Old Self Portrait Post, Current Study

Was running waaay behind schedule with some coursework-related deadlines, so unable to do anything for the self-portrait day on nov the 1st.

As a compromise, here's a small study done in the old studio late summer:

And below is a study done at Battersea power station grounds (of two loading cranes) when it was briefly open to the public prior to redevelopment:

Summer Landscapes

Summer work. Been going back slowly to doing more landscapes, both plein air studies and longer interior processes. These are mainly studies on board, or with the case of the attic study below, canvas laid on board (been having problems with uneven canvas expansion in the recent warm weather, so overlaid all plein air canvases on board just to be on the safe side).

Study of the studio complex over at Bermondsey. It's... a bit grim for a summer study (the weather gradually turned better in the afternoon though, so those grey overcast-ish skies gave way to blinding afternoon light!). 3-4 hours.

two-session study of a church near Kensington High Street. There was beautiful warm reflected light under the (decorative arch?), but it was still a bit too warm and golden-hour bias in the end.

Peacock Room, Leighton House. Graphite sketchbook study done over three sessions. Regretted using pencils as I couldn't get as close as possible to an expanded value range to better describe the light (most of the afternoon sessions were spent waiting for optimal light conditions, with drawing slowly being resolved whilst waiting). Wonderful building by the way, but its a shame most of Leighton's landscape studies (which were, in a way, some of his most honest works) are scattered in various private collections, other museums, and auction listings. 

End of the first session for an attic study at a friend's place. Really wonderful, Rembrandt-esque light, but a real challenge with the low ceiling and insulation rolls! The low ceiling light is from our right-hand side, and the light sliver cutting in is better explained in the second state.

Final session of the study. Overall time: 7-8 hours.

*EDIT* just updated two of the images- the larger image for the Bermondsey studio study and the last attic study as the temperature shift was too warm in the original scan! 

Panorama Studies

 

Unusual compositions for panels and canvases are often interesting avenues for experimentation. These are a series of small rooftop and hilltop studies done over the summer, a small counter for the grey xmas week!

Landscape Study, King's Cross

The sun sets, man dies. It is right. But what a pity not to be able to paint anymore.

Mancini, Antonio. (c.1852) In: Heisinger, U. W. (2007). Antonio Mancini: Nineteenth-century Italian Master. 

 

One of the last of a series of major projects attempted for the end of my undergraduate course. The location was the handyside area near the renovated granary square near King's Cross Station. Took about 7 weeks on-off, partly because the study was started in mid-April, but due to a bout of really bad weather and setup for the degree show the study was postponed for most of May, and it was finished at the current state in June (something like 7-8 overall sessions).

(above) The first drawing of the study- many, many, many changes to the drawing, perspective from this initial state.

 

 

Halfway through the study- the lay-in was relatively there, but it was time to get more specific and more accurate in the drawing. From this state, had help from a member of the KX Estates people who would stop by and offer crits and point out the mistakes (in the drawing, especially even up until the end!) Many thanks to Aleks for his boss observational skills

This study was counted of sorts as a graduation piece, I am beginning to confidently work on a sustained study with improvements in the overall drawing- the challenge of a long study seems to be being able to tighten the drawing stage, and accurately expressing the visual phenomenon in regards to the amount of information that can be conveyed. 70% of the time unfortunately is a waiting game, having to sit out until the correct lighting situation presents itself. Out of an average 3-4 hour session, there was perhaps only a 1-2 hour window of opportunity for observation of the cast shadows (even then it changes dramatically depending on fluctuating light). So plan the drawing! The perspective was a real pain, and the drawing changed quite a lot throughout the session, partly because every subsequent sessions seemed to present new information.

More Summer Studies

(from top) Boat study done over at Regent's Canal over the Easter break; in-progress shots showing the general approach taken for the study, started from life and finished in the final sessions from photographs as the weather gradually turned from late-spring grey and drizzly to sudden-burst-of-mediterranean-sun over the weeks the study was attempted. The general key and temperature of the study still needs to be improved somehow- perhaps it would be a better idea to revisit and attempt a new study of the boat in summer weather to see how it may look.

Architectural studies- one of the Oxford Natural History Museum, the other a preliminary study for a project near King's Cross, Granary Square. Trying to understand the effects of golden hour lighting and learning to mass-in shapes more efficiently in a quick study. The drawing inevitably slips in a single session attempt though- go as broad as possible in terms of the block-in and don't expect in-depth turning-of-the-form and accurate drawings in one-shot paintings. It's part of the deal with alla prima, not everything is successful on the first try, and you can only attempt so much up to a certain level (it's like stopping short 2-3 steps into finishing a painting, perhaps the best analogy to describe quick studies).

Plein Air Anywhere

Two of the studies done at Occupy London that I was happiest with. Over Oct-Nov, I was working on plein air studies at the Occupy London sites over at St Paul's and Finsbury Square. It was... quite something- on one hand, having to paint with ALL of Square Mile and Central London converging down Temple Bar during lunch hour was... an interesting experience. Also, tents! And protesters! Many studies were lost because they were either: 1) keyed incorrectly (i.e. 'fruit salad and garish tents syndrome'), 2) have bad drawing, or 3) even badder composition (sad trombone sound). Around this time, I was researching on Russian painters of the Wanderers School, and was trying to assimilate and understand what went on in their sketches and studies (boss things, inevitably).

James Gurney in his book, Colour and Light: A Guide to the Realist Painter wrote on the advantages of working in overcast lighting outdoors (you see local colours of objects effectively without that annoying solar glare, sparkling, silvery light and sometimes uncertain weather conditions of this 'outdoors' thing). Using a more restricted and subdued pallette also helps (in these, I premixed a 'not-so-neutral grey' pile using Ultramarine, Trans. Oxide Red and white to neutralise more chromatic colours, and made sure that my darkest darks are still pretty chromatic (they're a mixture of the ultramarine, alizarin, and oxide red in varying amounts according to how cool or warm I want the darks to be). Spending more time on accurately drawing and assessing the shapes that I was applying was very crucial, as was taking the time to look closely and be as broad in terms of application of paint as possible (no small detail brushes just yet!). It was partly thanks to many failed past sessions at the site that these studies were working out okay.

----

On the subject of studies vs. 'pictures':

It is a mistake to make pictures too soon. The nearest a student is likely to to a picture is a careful study, and he will be as successful with this, if he makes it for the study of it... Imitation is the highest art; but the highest art requires the ability to imitate as a mere power of representation. The mind must not be hampered in its expression by a lack of knowledge and control of materials, and the painter who is constantly occupied with the problems he should have worked out in his student days, is just so far from being a master. He must have all his means perfectly at his command before he can freely express himself.

Parkhurst, Daniel Burleigh. (1903) The Painter in Oils: A Complete Treatise on the Principles and Technique Necessary to the Painting of Pictures in Oil Colours.

Summer Studies

Done last summer, various studies that survived and are hanging around somewhere in the studio. 

Hyde Park summer study. The drawing is quite off, but I learnt something valuable about covering the canvas as efficiently as possible, and learning how to see broad masses instead of individual detail. Will go back to the same location just to see how different a study now is compared to back then.

 

Regent's park vase study. Oil on card panel. This was interesting, first time working with a set of toned panels and working out-of-doors with supports larger than 5” x 7” (i.e. not a poster study).
 

 Trees at St James, gouache- messing around with some handling techniques, around this time, trying out certain things with watercolours as well. Recently saw a Newlyn school-ish watercolours at a Sotheby's public viewing- the soft edges and crazy-controlled technique was absolutely staggering, it looked like oils but done all in watercolours. Total boss-like handling, and something I wished to be able to attempt someday. The old adage that 'people who extensively use watercolours are either total amateurs or total masters' is so true. It's a reverse psychology thing- the less toxic the medium and pigments, the more difficult it is to handle!

Another Dec post

1 1/2 hours study of trees

...and the riverbank study so far

Lessons learnt over the course of painting?

1. FIND A KEY (so important-  find the darkest darks and the lightest lights as soon as possible, saves a ton of time in terms of establishing the early landmarks in the painting)
2. A bit too specific, but find a technique/method suitable to the task at hand (in this case, a darker tone for the canvas would be more suitable in both paintings as to avoid problems with working wet-into-wet, or having your key lost when the canvas cannot be covered in time)
3. Humidity and high temperatures are another factor in working outdoors (be prepared.)
4. The study above was unsuccessful because it's too mannered, (i.e. sacrificed good drawing for the sake of fancy brushtrokes). Too fancy, not enough information.
5. Value problems, still (if I squint, everything seems to blend into a neutral blobby shape, the design wasn't resolved as well as it should)

Round two commences.

Setup and location shots

Painting locations last December

Log sketch

Beach study

Riverbank alla prima setup

Location above... 24 hours later (incentive to get studies done quickly)