far as I wanted to and now was the time to ‘draw’ on top of it. I looked at them carefully but decided neither charcoal or pens would be sensitive to the subject matter after all. 

For this first one I decided to try and build colour with watercolour pencils. However, having experimented first on scrap paper, I was disappointed to find the brusho inks moved when re-wetted with water. It meant the watercolour pencils were not therefore an option.

I then chose to work with polychromos pencils. However, as I had seen in my earlier lemon and bottle drawing, these pencils do not work so well on textured paper. The mottled effect was really unsatisfactory.

Following a period of reflection, and looking again at Lucy Jones work I decided to do a third experiment. I would use collaged papers to create the items. 

I used the other mock experiments to get the size and shapes I needed and then painted a rough background with the brusho inks. I enjoyed the loose and energetic way of working. 

Rather than just using a piece of newspaper for the books, I decided to collage more torn pieces on to it for added interest.

Tracing paper seemed like a good option for the glass.

I began to assemble the collage.

More washes of brusho were added to the image. It still lacked enough depth and contrast so I decided to use oil pastels on top of these inks. 

Parts of this are more successful than others. Interestingly, at the time, I did not really like this image, but now as I look at it again, I like it more. For me the least successful part, glaringly, is the lamp shade (no pun intended!) The effects of the mediums on it are primative.  I should perhaps have just put a brusho brown wash on the lower edge and left it, but of course I had used brown paper and the top needed lightning to represent the glow of the light bulbs. 

Perhaps I could have used a wash of white gouache instead?  The light on the wall is similarly unsuccessful.It worked better with just the brusho ink and pushed it into the background.

However, the cup, books and key are more successful and have a good three dimensional  and textured aspect to them.

So, what to do with my third experiment. Taking some time to ponder and reconsider what made Lucy’s work so appealing to me, I noticed that the blacks she uses are softer, broken, more often with a grey rather than black quality. I realise she uses printing to achieve some of these marks. However, I also remembered that  my tutor had sent me a ‘drawing with charcoal’ video to watch, which of course I did.

With that in mind, I used a combination of willow, nitram and conte sticks. I liked that the charcoal blended in to create darker tones and allowed me to get more of the drama and atmosphere of a lit scene that I was after. The textured paper still affected the quality of the darker tones. I left all three drawings taped to my wall and returned to them several times that evening and again the next day. Which one was most effective?

Each time I returned I felt the charcoal one stood out. It had the most atmosphere and sense of bright light and darker shadows. It lacked the key, but that did not distract from the image.

Now I know what medium to use but am unsure what paper would be best. I need a white one and so again, will try two simultaneous exercises on different papers. One is a plain 200gsm paper, and the other the reverse, smoother side of a 200gsm mixed media paper.

I worked on these two A3 pieces of art for a whole day, but by the end was unhappy with how they were going.

When I started preparing the colour for the lamp, I recognised that the wall colour green was far too vibrant and disconant with the green from the lamp.  I left them at that point, disappointed with my own heavy handedness and returned to them in the morning.

Initially I tried to knock the wall colour back. That was not successful, so I tried to make it bluer to align more with the lamp. The paper surface was becoming damaged by being overworked at this point. t I had ‘lost’ the lightness of tone and colour that I needed as an underwash. It needed to be so much more subtle, just above a monochrome. I had to start again!

Looking at these partially completed versions, I learnt that the reverse of the media paper looked to be the more suitable paper from this task. I had still learnt a lot from these ‘failures’.

This time, with Lucy Jones artwork in mind, and working at a fast pace I did not do a drawing of any kind. The intention was just to put on blocks of colour in roughly the right place. I wanted to draw on top and I didn’t mind if the colours didn’t fit the lines I was going to draw afterwards. I was however, really amazed that the colours and shapes just seemed to ‘fit’. I guess this was my 6th or 7th, if you include thumbnails, version of drawing this. I quickly dropped in tones and didn’t overfuss. The glass was created by space left. I loved how it emerged from the painting. 

I felt, even at this early stage, that this was more what I had been aiming for… just a step up from black, white and grey. A limited palette and muted tones. 

I was determined not to overwork this one. 

Incredibly there were very few places that the painting did not fit the object. I had anticipated and even welcomed a few more. The right edge of the cup is one, and the right foot of the lamp is another. However, as the washes are so pale it doesn’t notice or matter or impact the artwork unnecessarily. The glass does have a lean that I would choose not to be there, but as it is, it is just part of the evolution of this journey of exploration and I am ok with it.

The finished work comprises a range of markmaking, some of which are more visible than others. Some areas are left unblended, others slightly blended, and others, aggressively blended!

Through a comprehensive investigation I arrived at a combination of materials that I think have worked for this image. It has a balance of positive and negative spaces, where the negative space is used to reinforce the story of the lit lamp.  I was conscious throughout to create an image which had hints of colour and detail enough to inform the form, textures and colours of the subject matter chosen. 

Value of the exercise

• An opportunity to draw together different aspects of learning from this whole Part 2, Intimacy.
• To draw on research and show evidence of this in your thinking and understanding and ultimately in the creation of the artwork.
• To make reference to other artists and art genres and show how they have impacted your learning and understanding. 
• To demonstrate a progression of understanding in terms of materials chosen for given purposes and how to use them most effectively through investigation and exploration. 

What I have learned

• The value of experimentation
• Knowing when to persevere and that sometimes there is a time, after reflection, to let go of something and move ahead with the learning you have taken from the mistakes you have made.
• The impact of different papers on your artwork. Begin to appreciate how critical it is to find the right support for the work you intend to create.
• I have learnt a way of using Brusho inks, although I feel there is a lot more to explore in this. 
• I need to invest in some hot pressed, good quality watercolour paper, A2 size.
• I have learned a bit more about the versatility of charcoal and how it can work with other media. 
• I liked the looser, quicker and more energetic way I was able to create the final artwork. I think that came from a real familiarity with the subject and having drawn it many times beforehand. It also came with a frustration that the two images I had spent the whole of the previous day on were not working.
• I stood when creating all these artworks. I think it helped with the looseness. 
• I enjoyed creating the last image in a way that was more exhilarating

Wonderings

• I want to experiment again with using blocks of colour or collage and then drawing on top
• I want to continue to experiment with some of the techniques that Lucy Jones employs and see how it might work within my artwork.
• I want to find other opportunities to work with Brusho inks. Perhaps I will find some online videos to watch. I feel I have just dipped my toe in the water with them. 

References:

CARAVAGGIO, (1606), ‘Seven Acts of Mercy’, [online], BridgemanEducation.com. Available at: https://www.bridgemaneducation.com/en/search?filter_text=caravaggio . Accessed 28.8.19

COORTE, Adrian, (1999), ‘Still Life of Asparagus’, [online], BridgemanEducation.com. Available at: https://www.bridgemaneducation.com/en/asset/1217487/summary?context=%7B%22route%22%3A%22assets_search%22%2C%22routeParameters%22%3A%7B%22_format%22%3A%22html%22%2C%22_locale%22%3A%22en%22%2C%22filter_text%22%3A%22chiaroscuro+still+life%22%7D%7D . Accessed 28.8.19

GILLICK, James, (Contemporary Artist), ‘George III Jug’, [online], BridgemanEducation.com. Available at: https://www.bridgemaneducation.com/en/search?filter_text=chiaroscuro+still+life . Accessed 29.8.19

JONES, Lucy (2019), ‘Towards Great Stuart Street’, [online], Lucy Jones Edinburgh Artist. Available at: https://www.lucyjonesart.com/artists#/heinrich-harrison . accessed 3.9.19

THE NATIONAL GALLERY, (2019), ‘Chiaroscuro’. [Online]. Available at: https://www.nationalgallery.org.uk/paintings/glossary/chiaroscuro, Accessed 28.8.19