Part 3, exercise 3.1: Monotype portraits with paint – 20 preparatory ink studies and a few test prints

22 August 2017. Since I have never used monotype before except once for a very quick sketch, I knew that it would be essential to invest some time in preparing mind and workplace.

First of all I had some pieces of glass with smooth edges cut in sizes A5, A4 and – ambitious – A3 as well as some 40 x 50 cm mirror glass as our only mirror suitable for painting is build into our bathroom wall.
Next I had a good look at several online videos explaining monotype techniques and came away with some invaluable additional hints for working with acrylic paint instead of oils. They were:

• cover the glass in gloss medium before starting to paint, this aids the lifting of the paper
• try and use thin layers of paint
• moisten the printing paper before use, wait for a few seconds before using it (have several ready in a plastic bag)
• use roller to exert uniform pressure

A video introducing the use of four colours on acetate sheets (Blick Art Materials, 2009) was something I want to keep at the back of my mind, just in case the printing works well enough to allow me to experiment with something a little more complex.

25 August 2017. Found work by Kentridge again and discovered just now that in the 1970s he made a set of up to 30 monoprints called the “Pit” series (Kentridge, 1979).

28 August 2017. Yesterday I prepared my sketchbook for this part of the course (Fig. 1-5), then started the painting, reluctantly, because I am not keen on observing myself in mirrors and am generally less interested in my own face than the rest of the world.

The prescribed research as set out on p. 66 of the study guide did not focus on artists making monotypes, but rather on painting styles suitable for quick monoprints and the examination of tonal values.

Figure 1. Sketchbook – introductory research: Annie Kevans and Alli Sharma

Figure 2. Sketchbook – introductory research: Kim Baker, Geraldine Swayne and Eleanor Moreton plus own technique from POP (top right)

Figure 3. Sketchbook – introductory research: Edgar Degas

Figure 4. Sketchbook – introductory research, top: Paul Wright, unknown artists and Clara Lieu, bottom: techniques mind map

I decided to select those styles, which held the greatest promise for my own attempts and made a small mind map plan to structure my 20 sketches (Fig. 4, bottom). 5 each of my ink sketches would be devoted to testing the styles of Annie Kevans (dilute, fine brush), Paul Wright (dilute, coarse brush), Edgar Degas (wiping off dark background) and Clara Lieu (grey background, painting into and wiping off that background).

Sitting at my drawing table, writing into my sketchbook with my mirror in position on a table easel, I noticed that this view could be interesting for my quick sketches. I intended to place the self-portrait in the lower righthand corner and create an impression of someone sitting opposite absorbed in communication. I made a rough pencil sketch of the situation (Fig.5).

Figure 5. Sketchbook – top: testing arrangement for ink sketches, bottom: recording exeriences with first set of 5 sketches (Kenvans style)

I soon found out that I would not be able to do my idea justice with my 1 minute sketches. 60 seconds are an awfully short time to create a meaningful portrait. My paintbrush, a very nice watercolour brush combining a large size body with an additional central pointed tip, helped me in switching from fine to wide brushstrokes without having to reload more than a few times, but these movements alone used up over half the painting time. I noticed that I would have to make the sketches larger than intended, so in the end I just settled for letting things develop (Fig. 6-8). The first two sketches were awkward, no. 1 suffered from temporary rustiness of the artist’s hand and from forgetting that we only had one minute to complete the sketch. The second was somewhat better, but I was far too slow to be able to consider the tonal values across the whole face (Fig. 6).

Figure 6. Annie Kevans style sketches no. 1 and 2

Next I had a good look at the tonal values before starting to paint but still ran out of time. The fourth attempt was then made without my glasses on so as to force myself to reduce attention to detail. I decided to do the painting including the squint (Fig. 7).

 

Figure 7. Annie Kevans style sketches no. 3 and 4

The last, and in my opinion best so far, sketch I produced after reducing the light level in my workshop by pulling the blinds down (Fig. 8).

Figure 8. Annie Kevans style sketch no. 5

Overall I noticed that with every sketch my confidence increased in what I did. There is absolutely no likeness in any of the above (at least I hope so ;o)), but I can recognize the immense value of working quickly. The paintings are relatively lively, especially the last one. Also, I can see that I managed to transport the facial expression correctly, i.e. the intensity in straining to observe.

Thoughts and adaptations for the next round testing a Paul Wright style:

• have the blinds down from the start
• change from straight-on view to slightly from one side, if possible (second mirror??)
• try and look less stern
• prepare all the sheets of paper before starting to paint and use them all in one go without a break
• make a preliminary pencil sketch to get acquainted with the idea of where to place light and dark areas
• sit still for a short while to allow the information to sink in
• use a wide, coarse paintbrush with less dilute ink

The above I tried today and got results not really worth mentioning. Despite having prepared by carefully studying tonal contrasts I was unable to achieve anything in 1 minute, the time was simply too short for my kind of experience. Using the coarse brush would be extremely interesting once I have acquired more experience in distributing a paint load from the initial dark and liquid to the final light and dry brushmarks. As things are there is simply not enough time to think at all. So, here are the results, first my sketchbook pencil sketch (Fig. 9), which I was happier with than my first one, it is less strained, then the awful series of rough ink sketches (Fig. 10). In contrast to my first series here the more I tried the worse they got …

Figure 9. Sketchbook – examinig tonal values adead of starting the second ink sketch series

 

Figure 10. Paul Wright style ink sketches

When doing the scans for this blog I noticed that the scans revealed some quality areas, however small,  in some of the sketches, which I would have missed by looking at the originals only, for whatever reason. The same effect I had seen when scanning and printing the fields in my Assignment 2 umbrella project, where the prints allowed me to identify patterns where I saw something different and less interesting or nothing at all in the originals. Strange, but definitely worth remembering.

So, again there is no likeness, but as in the first series I noticed that I did succeed in transporting the overall facial expression and mood, more relaxed this time, but still serious-looking. If I had to make a choice, I would discard no. 1 and 5 immediately. The remaining three share a common “hurting” look. At first I wanted to throw away no. 3 (top right), but seeing it in conection with the rest, I believe that it may be the strongest of them. The person appears both mentally and physically hurt.
Regarding technique: It was next to impossible to imitate Paul Wright’s style with the available materials, tools and time. Despite not being able to reproduce them correctly with my coarse paintbrush, I became increasingly familiar with the distribution of tonal values.

29 August 2017. We have been growing alum crystals with out little son over the summer holidays. So I thought that I might start my alchemy lab again and use some of the leftovers for painting. I found out that alum is commonly used as a mordant (fixing agent) in marbling. What else can be done with it I tried find out for myself in the course of the next series of experiments with ink. The first set (Fig. 11-13) was done on gloss medium vs. alum as backgrounds, and water-soluble vs. waterproof black ink, using a coarse flat paintbrush to achieve a mark-making resembling Paul Wright’s style.

Figure 11. Sketchbook – top: gloss medium background, bottom: alum background; left side: water-soluble ink, right side: waterproof ink

The largest differences here were the slight browning effect of both types of ink on the gloss medium, which did not occur at all on alum, and, oddly, the greater ease of wiping off the waterproof ink on both backgrounds. I suspect that the properties of the water-soluble ink allows the liquid and pigment to soak through the transparent coat into the paper, were it is then out of reach. Half-dry waterproof ink, when wiped off with care, will leave interesting ragged darker edges (Fig. 11, top right).
Next I tested both types of background again, but this time using black linoprint colour and a paper kitchen towel with (ample) spirit to spread and wipe off the paint (Fig. 12).

Figure 12. Sketchbook – top: gloss medium background, bottom: alum background; all test fields: linoprint paint spread with kitchen towel and spirit to help wiping off the paint

As the above looked a lot more promising regarding a possible wiping off of paint within the given time-frame of 1 minute, I produced an imaginary portrait on gloss medium background covered in a more or less uniform layer of linoprint paint. On the first day I managed something looking static and sombre with a kitchen towel, cotton buds, spirit and a lot more time than one minute (Fig. 13), the day after I tried to continue experimenting, but found that the paint was much harder to remove, so achieved only slight changes before I had to give up (Fig. 14).

Figure 13. Imaginary self-portrait using linoprint paint on gloss medium background, wiping with spirit, stage 1

Figure 14. Sketchbook – imaginary self-portrait using linoprint paint on gloss medium background, wiping with spirit, stage 2

What I had not anticipated was the interaction between linoprint paint and spirit. When applied with a cotton bud, the spirit would travel some distance to cover a larger area than intended. If left for a while, the paint in the wider area would come off, too, and also this area would be bounded by a brilliantly white edge, presumably because the action of the spirit at the edge would affect a smaller surface area. This surprising effect can add a new quality to a painting, if in the right place. Since I do not expect the same effect to work when applying linoprint paint to a glass plate, I ignored it and proceeded to repeat the experiment, this time with gloss medium and black gouache (a background I had already tested in Assignment 1 (Lacher-Bryk, 2017a) (Fig. 15).

Figure 15. Sketchbook – testing the wiping with spirit on a background of gloss medium and black gouache

The combination of gloss medium, gouache and spirit allowed the greatest flexibility so far.

Next I proceeded to make a few very quick test prints with my A5 glass plate on good quality A4 sketch paper, first using antique inks (Fig. 16), then my planned paint, acrylic diluted with gloss medium (Fig.17-18).

Figure 16. Sketchbook – testing monotype with two layers of splodges of antique ink

Figure 17. Sketchbook – testing monotype with Paynes grey acrylic diluted with gloss medium

Figure 18. Sketchbook – testing monotype with Paynes grey acrylic diluted with gloss medium, inverting Fig. 17 by painting in the spaces not covered by the painting in Fig. 17

I noticed very quickly that I would need a lot more practice with both the above media. The inks, if used thinly, will dry so quickly that printing is hardly possible, and if in larger quantities, they will spread on the glass with enormous ease, so that the outcome of a painting would be pure coincidence. With gloss medium-diluted acrylic paint spreading was no problem, but no matter how great the care taken to lift the paper, there would remain ungainly ridges (easy to see in Fig. 17), the more so the greater the quantity of gloss medium. I decided to stop using gloss medium for this purpose.

2 September 2017. As the results of my first attempts at trying out monotype were a bit pathetic, I felt it necessary to do more research on the available techniques and their prerequisites, before preparing my third and fourth sets of ink sketches. I sat down to plan Part 3 with another mind map (Fig. 19).

Figure 19. Sketchbook – mind map planning Part 3 of the course, first version

I also did some lengthy research on the do’s and dont’s of monotype and found that I should use thinner paper to print, on which I can paint, carefully, while it is still on the glass plate:

Or how to use soot mixed with linseed oil to make “paint”:

Or else to use linen rags or other kinds of cloth as printing surfaces. It would also be interesting to make my own gelatine printing plate, but it can only be used for a short while before it dries out:

Another link introduced the use of stencils, nets, ripped strips of paper, cut paper etc.:

7 September 2017. Assignment 2 results and feedback reflection (Lacher-Bryk, 2017b) overtook last week’s rough ideas, so that today I find myself with a detailed plan for Part 3 (Lacher-Bryk, 2017c). Also, since I sorted through my painting materials today to make room for the monotype exercises I stumbled over the oil paint I had left on the table to make myself use it again after 15 years. Spontaneously I decided to try making a few rough monoprints on normal A4 copy paper, using just one colour (Fig. 20-23). I was very happy to see that the paint is still OK and the printing was much easier than with all the paint I had tried out before. It was easy to push the paint around on the glass and create accumulations, but I will need to find a set of paintbrushes or other tools allowing me to manipulate the paint with greater detail. I also must not let too much paint accumulate in one place, because it will produce an ugly, oily splodge. The brushstrokes left by my coarse paintbrush produced lively patterns, which might be used as part of the painting, but will need practice to work well.

Figure 20. Test print – oil on photocopy paper, coarse brush, no dilution

Figure 21. Test print – oil on photocopy paper, soft brush, diluted

Figure 22. Test print – oil on photocopy paper, soft brush, diluted, inverting Fig. 21

Figure 23. Test prints – left: oil on photocopy paper, using leftover oil paint to produce an imaginary 1 minute sketch with coarse brush, using roller to make the print, right: ghost print, applying pressure by hand

8 September 2017. After some time finding excuses I went back to produce the last two of my series of 1 minute ink self-portrait sketches. This time I decided to see whether I could find my own style, in the first set I using ink with little water added and a thin brush (Fig. 24), in the second a large soft brush and highly diluted ink (Fig. 25). With all of them I tried emphasizing the tonal emphasis by adding darker ink. I noticed that I became increasingly familiar with my face, so that I was able to add somewhat more detail. I also tried to look less strained. In the first set I can now see parts of myself in parts of the paintings (except in no. 3 and 5). The painting with the large brush in the second set was too difficult for my present skills, so hardly and likeness there.

Figure 24. Ink sketches, own style, little water added to ink, thin round paintbrush

Figure 25. Ink sketches, own style, high degree of dilution, large round paintbrush

Overall, looking back at this exercise, I could probably go on and on with my 1 minute sketches, without any of them looking like me :o). Every time I start again I see new aspects to pay attention to, which precludes paying attention to the other parts of the composition. For example, over the time it took me to complete the final set the sun started going down and I noticed a deepening of the shadows. Unfortunately I was not able to reproduce this effect, but I was happy to notice the slight differences in tonal values. In one or two of the sketches I was interrupted by phone calls. While speaking on the phone I continued with my sketches, which turned out looser than the rest.
I cannot say whether I will be able to use any of my sketches as templates for the following exercises, but I very much enjoyed using them for my test prints. Also I am glad to have finally brought myself to open my oil paints again and I will be using them for monoprinting in this part of the course. The print quality is so much better than anything I tried to do with acrylics, linoprint colour and gloss medium and the paint was a lot of fun to use. So oil it is going to be!

References

Blick Art Materials (2009) An Intro to Akua Kolor and Monotype Printing [online]. Blick Art Materials, Galesburg. Available from: https://www.youtube.com/watch?v=oIYny3uwXxM [Accessed 22 August 2017]

Kentridge, W. (1979) Pit [monoprint series] [online]. [n.k.], [n.k.]. Available from: http://doublevision-berlin.de/werke/william-kentridge-pit-1979/ [Accessed 25 August 2017]

Lacher-Bryk, A. (2017a) Assignment 1: Twenty 15×15 cm Shadows [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 9 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/05/09/assignment-1-twenty-15×15-cm-shadows/ [Accessed 7 September 2017]

Lacher-Bryk, A. (2017b) Assignment 2: Tutor Feedback Reflection [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 5 September. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/09/05/assignment-2-tutor-feedback-reflection/ [Accessed 7 September 2017]

Lacher-Bryk, A. (2017c) Part 3: Preliminary planning of the practical work [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 7 September. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/09/07/part-3-preliminary-planning-of-the-practical-work/%5BAccessed 7 September 2017]

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Assignment 2: “An Umbrella Project”

18 July 2017. With my research on Marlene Dumas (Lacher-Bryk, 2017a) on my mind my project for Assignment 2 began to take shape. It is 10 years exactly today that the hospital made and hushed up the treatment error on our son. The aftermath is haunting us to this day. My intention is to depict the associated emotions in a series of paintings, from memory and from photos taken.  The above intentions mean that I may have to deviate considerably from the instructions given on p. 60 in the study guide (Open College of the Arts, 2015), but according to my tutor this is not only allowed but encouraged. I will need to start collecting photos and the memories I want to include in this project. I will want to research more closely the approaches of other artists working with shadows. I also want to think carefully about the supports to use.

Deciding on a subject

6 August 2017. How quickly things can change. Only days after the above I started feeling strongly that we must not have our lives darkened any longer by what has happened and is still happening. There are forces in this world which are beyond our control. However cruel and unfair this is on our small family, there is one thing we know. The people responsible for the disaster cannot destroy our happiness without us helping them. So we won’t help them any longer. This means that we will have to write off countless hours of work and mountains of Euros spent in vain, but the hope is there that our son will, despite all the difficulties arising from the various disabilities inflicted on him, be able to lead a happy and fulfilled life after all. This is something we have realized we should be immensely proud of. I also know that without some of the events that happened in the distant past of my life we would never have got as far as this.

It is a horrid learning process for us to let go of something so essential that had to fail, because we are a real life David and the hospital are a real life Goliath, but I think that I can already feel a breeze of change entering our lives. So my project for Assignment 2 reads differently now. I still want to continue my shadows project, but will want to capture those shadows from the past, which accompany and protect me and gave me the strength I have today. Since this is about protection, I want to paint an umbrella (Fig. 1). Coincidentally, umbrella comes from the Latin “umbra”, which means shadow. So it feels right to proceed in this direction. In this way I can draw on the experiences gained in all parts of the course so far and tackle something that feels challenging – as I intend to continue using the umbrella with its new design :o).

Figure 1. The quality :o) nylon umbrella I want to sacrifice for my assignment.

I am not sure whether I want to have portraits in my collection here, but symbols representing something like the Penates, the household gods protecting families in ancient Rome.

Testing the support

8 August 2017. Having had to leave my 2.3 can painting exercise (Lacher-Bryk, 2017b) for a while to get my next steps sorted, I decided to see whether I could find some information on how to use acrylic paint on fabric. Essentially, I would need to use gloss medium (which I have already got at home and worked extensively with), requiring some heat-seting the paint after 24 hours of drying naturally (Gemma, 2014). I read in several forums that acyrlic paint would come off with ease, but I wanted to see for myself and had a go using the umbrella’s nylon sleeve as test area. Here is my very first mini test of gloss medium, acrylics straight and acrylics mixed 1:1 with gloss medium (Fig. 2).

Figure 2. Testing paint on nylon sleeve. Left to right: Acrylics and gloss medium mixed 1:1

After a few hours drying time I can say that all the above work well, none of the paint can be removed, even if I tried hard. So there was no problem on the support side of the project. The only concern iwa the ugly promotional print. I tried to remove it using nail varnish remover, spirit and white spirit. No idea what it is, but none of these worked and I definitely do not want to use anything stronger. I will just have to paint over it and/or incorporate it into the design.

Choosing my collection

I have never really spent too much time on finding the spirits that protect me. Left mostly to my own devices (which does not mean I was alone, the people surrounding me just could not help me) during many of the most challenging phases of my life I have felt that the best and often only protection is the one I can provide myself. Still I am very much aware of particular instances where an influence suddenly drifted to the surface of consciousness and I became aware of its presence. The most important of these are:

The most prominent of these was my extremely strong second grandmother, who was one of the first females in Europe who had been offered a managing position in the newly developing pharmaceutical industry and who had turned down the offer in favour of her second dream, a large family. She continued to be curious, critical and investigative throughout her life, but was hopelessly misjudged by the people around her. There are only a very few items in my possession which link back directly to her, but I will take good care to choose one. Also, I have always felt “earthed” somehow, which allows me to feel protected even under extraordinary circumstances. This feeling I want to transport in the little symbol I add to all my larger paintings, a small stone age horse.

Preparing for painting

When doing my first tests on the sleeve, I noticed that I would both need to take care not to have more than a maximum of 2 layers of paint, otherwise the whole undertaking would make for one very heavy object, and also I wanted my protective shadows to be coloured. With my tutor’s warning regarding the advantages of restricting my use of colour at the back of my head I decided that I would probably limit myself to a complemetary set replacing the black and white I tested in the previous exercises. In order to be able to judge the best combination I did some testing on the dark blue nylon fabric of my umbrella.

10 August 2017. Yesterday I was scanning a contract for my older son and since it was the wrong page I removed it while the scanner had not yet finished its work. This action produced a very interesting, agitated result. Since it tied in with my results for the line painting experiment in exercise 2.3 I produced a series of deliberate scans today. These I combined with cutouts made from a print of one of my painted cans and scanned the results again (Fig. 3, 4 and 5 below).

Figure 3. Agitated scans of a letter and a barcode

Figure 4. Negative space cutout of my can combined with different barcode prints

Figure 5. Positive space cutout of one of my cans combined with straight and agitated barcode print

These accidental effects obtained with the agitated barcode scan were quite striking, especially in combination with the black shadow person. If arranged with care I thought they might look extremely attractive on my umbrella.
I decided to continue experimenting in this direction, to include the shadow persons I used in exercise 2.3 after all, but in combination with the protective symbols I was collecting. First of all I chose an amethyst brooch my grandmother had given me when she was still alive (Fig. 6) and had a look on the internet to find out more about the esoteric (protective) powers ascribed to amethyst.

Figure 6. Scan of my gradmother’s amethyst brooch

It is said to be a powerful healing stone used in dispelling anxiety, and relieving stress and such like (Haxworth, n.d.). While I want to emphasize that I am no esoteric person, I find the coincidences I keep experiencing in this respect quite astonishing. Either the brooch or the amethyst on its own will have to go into my umbrella painting, even if only as a colour. I had imagined early on that I would want a combination of orange and violet on my umbrella, so the amethyst hue would fit in perfectly with the umbrella’s dark blue.

The other symbol I wanted to include is the famous stone age horse found in the Vogelherd Cave in southwestern Germany. It is said to be the oldest known sculpture of a horse and is made of mammoth ivory (Fig. 7).

Figure 7. Anon [n.d] “Wild Horse” Mammoth ivory horse found in the Vogelherd cave [source: n.d.]

Anyway, as with the other two symbols I thought that I would not want the coin in my umbrella project for what it is, but for its beautiful colour alone, if at all. Suddenly it felt less important.

Figure 8. My 5 Schilling coin

13 August 2017. As I wanted to make it more of a habit to scan and post my sketchbook pages as well I have to apologize that some visual information contained here may appear redundant until I have found a better solution. Here is an overview over my sketchbook pages developing the barcode idea (Fig. 9 – 12).

Figure 9. Sketchbook – using a scanner to distort visual information

Figure 10. Sketchbook – combining a print of one of my can paintings with the shadows removed and a print of a distorted barcode, placed underneath

Figure 11. Sketchbook – top: sleeve containing the shadows cut out, bottom: two more tests, this time with straight barcode prints

Figure 12. Sketchbook – the last of my combination series, top: test with top black area removed, bottom: inverted test using the shadow figures and two types of barcode

Testing backgrounds and layering for my umbrella

Since I intended to apply layers to my painting again, I started with some preliminary investigation on the possible effects and interactions of the paints and inks I wanted to use. To this end I printed a photo of my umbrella seversal times and used it as a template for the following experiments. The first of these I used to test how my initial idea might work, including the following layers:

1. background resembling surface structure and colour pattern of my ivory horse
2. adding barcode pattern from printed distorted version, in white ink
3. on top of that shadow figures from previous exercise
4. a “protective” layer the amethyst colour
5. maybe the 5 Schilling coin somewhere

The result of this experiment is summarized in Fig. 13 below.

Figure 13. Sketchbook – top left to bottom right: testing the initial layering idea

From the above I learned a number of important lessons, first of all that not everything that looks intriguing in my imagination turns out to be so great in reality. It is either my imagination, which cuts and pastes, or else a lack of skill to translate the idea into a working painting. Especially there seems to be a conflict between the barcode pattern and the superimposed shadow figures. Their relative weight needs to be better balanced. Also, the layer of violet, even though it was diluted with gloss medium, was far too prominent and drowns what is underneath. The experiment is summarized in my sketchbook (Fig. 14).

Figure 14. Sketchbook – first attempt at creating the intended layers

14 August 2017. In order to reset my mind, I did some research on the painting of demonic forces by contemporary artists. Many of these correspond to a cliché including skeletal hands and skulls, flowing gowns and a marshland setting. Some, on the other hand, transport the presence of demonic forces by tonal variation only as in “Flying Demon” (Fig. 15), painted by Mikhail Vrubel in 1899 or by applying symbols such as the raven (Fig. 16) or, even more closely, “I need a guide” by US painter and printer Alessandra Hogan (Fig. 17). All the latter corresponded better to the kind of language I intended to examine.

Figure 15. Sketchbook – top: “Flying Demon” by Mikhail Vrubel, oil on canvas, 1899, bottom: a Huffington post article about the demon of perfectionism, which keeps haunting me as well

Figure 16. Sketchbook –  top: “Demons inside you” by Daniela Hdz, bottom: list taken from a religious webpage dealing with anxiety and its sources

Figure 17. Sketchbook – top: second test for background on umbrella shaped paper (mix of acrylics applied with foam roller), bottom: motion study by US artist Allessandra Hogan

I then continued to explore options for craeting a background resemling the ivory horse. I placed a rough mix of different colours in a tray, dipped my umbrella templates into them (Fig. 18), then spread the paint with a roller. After testing four different mixes (Fig. 17, top and Fig. 19), I decided on the lightest and used the roller to paint the background layer on the real umbrella (Fig. 20).

Figure 18. Umbrella template in mixing tray

Figure 19. Sketchbook – Testing colour mixes for suitability as background on umbrella

When trying out a few more paint mixes on my umbrella sleeve I found that white ink will come off the fabric, while acrylics and gloss medium appear resistant to wear (Fig. 20).

Figure 20. Umbrella sleeve – 3: acrylic mix with white acrylic and white ink “barcode”, 4: white ink, 5: white acrylic

After this test I decided that the whole umbrella painting would have to be acrylics and gloss medium and quickly painted the background with the third mix from Fig. 19 (Fig. 21 and 22). Due to the dark colour of the fabric the finished background layer came out much more varied than on the template and resembled even more the ivory horse. The dark patches together with the folds and creases in the fabric came alive immediately and I started seeing human shapes in them.

Figure 21. Umbrella with finished background layer

Figure 22. Umbrella with finished background layer, detail: Dark patches and folds in the fabric clearly visible

Experimenting with the subject layer

The above discovery made me change my mind regarding my approach to depicting demons. In order to see whether I would make the right decision, I tested my barcode and silhouette idea on an umbrella template with the finished background (Fig. 23).

Figure 23. Sketchbook – testing barcode and silhouette pattern on umbrella template

While doing it I realized that I had not taken into account that no viewer would see the umbrella from above unless I placed it on a wall. The barcodes viewed from the side look more like a conventional stripey pattern, while the silhouettes would suffer from both mild and massive foreshortening depending on their position on the curved shape of the umbrella. I discarded this approach.
Instead I continued my original research on demons and finding a way to “catch” them in the dark patterns on the umbrella (Fig. 24 and 25).

Figure 24. Sketchbook – silhouette demons painted by contemporary artists, left: “Gave Shadow Demon Eyes” by PreciousNothin and “redlilith: being stripped” by Leslie Ann O’Dell

Figure 25. Sketchbook – demonic-looking motion study by Dominik Schmidt

While I felt uncomfortable with the illustrative approaches taken by the artists in Fig. 24, I found the wonderfully carefree brushmarks in Fig. 25 very appealing and open to interpretation. In order to see whether I could start investigating whether my background pattern would allow a similar approach, I printed the facing part of one of the umbrella’s segments and tried to allow imagination to create a demonic scenery. What came out of this experiment reminded me somewhat of a stone age hunting scene and caused an immediate association with forces shattering my self-esteem as a child (Fig. 26).

Figure 26. Sketchbook – creating a stone age hunting scene using dilute acrylic paint on a printed umbrella template

Seeing this crude result I realized that in order to make the most of the idea I would need to sit down and plan a structured approach. To initiate this process I printed all of the facing fields of my umbrella and put them together as they would appear on the umbrella. Straight away this reminded me, again, of William Kentridge’s processions. After some reflection I sorted the issues to be addressed (as listed in Fig. 14, left) in a sequence I felt to be correct, then tried to see scenes corresponding to each subject. It was a wonderfully intense and creative experience, which gave me a profound headache (Fig. 27 and 28).

Figure 27. Printouts of the umbrella’s facing fields taped together in procession fashion, scene sketches added with pencil

Figure 28. Detail of one printout depicting my relationship with my emotionally rather distant mother

As the above exercise had worked so well, I decided that I would have to start sketching in the scenes on the umbrella very soon in order not to lose the emotional charge. I used willow charcoal, which worked well on this background, allowing me to correct marks I felt were wrong or awkward. I did not, however, overcorrect, since I wanted the drawings to develop in a dialogue with the background patterns (example of the result see Fig. 29). On this occasion I could appreciate, for the first time, the immense importance to prepare well for a task like this. On the real umbrella I noticed that I would not have seen the emerging patterns with the same ease, as both the fabric and acrylic paint are slightly shiny, changing their appearance depending on the angle of light, and I had to keep referring back to my sketches.
Interestingly, not many of the fields now contain demons at all. In most instances I found it sufficient to place the acting persons in a particular spatial relationship to feel the associated emotion emerge. We’ll see whether other persons, when looking at the finished work, will be able to feel the same or something close to my original emotion.

Figure 29. Umbrella – field with willow charcoal scene addressing the issue of feeling second rate

After completing the sequence of sketches I printed all of them and then experimented with the addition of a silhouette effect. I was not sure whether I wanted the persons to be the silhouettes or the negative space surrounding them. I knew that I would have to proceed with great care, feeling my way round the scene. What I also wanted to try out was the emotionaly charged mark-making by Dominik Schmidt (Fig. 25 above) I found so attractive as well as the addiction of the dilute amethyst layer. The original print (company name and logo) started to shine through after the background layer had dried, but rather than paint over it I decided to include the triangular logo into the message in each of the relevant fields.

17 August 2017. So, in order to pace myself again, I made another mind map exploring the options I thought adequate to allow the project to develop within the brackets of my  general subject of shadows (Fig. 30).

Figure 30. Sketchbook – exploring my options of refining the charcoal sketches

I came up with four general directions, which I then tested on printed versions of the charcoal sketches on my umbrella.
When I first tested the painting of my sketched figures with a dilute mix of umbra, Peynes grey and dark green, I immediately saw that the lovely dark patches, which provide the essence of volume in the persons, would be completely lost. So, while I had to leave the original idea of a silhouette painting, I was more interested in not destroying this unexpected structural characteristic (emergent property, so to speak). So I tested my mix of paint to define stronger the negative space around the figures, including the addition of some more fine detail (Fig. 31).

Figure 31. Sketchbook – testing the refining of the charcoal sketches: Adding a dilute mix of umbra, Peynes grey and dark green to the negative space around the figures

Next I tested the same in the next field plus adding some of the paint mix plus some white acrylic to create more volume on the figures (Fig. 32).

Figure 32. Sketchbook – testing the refining of the charcoal sketches: Adding the dilute dark mix to background and figures as well as some highlights with white acrylic plus a test of the amethyst protective layer

The above was my favourite on the printed paper, but I quickly saw that together with the white the amethyst layer would create a pinkish mess, which I wanted to avoid. Third came an attempt at the quick brushmark painting method I had seen by Dominik Schmidt (Fig. 33).

Figure 33. Sketchbook – testing the refining of the charcoal sketches: painting over the figures with dilute umbra to create the illusion of movement

Some of the effects in Fig. 33 may deserve pursuing further, especially e.g. as found in the second figure from the left. The acrylic and/or water reacted with the printing ink to produce a separation of components into light and dark. If placed with care the greenish edges help to create volume and an additional aestetic quality. This effect, however, would not be achievable on the fabric of the umbrella. Apart from that I soon realized that this kind of quick painting of movement would destroy the impression of shadows. Besides it needs a lot more practice in order to produce believable results. So I postponed the exploration of this option until further notice.

The last of my options was to quickly draw on and around my figures with different types of ink pen to compare with the result achieved with a paintbrush (Fig. 34).

Figure 34. Sketchbook – testing the refining of the charcoal sketches: “density drawing” on and around the charcoal with ink 3 types of ink pen

I had to reject this option for the same two reasons as in the paintbrush drawing, i.e. lacking the skill in creating exciting variations in density while maintaining the storyline and unsuitability of the technique for the whole set of scenes.

After some indecision I settled for option 1. Due to colour translation inaccuracies between scanner, computer and printer the printed version of my charcoal sketches had a very attractive blue-green hue, which the original background on the umbrella lacked. I therefore changed my dilute dark mix to contain more green than it had contained before and applied it carefully. Unlike on the printed version the real charcoal marks were of course prone to extinction and I took my time to decide where to allow the marks to dissolve and where I wanted to keep them. This procedure I repeated twice, because the edges left by the drying paint increased the impression of an ancient surface while I also wanted the unavoidable differences in hue between the first field painted and the last to be as small as possible. An example of the result achieved at this stage is found in Fig. 35 below.

Figure 35. Umbrella – one of the fields after applying two rounds of dilute dark acrylic

The result looked a lot more like the printed tests, but despite the care some of the charcoal had become subdued. I then went over the dried acrylic again with my willow charcoal stick to selectively strengthen some of the marks. When I was satisfied with the result I tested on my umbrella sleeve whether the charcoal would resist being painted over with a highly dilute mix of gloss medium and amethyst colour acrylic. I noticed that some of it would become subdued again, but I assumed the strength to be large enough to provide some resistance. I went round my umbrella with my gloss medium finishing mix with great care and achieved a satisfactory result. The amethyst hue helped to highlight some of the reddish patches in the original backgouond layer, which caused a tiny but lovely glow effect. Some of the charcoal was removed by painting over, but since the final goal was to produce a ghostly effect I stopped the work here (Fig. 36, 37 and slide show in Fig. 38).
It proved somewhat difficult to take good photos of the finished umbrella. The finishing layer reflects some light while the paintings themselves appear subdued when photographed in bright light. I therefore had to place the umbrella in a darkish corner and experiment.

Figure 36. The finished umbrella from one side

Figure 37. The finished umbrella as seen from the top

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Figure 38. Slide show – going round the umbrella (8 images)

Overall I was pleasantly surprised at the intensity of the journey from exercise 2.2 onwards and the new experience of a more structured method of working at developing a project. I no longer held onto my original idea as I used to, but finally managed to allow some sort of creative flow to happen. Before I had always feared that I would not be able to control such a flow, but mind mapping proved to be an ideal technique to pace and guide me through the experience. The resulting painting on the umbrella might serve as the starting point to a larger project or series of paintings within the subject of collections. Although I expect that the visibile outward change is not exceedingly large, I feel more at home now with the working methods we are expected to learn.

I think that the techniques I discovered for myself in this experiment may have the potential to develop further. They will require some adaptation, especially regarding the preservation of charcoal drawings, and refinement of the application of paint, but I am looking forward to carrying the experience over to Part 3 and beyond.

Self-assessment for Part 2 and Assignment 2 will be posted separately.

References

Anon [n.d.] Wild Horse [sculpture] [online]. [n.k.] [n.k.]. Available from: http://www.historyofinformation.com/expanded.php?id=3917 [Accessed 10 August 2017]

Gemma,  W. (2014) Acrylic Paint On Fabric: The Easiest Way To Make And Use It [blog] [online]. Udemy Inc., 22 May. Available from: https://blog.udemy.com/acrylic-paint-on-fabric/ [Accessed 8 August 2017]

Haxworth, C. (n.d.) Amethyst Healing Properties [online]. Caryl Haxworth, UK. Available from: http://www.charmsoflight.com/amethyst-healing-properties.html [Accessed 10 August 2017]

Lacher-Bryk (2017a) Artist research: Marlene Dumas [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 15 July. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/07/18/artist-research-marlene-dumas/ [Accessed 18 July 2017]

Lacher-Bryk (2017b) Part 2, exercise 2.3: Unusual materials – collections: Painting on a 3D surface [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 15 August. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/08/15/part-2-exercise-2-3-unusual-materials-collections-painting-on-a-3d-surface/ [Accessed 8 August 2017]

 

Part 2, exercise 2.3: Unusual materials – collections: Painting on a 3D surface

5 August 2017. As my tutor set me a submission date of 31 August for my second assignment I will have to work high speed through the summer to meet the date. I have some ideas now for both this exercise and the assignment so at the moment I am confident that I should be able to make it. Also, since the last exercise for this part (2.4) is about painting on painted surfaces and I have already done so on a great number of occasions during Part 1 and 2 (including exercise 2.2), I will take the risk and skip it in order to focus on this exercise and Assignment 2.

I collected a number of 3D objects over the last months including styrofoam trays, wooden sticks, the cardboard inside of kitchen rolls, Nespresso capsules, cardboard price tags on strings and such like. A few weeks ago we were given some aluminium cans advertising a new brand of cider. I liked their small size, appearance and name, which is a German language slang word. “Stibitzen” means “to nick” and fits in will with my addressing the passing of time, which in effect gets nicked from us in the course of our lives. So I kept them and decided today that they will be my 3D surface for this exercise (Fig. 1).

Figure 1. Aluminium cans to serve as 3D support

My plan is the following: William Kentridge’s experimental video “Shadow Procession” (Kentridge, 1999) in connection with the unforgettable song by Johannesburg street singer Alfred Makgalemele has had a lasting impression on me. Also, the afterglow from exercise 2.2, using my photos from the past, is still at work. Keeping in mind my shadow theme selected for the course I will try and bring together a painting technique from Part 1, the photos from my collection to be painted as shadows, and the cans to provide the support for my very own procession. The paintings will be a mix of acrylic and white ink as in part of my paintings for Assignment 1 (Lacher-Bryk, 2017a). In a finished state the viewer should be able to rotate the cans and follow the procession. If time allows, I will make a short animated film and add music to it.

In order to find out more about Kentridge’s approach to shadow processions I read an article by Leora Maltz-Leca, ‘Process/Procession: William Kentridge and the Process of Change’ (2013), but soon decided that I wanted my own background to guide me through the exercise.

Planning stages:

1. Find out more about painting on aluminium
2. Select photo sequences for each can
3. Prepare sketching paper in size corresponding to that available on the cans and make procession sketches

Painting on aluminium:

I found out instantly that aluminium is prone to corroding and may need to be primed before painting. As I expect not to continue painting on aluminium and on several websites demonstrating the process priming is not described as an essential step, I decided to skip it, but tested several techniques on the crushed can. First I applied two coats, one dilute grey, then one undiluted black coat (Fig. 2).

Figure 2. First coats using acrylic paint, left: dilute grey, right: undiluted black

I noticed that the paint may come off if not treated with care, especially when trying out line drawing using a very pointed nail (Fig. 3).

Figure 3. Left and right: scratched line drawing

The effect of the original printed coat shining through was quite interesting to see, but has nothing to do with my plans, so I went ahead with painting over the scratched paint with my waterproof white ink (Fig. 4).

Figure 4. Left and right: painting with white waterproof ink, using a paintbrush and toothbrush

In order to see whether the triple coat had become more stable on the aluminium I scratched it again (Fig. 5).

Figure 5. The crushed can after several tests.

The coat was as unstable as before, so I painted half of it with gloss medium. After that had become dry, I found that the stability had increased, so I assumed that it would be stable enough to proceed with my plan for the exercise.
And then I did something extremely silly for one who has been on this planet for a while. During the above treatment the can had assumed a shape I did not think attractive any more and I wanted to quickly bend some of the top bit straight from inside. The opening in the can had looked quite small due to the can’s overall small size and I had expected that my forefinger would never fit. But it did. It went into the can with horrible ease and there I was. The razor-sharp edge lodged itself firmly into my skin and the smallest movement caused it to cut into the flesh of my finger. Trying not to panic I went through several ideas of rescuing my finger. I soon saw that nothing involving moving either can or finger would help and also it had started bleeding. Finally I went for the coldest setting on the water tap on the kitchen sink and cooled the finger down. After what seemed like an eternity I felt that it had shrunk enough to allow it to move micrometer-wise and saved it with three bad cuts. Lesson learnt: No art is worth risking one’s fingers ….

Next I planned my approach for painting the three remaining three cans, measured the paintable area and considered the options for applying the paint (Fig. 6).

Figure 6. Sketchbook – planning the painting options

On my prepared intact cans I sketched in, with watercolour pencil, the sequence of shadow figures I had created in my sketchbook using my photo collection with some additions (Fig. 7) and made ad hoc changes as I went along, taking care to respond to negative space cues turning up as I went round the cans.

Figure 7. Sketchbook – planning my three processions

Each can corresponds to a part of my life as a teenager and young adult and the figures stand for persons and events, who/which I feel by the way they interacted with my own development “nicked” some of my time. The three slide shows below contain one full turn per can (Fig. 8, 9 and 10):

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Figure 8. Slideshow. Can 1: Teen Age 1, turning the can anticlockwise (7 images)

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Figure 9. Slideshow. Can 2: Teen Age 2, turning the can anticlockwise (8 images)

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Figure 10. Slideshow. Can 3: Young Adulthood, turning the can anticlockwise (8 images)

Overall I like the appearance of all three cans. The rough brushstrokes in the white ink make the silhuettes look lively and individual while producing working connections with each other, which makes me want to keep turning the cans to see how the people are connected. I am not sure whether the exercise is complete, however. The “nicking” aspect is not yet obvious and I want to spend some time thinking about how I can incorporate this by either adding paint, either black and white or colour, or, which I prefer at the moment, by taking away some to reveal part of the original coat of paint. For the time being I want to train the mind mapping aspect of the exercise to explore the options and to avoid rushing to conclusions. I must not confuse the latter with spontaneity and working quickly. I need to exercise the spending of time thinking to be followed by spontaneous work, which makes the world of a difference.

11 August 2017. Yesterday I let my older son have a look at the above images of my cans and he said they looked boring. Funnily enough, as soon as he had said it I felt the same. I had already started experimenting with distorted barcode scans for Assignment 2, based on the results of this exercise, which I had shown my son before he got to see the original cans. The cans look very energetic in my virtual combination with the barcodes, which may well explain my son’s reaction. But also the silhouettes, as they are, may look alive to me because I can fill them with the persons, their lives and personalities. So, in order to make them more successful to other viewers, I will need to add something that strikes their fancy. I have already playing in my mind with the word “Stibitzer” and will try to develop a connecting coloured logo or something similar. Maybe I will add a painted version of my barcodes (description to follow with blog post on Assignment 2)

15 August 2017. The above will have to wait. I am running out of time for my Part 2 deadline and need to concentrate on developing my assignment project. Maybe it is a good thing. This way I can come back to the cans at a later point and see my development through the parts of the course more clearly.
References:

Kentridge, W. (1999) Shadow Procession [online]. [n.k.]. Available from: https://vimeo.com/3140351 [Accessed 05 August 2017]

Lacher-Bryk, A. (2017a) Assignment 1: Twenty 15×15 cm Shadows [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 9 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/05/09/assignment-1-twenty-15×15-cm-shadows/ [Accessed 05 August 2017]

Maltz-Leca, L. (2013) ‘Process/Procession: William Kentridge and the Process of Change’. The Art Bulletin, Vol. 95, No. 1 (March 2013), pp. 139-165. College Art Association, New York. Available from: http://www.jstor.org/stable/43188799 [Accessed 05 August 2017]

Assignment 1: Twenty 15×15 cm Shadows

4 May 2017. During the final weeks of Practice of Painting I had realised that I would want to continue working with shadows in this course as well. My assignment subjects will all be related to this area of interest.

For the first assignment we were required to choose the materials liked best so far to produce a series of twenty 15×15 cm square paintings on watercolour paper. When finished we were to arrange and rearrange them, to compare the relative effects before settling on an arrangement to submit (Open College of the Arts, 2015, p. 44).

Sequence of preparation:

• selection of twenty of my found images, which I had already pre-selected to include a large number of shadow-related views
• preparation of paper squares from 600 g watercolour paper
• selection of attractive square views from found photos (was done using my square viewfinder)
• cutting out photos to choice of view
• selection of fitting materials and painting styles for each photo, intuitively restricting myself to 4 different painting styles overall, so 5 paintings per style

My grouping the 20 paintings into sets of five felt appropriate, because a typical arrangement into 4 rows of 5 would be possible in a believable way. Also, I have the intention of telling a story in my sequence of images, which this will depend on the overall impression achieved by each tested arrangement, overall it will be one of how light and dark influence and structure the life of human beings through the day.

The selection of painting style was a mix of what I discovered for myself during exercises and styles I came to like when doing my artist research:

• 5 paintings in a negative space technique discovered when painting with dilute white gouache on black acrylic background
• 5 blurred shadows of diverse origins requiring additional research for “eroding” technique
• 5 paintings using white and black ink in Brian Alfred style
• 5 coloured paintings in Cecily Brown style

8 May 2015. Over the last five days I spent a very long time preparing my paintings. They were great fun to make, but I am glad to have been able to muster the energy to more or less work through. The results are more homogenous, having in common a particular atmosphere and mood, which might have got lost if I had allowed myself to take breaks.

Here are the individual results, grouped into their 4 sets:

1. Negative space technique (Fig. 1-6)

I had discovered the technique during Exercise 1.2, when working on my black and white found images (Lacher-Bryk, 2017). When painting on a dry acrylic background with dilute white gouache paint, the paint dries up leaving distinct highlights along the wet/dry boundaries and in dents developing in the wet paper. To me the effect is wonderfully mysterious and given the right amount of practice can be used to create intriguing patterns. I tried various degrees of dilution in my sketchbook first (Fig. 1 below). The heavy watercolour paper I used for my finished paintings did not quite have the same efficiency regarding the weird highlighting, but was attractive in its own way.

Fig. 1. Sketchbook: Testing effects of various degrees of dilute gouache on black acrylic background

Figure 2. Painting 1: Shadow of a bicycle on a tent

Figure 3. Painting 2: Entering a cave on a sea shore in Curaçao

Figure 4. Painting 3: Playing Frisbee

Figure 5. Painting 4: Krampus run

Figure 6. Painting 5: Family shadows (this painting is not as dark in reality, but was impossible for me to correct on the computer)

2. Blurred shadows (Fig. 7-14)

In our bedroom street lights and lights in the houses around us at times produce the most beautiful shadow images of the plants we have on our windowsills. I spent hunting  for the best photos for nearly a year, as conditions change and plants get moved, so I had to wait a while to come up with a good set suitable for this part of the assignment. I had never produced deliberately blurred paintings before and the artists to be researched in the study guide do not do this either, so I spent some time looking what I could come up with myself. There do not seem to be too many painters working with blurring, but I had a look at J.M.W. Turner and his “Rain, Steam and Speed – The Great Western Railway” (Fig. 7). While I greatly admire his incredible skill at staying indistinct over most of the painting to emphasize a few selected spots, this was not what I had in mind. Gerhard Richter’s “Self-portrait” (Fig. 8) came much closer to the effect I was after. The descriptions of the techniques applied by him were however also different from my idea, so I did my own practical research here (Fig. 8 and 9). In the end what I came up with was a white acrylic background covered in a thin layer of gloss varnish, then in grey gouache when dry. Again, when all three layers were dry, I used a very old, word-down small flat brush, water and a piece of cloth to wash away the sections of the background I wanted to highlight. This worked beautifully, allowing both precision and blurring as required.

Figure 7. Sketchbook: Investingating blurring effects (1/3)

Figure 8. Sketchbook: Investigating blurring effetcs (2/3)

Figure 9. Sketchbook: investigating blurring effects (3/3)

Figure 10. Painting 1: Shadow of plant on windowsill no. 1

Figure 11. Painting 2: Shadow of plant on windowsill, no. 2

Figure 12. Painting 3: Shadow of plant on windowsill, no. 3

Figure 13. Painting 4: Reflection of wooden candle holder on flatscreen TV

Figure 14. Painting 5: Moon shadow

3. Clear ink paintings (Fig. 15-20)

When doing my Part 1 artist research I decided that Brian Alfred’s particular flat style does not correspond at all to my intentions, but the attempt at recreating one of his paintings with materials of my own choice produced a result (Lacher-Bryk, 2017b) I wanted to explore further in my third set of assignment paintings. Since the technique was straightforward to apply (grey acrylic background, ink line drawing, then water-soluble black ink and water-proof white ink), I placed the focus on testing the white highlights in my sketchbook before attempting the final paintings (Fig. 15).

Figure 15. Sketchbook: Testing the placement of white in the paintings (thumbnails)

Figure 16. Painting 1: Lense light in our bedroom and window

Figure 17. Painting 2: Holocaust memorial in Berlin

Figure 18. Painting 3: My workshop lights

Figure 19. Painting 4: Fire station

Figure 20. Painting 5: 24 hour video EEG

Coloured Cecily Brown style paintings (Fig. 21-27)

This was the most demanding of the four sets. Cecily Brown and her approach to integrating the figurative and abstract into one painting is a very attractive concept to me (Lacher-Bryk, 2017c) and while I know that I am not yet able to work in this way consistently I felt that this style was required to complement the three more figurative black and white sets. I had chosen five photos, which I needed as figurative starting points to what was to become abstractions (Fig. 21).

Figure 21. The photos selected for the Cecily Brown set

I then prepared white acrylic backgrounds to paint on these with an intuitive selection of colours of acrylic paint. In my sketchbook I made thumbnails first, which helped me to find initial ideas for the abstraction process (Fig. 22). The rusty parts on the deck of a boat became a bathing scene, the wooden fence and shadow in our garden turned into attacking soldiers, the shadow of a tree on the street became a coral reef, some flamingos and their weird shadows turned colourful and the shadow of a tree on a building stayed what it was, but was painted upside down to result in a view I would not have been able to make up without turning it upside down in the first place – here I included some very valuable insight gained in exercise 1.4 (Lacher-Bryk, 2017d).

Figure 22. Sketchbook: Thinking about possible abstractions from original photos (thumbnails)

9 May 2017. Here are the results for this set:

Figure 23. Painting 1: Bathers (derived from image showing rusty deck of boat)

Figure 24. Painting 2: Flamingos with coloured shadows

Figure 25. Painting 3: Coral reef (derived from image showing shadow of tree on street)

Figure 26. Painting 4: Attacking (derived from image showing wooden fence)

Figure 27. Painting 5: Tree on wall

Today I arranged the paintings in grids and, overall, given a nearly endless number of possible, plausible and attractive arrangements, I decided that I would need to place my focus on the most important aspects. These did not include, as I had first planned at the start of this assignment, a story. Any sequence would have allowed any number of stories to be told, which is a consequence of selecting images as instructed by “wanting to paint them”. So I tested black and white backgrounds (Fig. 28 and 29 below). Of these white was more neutral towards the placement of my coloured paintings, so I continued with white, although I liked the stabilising effect of the black. I might have included any number of possible grids like single rows, double rows, pyramids, diamonds, patterns including the background, whatever. It was overwhelming to even think of these, so I stayed with the rectangular, testing narrow, wide and no gaps (Fig. 28-34), landscape and portrait versions (Fig. 33-34) as well as “quiet” and “loud” impressions (Fig. 30-31 appear particularly “loud” to me). It took me a while to come up with a solution I liked, which was overall quiet enough to allow a viewing of the individual images. The rest produced interesting patterns when viewed from a distance (difficult to test in my workshop), but invariably made my head burst when trying to see each single painting. The – what I would call them – energy clashes running along the individual borders appear to determine the overall impression to a greater extent than the contents of each painting. Also, all grids are far easier and more pleasant to view on the computer. What looks nice and sorted in the photos below was mostly none of the two in real life.

Figure 28. Testing on black background, paintings in sequence of production, narrow gaps

Figure 29. Testing on white background, paintings in sequence of production, narrow gaps

Figure 30. White background, no gaps, random order of paintings except for strategic placing of coloured images (horrible effect, gaps are very important obviously)

Figure 31. White background, narrow gaps, placing “loud” images at strategic positions

Figure 32. Creating a quiet centre and plaing directional images to make them point towards the centre. This alone is sufficiently stable to give the loud, coloured images the “rest” they require.

Figure 33. Same sequence as above, but widening the gaps (less attractive on the computer than Fig. 32 above, but better in real life, optical illusion of black circles in gap intersections only present on the computer)

Figure 34. Same sequence and gap width as in Fig. 30 above, but turning the paintings to make a portrait view (less attractive on the computer, nearly impossible to take a good photo, but my preferred version in real life)

The version from Fig. 34 above is the one I want to present as my Assignment 1 piece. I would not be able to tell which particular combination of factors works here, but I am pleased with the outcome. I could spend weeks rearranging my paintings, as there are so many interactions to learn to see, feel and consider. When assessment time comes up, I will prepare a set of preferred sequences and present them together.

Self-assessment for Assignment 1 to follow in a separate post.

References

Lacher-Bryk, A. (2017a) Part 1, exercise 1.2: Using found images – black and white [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 3 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/05/03/part-1-exercise-1-2-using-found-images-black-and-white/ [Accessed 9 May 2017]

Lacher-Bryk, A. (2017b) Research Point: Painting Style – historical and contemporary painting [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 3 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/04/25/research-point-painting-style-historical-and-contemporary-painting/ [Accessed 9 May 2017]

Lacher-Bryk, A. (2017c) Part 1: Own experimentation supplementing introductory research point [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 3 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/05/02/part-1-own-experimentation-supplementing-introductory-research-point/ [Accessed 9 May 2017]

Lacher-Bryk, A. (2017d) Part 1, exercise 1.4: Look at what you see – not what you imagine [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 3 May. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/05/04/part-1-exercise-1-4-look-at-what-you-see-not-what-you-imagine/ [Accessed 9 May 2017]

Open College of the Arts (2015) Painting 1: Understanding Painting Media. Open College of the Arts, Barnsley.

Part 1, exercise 1.1: Using Found Images – painting thin and small

19 April 2017. It seems like an eternity that I signed up for this course and for various reasons it took me a very unusual two months to finish my first exercise.

Instructions required the preparation of A5 sized backgrounds on high-quality watercolour paper and painting on these with highly diluted paint based on found images. Since the study guide was quite vague regarding the nature of the backgrounds and the number of images to use, I asked the OCA. They could not help me either, so I decided to stay with what I felt was a good solution. I made around 20 backgrounds using diluted paint (acrylics, gouache, watercolour, ink, varnish) and based my painting on a single photo of my son coming out of the shower. Overall I think that it was a very rewarding exercise, since staying with the subject allowed me to make direct comparisons between outcomes for different materials and media. It took a lot of stamina, though, and around no. 17 oder 18 I found that I had had enough. Also, halfway through the exercise I started adapting the instructions to my own ideas, so there are some combinations included that are not part of the original set. After having been to Vienna last week to see Egon Schiele’s famous graphical work at the Albertina (Lacher-Bryk, 2017), I decided to try and include one experiment with was I think may have been Schiele’s techniques with watercolour and gouache on a weird, shiny sort of wrapping paper like baking parchment. This was not part of the instructions, but I wanted to do it anyway. The experiment was not sucessful with respect to learning out about Schiele’s technique, but I am determined to find out one day.

With regard to study guide artists to research and base my work on regarding loose and thin paint I was not happy with what I found (post on that research to follow!), so I took the risk and experimented on my own.

So here come the 20 paintings:

No. 1. Background: gouache splodges, painting: dilute writing ink

No. 2. Background: thin black ink, painting: very thin acrylic

No. 3. Background: transparent acrylic varnish, painting: very pale watercolour

No. 4. Background: black acrylics, painting: coloured watercolour

No. 5. Background: transparent varnish and shellac, painting: white gouache

No. 6. Background: grey acrylics, painting: pearl-white matte household varnish

No. 7. Background: acrylic splodges, painting: black watercolour

No. 8. Background: watercolour splodges on wet paper, painting: diluted pearl-white matte household varnish and added diluted black watercolour wash

No. 9. Background: grey gouache, painting: diluted black acrylic

No. 10. Background: dilute coloured acrylics, painting: coloured watercolour

No. 11. Background: thin black ink, painting: dilute black acrylics

No. 12. Background: diluted pearl-white matte household varnish, painting: diluted black acrylics

No. 13. Background: coloured watercolour, wet, painting: dilute watercolour

No. 14. Background: diluted pearl-white matte household varnish, painting: diluted shellac

No. 15. Background: coloured watercolour, dry, painting: red wine, straight and boiled down

No. 16. Background: boiled down red wine, painting: white ink

No. 17. Background: very pale watercolour, painting: mix of white and black water-soluble ink

No. 18. Background: dilute green antique ink, wet, painting: dilute Persian red antique ink and paper towel

No. 19. Background: white gouache, then green antique ink, dry, painting: dilute white ink and dilute black acrylics

No. 20. Background: dilute black acrylics on baking parchment, painting: mix of white and black gouache

This exercise certainly helps to gain a good first impression of the endless possibilities available using just a few standard types of paint. I could include any number of words about the experience gained with each of the above. Some of my thoughts I entered into my sketchbook together with the paintings. But the longer I look at them the more confusing my thoughts become. Many of the combinations have overlapping merits and problems and I think that my appreciation of the results changes from hour to hour, depending on mood and external atmosphere. I guess that I am not the type of artist to discover THE method working for me, but every time I start something new it will be totally different.

One particular combination, however, I would like to find out about regarding the chemical reaction that must have occurred. In no. 16 I used boiled down red wine as a background and painted on that – while it was still moist – with my water-soluble white ink. If applied carefully, a layer of ink would float on top of the moist layer of wine for a while, before it would start contracting and forming a craquelee-like pattern. If mixed with the wine, there was instantaneous coagulation. I had to heavily fix the ink to prevent it from flaking off after having dried. If used with a good amount of pratice and a fitting subject this could produce very attractive results. Will hopefully be back with the chemistry behind it!

References:

Lacher-Bryk, A. (2017) Gallery visit: Albertina, Wien [blog] [online]. Andrea’s OCA Painting 1 blog. Available from: https://andreabrykocapainting1.wordpress.com/2017/04/14/gallery-visit-albertina-wien/ [Accessed 14 April 2017]