Build texture by reworking lines in chalk on black paper. Use an eraser to define smudged lines of chalk. Build up layers of colour.
Finish pieces by adding detail. For example the 360° exercise. The West and South views could use colour/texture on the sky and on parked cars.
I find I have a fear of completion. Or at least a reluctance to overwork a piece therefore I end up under working it instead. Neither results in a satisfactory outcome, but at least with some encouragement I can more easily rework something that is underdeveloped rather than one that is overworked.
Repeat parallel perspective Exercise. (See relevant blog post dated 4/4/20)
In future state dimensions and media used.
Select only that work which is complete and which I am content to submit.
Rework Waterloo Sunset. Add colour and definition. (Perhaps turquoise light between the trees and lamp posts to contrast with russet and pink coloured trees. Please see relevant post dated 4/4/20)
Start a more structured sketchbook practice. Record dates and Exercise numbers in sketchbook with related blog post url. Submit sketchbook (Please see my confession on blog post entitled Sketchbook dated 4/4/20)
Unpack (spell it out) critical thinking and analysis – evidence learning in more detail.
Make use of OCA UCA library
Personal notes:
Plan next 7 weeks study on unit 4
My tutor requested I write a brief report/reflection/analysis on one artist from a given list. I chose one of the Fauves.
Fauvism:
The use of bold brushstrokes using complementary colours (often straight from the tube) to form paintings with little in the way of 3D form. These flattened images their definition through unusual colour juxtapositions which had the effect of enhancing colours and making them more vibrant.
The Fauves, or Wild Beasts, were active 1900-05 after which their use of colour developed into other areas including abstraction.
Whilst Fauves moved away from the emotional ism of fauvism, one artist – Henri Matisse, kept true to the use of bold colour combinations throughout his career. This culminated in the use of paper cutting techniques in later life when his health would not allow reliable use of a paintbrush.
I relate to this use of colour and enjoy experimenting with different colour combinations. The emotional element is never too far from my mind as I used to have issues surrounding colour use as my emotions had been stilted in early life. I believe these two things are far from being mutually exclusive.
Standing before an image which uses similar bold colour palette does not fail to have an emotional impact on me. Although I am likely to use these influences in my own experimental work, these emotions are not always readily expressible in words alone. As a technique, I used the advice from previous unit to take a few colours and use each one as a substitute for certain tonal value in a piece. This has been the key piece of information I have been missing as it had not occurred to me to try this before embarking on this course. I have used it in a still life, a portrait of a friend and for the statue image that I submitted for assignment 3. I shall explore this technique further in the following unit.
References:
Maureen Walker's blog: An Artist's Journey 