P3 - Exercise Mixing greens 3

In this exercise still investigating mixing greens, bottle on the left built upper of multiple washes of the same green mixture. The bottle of the right is a combination of multiple mixtures and layers of washes.

P3 - Exercise Mixing greens 2

In the the exercise attempting to create green using blues in and yellow, layering and wet in wet  and then reversing the order to see what the impact is on the outcome. In my opinion the lemon yellow and cerulean blue wet in wet is the most successful, in terms of returning something that is that you would consider green other methods may offer an alternative approach depending on the context of the painting size of the area to be painted, subject matter etc.,

P3 - Exercise Mixing greens 1

In this exercise I am exploring the mixing greens using off the shelf greens as stating point, have read in more than one book that the use of such greens can look bland and adjusting by adding other colours can be benefit increase the variety of greens in a painting... out of all the colours green is the one that that human eye can most easily distinguish between the different hues.



Stage 1

Stage 2

P3 - Exercise Sketches from different view points

In this exercise I am painting outside, from the same spot/position,  rotating 90 degrees and painting each view for around 30 minutes.

Visit to Chartwell (once the home of Winston Churchill) on a sunny Saturday morning after searching high low for national trust membership cards.

Settled in a spot where I felt I had 4 views that were not too similar  (and my wife could comfortably read for few hours), the time was mid morning so shadows not at their best (preparing my excuses).

Brushes down. My wife took the time keeping a little too seriously refusing to allow me extra time beyond the 30 minutes...time waiting for washes to dry was part of the 30 minutes.

View1:
On completion of this sketch I felt I hadn't added enough to emphasise tonal contrasts and  event though I acknowledged this on my first sketch I didn't  manage to address the issue in subsequent sketches.

View 2:

View 3:

View towards Winston Churchill's studio.

View 4:

View towards the main house.

Assignment 2 Response

Reading my tutor's report for  the work done in  section two of the course.

Revisited  the imaginary rooms exercise, having first looked at some of Edward Hooper's work online. From  memory I though his work's were more realistic but detail is kept to a minimum possibly adding to the solitary atmosphere of his paintings.

There where several interior painting that use in their composition a strong diagonal shadow being cast by light coming from a window in one painting the composition is solely about this shadow broken by two interior wall planes: Sun in an empty room 1963

In my sketch below of an interior I have tried to remove focus from the items of furniture, focusing on the areas of light and dark

Back to assignment 2,  similar still life set-up tomatoes replaced with peppers, aim here was to lose the distracting background and strengthen the colours I have removed the tea towel and made more of the lighting strong shadow at the bottom of the painting which hopefully helps the composition and can be immediately read by the viewer as a shadow