tag:blogger.com,1999:blog-61812275925694573032024-03-05T22:59:04.257-08:00Sarah Hill's Art Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.comBlogger82125tag:blogger.com,1999:blog-6181227592569457303.post-58234155315819698082014-03-01T03:42:00.005-08:002014-03-01T03:42:53.531-08:00Life paintingYesterday was the penultimate day of life painting and the model, Duck, was a lovely young man who was very easy on the eye!<br />
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The challenge of this was how to get the whole composition to work when the figure was taking up a right angled shape leaving a large expanse of nothing. The cloth was hung so that the folds were vertical and so I decided to make marks that were more lively and horizontal to balance the figure.<br />
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I feel it is rather classical and not breaking any new ground but I am pleased that it seems to work as an exercise in colour and marks.<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-25764259260434731682014-02-15T02:56:00.001-08:002014-02-15T02:56:48.193-08:00Latest figure paintingThis was done last Friday, oil on prepared paper.<br />
I covered the shiny side of card with green acrylic paint then wiped a glaze of burnt sienna lightly over it.<br />
The pose was long, three hours and the challenge was not to get picky and start fiddling. My intention was for the figure to emerge from the background of chaos. There was cardboard, grey sheeting and boards.<br />
Michael was sitting on some very white cushions and I took the decision to make them less white after reading Ruskin's article on reflection. He explained that, when looking at the reflection in a puddle, we cannot see under the water. But, if we look at the surface under the water, we cannot see the reflection. The eye cannot take in both at once.<br />
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When I looked at Michael I saw the overall colours and shapes but the white was not dominant unless I looked at it. To make it as white as it was in reality did not help the painting.<br />
What was striking was his right hand and right boot. these I tried to bring out more and let other things recede into the shadows.<br />
His face was extraordinarily sharp but if I had made a feature of it, the rest of the painting would have become less.<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-29921105511234177592014-02-04T07:16:00.003-08:002014-02-04T07:25:34.298-08:00Life drawing into painting with Alan McGowanThis weekend was the most exciting time of life painting. Starting with 1 minute poses in charcoal, progressing to 5 minutes, ten minutes 20 minutes, leading up to two hours, was a great challenge.<br />
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The aim was to get the gesture of the movement and a few marks in 1 minute.<br />
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The painted ones on the right were hard because it seemed to take most of the time just to find the paint! Using oil paint on sugar paper was interesting as it completely sunk into the paper. and there was no time to spare.<br />
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The lower painting was on prepared paper, covered with burnt sienna mixed with turps and linseed oil, then drawn with a rag.<br />
I then added white paint mixed with paynes grey fo add contrast to the translucency.<br />
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Drawing on the right was done in 20 minutes. The drawing to the left was done on prepared paper,drawn with graphite, then covered with a thin glaze of linseed and zestit. Drawn again with graphite and painted with white oil paint.<br />
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Lower painting was done on a shiny card, prepared with dark green acrylic paint.<br />
I then put a glaze of burnt sienna on. The palette was limited to<br />
burnt sienna, raw umber, paynes grey and a mixture of flake white and titanium<br />
white. The reason for mixing the whites was to get the translucency<br />
and softness of flake white with the brightness of titanium white.<br />
Also to use the paynes grey next to the raw umber made it appear more blue and the burnt sienna appeared more red.<br />
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The painting on the right was a longer pose and adding cerulean blue and alizarin crimson to the palette. Again it was over a green acrylic ground, shiny card and a thin glaze of burnt sienna over it.<br />
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The last pose was two hours and in some ways was harder because of thinking there was plenty of time. The initial gesture and dynamics was lost for a time.<br />
Because the spotlights were on the model, the other lights were dimmed and it was like painting in the dark. When the lights came on it was quite disturbing to see what colours i had actually used.<br />
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Having a model on Friday for six weeks has been my breakthrough.The time goes quicker and I feel more focused.<br />
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The first couple of sketches were painted in 5 minutes, oil on prepared paper.<br />
Hardly enough time to mix any paint, the job was just to get paint on the paper and makes very quick decisions about where to put it.<br />
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The mood and energy of the colours were the starting point and then trying to get the figure to emerge out of the colours.<br />
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The painting on the left was a two hour attempt and my challenge was to get the composition to work. The model was beautifully still and had a wonderful atmosphere of calm in a collection of yellow and purple colours.<br />
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This painting was done<br />
in three hours and the background was a cacophony of reds, , pinks and touches of green. She wore grey and the light was strong and overhead.<br />
Trying not to get the red to dominate was difficult and also the fact that after each break, the folds in her skirt were always different.<br />
I enjoyed trying to get the colours to work together, getting the highlights to sparkle with the yellow light and trying to indicate the slight twist in her body.<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-79392260646985138482013-12-16T03:48:00.000-08:002013-12-16T05:46:17.139-08:00Self portraitsI decided to try a self portraits using the same way of painting that I used to paint the jam jars. One layer of paint next to another, hardly any drawing but trying to get the relationship of colours to work better.<br />
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The first one looks a little more like me. Rather solemn and a bit grim but that is perhaps what I appear to be when concentrating.<br />
To me it is a better likeness but friends have said not.<br />
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The second is not finished yet but, Although the resemblance is not there, I feel it is going to be a better painting. A lot has to change, my face is not long enough, not enough shape and a few unresolved bit such as the scarf and my mouth.<br />
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I need to do several of these to experiment with composition and colour.<br />
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This has been tweaked more to get the definition of the face better in balance with the rest. At least it is not as grim as the first one.. Still more to do!Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-1013992319265233732013-12-02T04:23:00.003-08:002013-12-16T03:37:04.362-08:00The Jam Jars of LeithThe latest project at Leith School of Art was to concentrate for three weeks on one painting and I chose to focus on the jam jars connected with clutter.<br />
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Previously I had done a small painting of the jars on the windowsill at the same time a large sketch of them done with charcoal, white paint and then drawn with a brush.<br />
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Matt asked me to do both at once, going from painting, small scale and then to large scale, drawing.<br />
I was concerned about the composition but told not to worry, just work on how to put the paint on.<br />
The large drawing was a challenge as it was suggested that I "hurl everything at it" but got stuck when trying to use ink and a dodgy piece of bamboo. Images of Jiacometti where shown, the idea of drawing with a brush, using paint like a rubber to make the lines thin and so I just used whatever was on the palette and tried to draw the jars. I don't feel it is successful at all and the smaller painted sketch is very drab, and uninteresting.<br />
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The larger painting done over the last two weeks is not finished and has changed from the beginning. Partly because the same jam jars were not available and partly because I realised that the painting was split down the middle by the arrangement of jars. This meant working out how to divert the eye from the centre of the painting and so I emphasised the red paper on the jar to the left.<br />
I am not happy with the painting so far as it is has little life about it and the colours are very drab.<br />
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With another week to go in order to finish it, I am hoping to bring it to life, give it some sparkle and resolve the composition errors.<br />
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After much dithering I decided to crop a couple of pieces which I feel works a little better.<br />
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This is a small pastel sketch done at home. I used the pastels like paint, mixing, rubbing out and general trying to create a more lifelike view of my own jam jars.Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-32778532074030622002013-11-14T08:55:00.000-08:002013-11-14T08:55:00.607-08:00Reflections in a gardenThis week I was working on a painting from my window of my garden. The difficulty was that the opposite window was reflected in the view.<br />
I discovered that when I looked at the reflection, I could not see the trees but when I looked at the trees, I could not see the reflection. This shows that painting from photographs does not give a true representation of what we see. We focus on one thing and the rest is a blur. a simple reflection distorts our perception of what we think is real.<br />
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This is my first attempt of this kind of painting. The window frame with the reflection of the house opposite was very dark at first but when I looked more carefully, it was lighter because the leaves were shining through it.The prayer flags at the bottom of my garden were glowing through the reflection and the reflected sky, which was bluer than the sky in front of me, had ghostlike leaves through it.<br />
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What this has taught me is that the theme of reflections is very complicated and shows me how the way in which I see things might have to be reassessed.<br />
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As well as considering how much I am expressing myself, if what I have painted is a reflection, then it is also a reflection of myself. I see the view, it is only through my eyes, slightly distorted and a sum total of my thoughts, conditioning and experience, and therefore, it is an expression coming from me.<br />
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Another thought.. if everything is a memory, experience and filtered through my mind, then I must only be a channel for what comes out on the canvas. Who am I if not a succession of memories and images?Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com1tag:blogger.com,1999:blog-6181227592569457303.post-72730224407973664142013-11-09T03:35:00.003-08:002013-11-09T07:55:17.668-08:00Reflections on ClutterYesterday's class at Leith was to expand on the theme and take it further than just doing a competent painting.<br />
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I set up my still life and realise how much the reflection them was bringing up my lifelong curiosity about clutter and chaos.<br />
Matt encouraged this approach and suggested two works for the day. One, a painting of what I had brought and the other was to be a drawing of all the bottles spilling out of the plastic bags.<br />
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The drawing is in charcoal, A2, and started by being very carefully drawn until Matt came round to suggest that I draw blind, creating more rhythm and movement in the jumble.<br />
I found it difficult because I was focused on the fact that it was all lines and circles. My need for structure got in the way.<br />
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More work to be done on this.<br />
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The painting changed from being a reasonable likeness of the objects to more of a muddle.<br />
Again, the suggestion was that instead of arranging the objects, I should take in what was actually happing in the surrounding area. To create the difference between the objects and the chaos of what was really behind gave it more life and was more real.<br />
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Next week I have to talk to the class about what I am doing, where I have come from and why I am there, with a selection of my work.<br />
I have given this a lot of thought and so far my them of reflections is going to include everything from puddles and shiny objects to myself.<br />
I asked myself, " Why paint?" and came up with " Why not?" The next thought was that my reason changed from day to day according to what I felt like. Friday I go to Leith and so I paint without questioning why.<br />
Then came the thought that I don't have the urge to express myself through paint because everything I do is expressing me. Emotions can come out through playing Beethoven, every mark I make on the canvas is from me alone and therefore says something about me. Everything around me is a reflections of how I see and hear my surroundings.<br />
Krishnamurti says that we only know ourselves by relationship to others and what is reflected back to us and I can see this more and more. It is only me in my head and so impossible to be truly objective.<br />
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Perhaps the reason I paint is like keeping a diary? It is a record that I was here, what I saw, what I thought about. Ultimately of no interest to anyone but me.<br />
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My early drawings ( from aged 15/17years ) show that I was preoccupied with how things work and investigating everything from the insides of clocks to spaces between objects. That is still there.<br />
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What I am trying to do is get the essence of what I see and hear. The paintings that have worked all show this and it is about looking more and understanding more of what I see and feel.<br />
The essence of muddle and clutter is a real challenge because I have noticed how much my early drawings and paintings have been very controlled.<br />
Matt talks a lot about the need to keep a sketch book and constantly draw to explore. Blind drawing, less analytical and getting to know the subject from the inside is always being discussed.<br />
I have realised that my sketch books are full of adequate drawings but not much is explored in depth.<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-47624608601975633972013-11-02T03:37:00.001-07:002013-11-09T03:37:04.255-08:00ReflectionsOctober 25th. 2013<br />
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The serious stuff starts now!<br />
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The brief for after half term at Leith School of Art was to come back with a theme for the rest of the year. This had to be something to work on and expand throughout the year.<br />
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I was thinking of movement which would include the sea, waves, people, musicians playing their instruments. etc. It occurred to me that to focus on the sea meant getting there frequently to sketch in spite of being too far away and winter approaching. The cost of petrol, accessibility etc. was too much. As I am not in touch with musicians in the same way as I used to be, sketching them was going to be difficult.<br />
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I decided on "reflections" as my theme. It includes everything from a puddle to self reflection. Shadows and the nature of illusion came to mind and how what we see is only through our eyes, light distorts, glass, silver and water have no colour and yet are alive with reflections.<br />
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The first painting was oil on prepared paper, A4.<br />
I worked mostly on getting the metal bowl to balance with the white mug. As there is very little room to work in, they were balanced on my palette and the yellow paint ( right corner ) is what is reflected in the bowl. At first the mug was too white and I had to thicken the paint and add more colour to balance it.<br />
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November 1st. 2013<br />
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The brief was to experiment, do several paintings and not try to produce a finished work.<br />
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First painting of the day was tentative, thinly painted and not working. Matt ( tutor) told me to do two very small paintings, quickly within the hour, using paint more thickly, cleanly and without using zestit to muddy the colour.<br />
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The painting on the right has a better composition and it made a difference being limited by size. Much easier to see just a small part of the image and make the most of the shapes.<br />
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I went back to the original painting and attacked it with more sense of what I was doing.<br />
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The final painting was the two items, painting more thickly, mixing more paint and slapping it on to create more life and less preoccupation with detail. One of my bad habits is to get too pernickety.<br />
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The composition is not good and it is still too tight but overall, better than when I first started it in the morning.<br />
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What I have learnt from this is how much I enjoy the complications of things, clutter and detail.<br />
My brief for next week is to find more objects, arrange them better so that there is not the problem of space versus muddle.<br />
I also have to make a list f artists whom I would like to paint like and those whom I definitely don't identify with.<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-299812609808113352013-09-15T05:38:00.003-07:002013-09-15T05:39:51.757-07:00Thoughts on Plato's Cave and shadows.The allegory of the Cave is from The Republic presented by Plato. ( 514a-520a )<br />
Written as a dialogue, it describes a group of men, chained to the wall of a cave, facing a blank wall. Behind them is a fire with things which pass in front of it and their shadows are projected onto the wall. The shadows are the only things that the prisoners see and only know life through them. The philosopher is the only person who has seen the reality of the world outside and can see what is really happening in the cave.<br />
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This theme keeps coming back to me in many ways and so I thought of investigating the concept of light and shadows more thoroughly.<br />
In psychology, the shadow side of the individual is seen as the side which is not seen but more hidden. The conscious self is more known and the subconscious difficult to acknowledge.<br />
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The light of the sun creates shadows and the brighter the light, the darker the shadow. Perhaps this could apply to the individual int terms of knowledge? The more one learns and understands, the more one realises how little is known.<br />
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It is not possible to just have light and no shadow. They are different sides of the same coin and just like the performer and the audience. Both are joined together.<br />
Without shadow, it would be very difficult to see the forms of anything as all objects would appear flat.<br />
Water is transparent but it is the light and shadow which gives it form. A wave would not be seen if there were no shadow to give it shape. The ripples of the wind would not give water it's wateriness without light and shadow.<br />
A face would have no form without light and dark.<br />
These things are as negative space. If only the object is seen, it has no sense of relationship with anything around it. Without shadows, only part of the world is seen. Perhaps by examining the shadows more, the object becomes more real and the relationship between them more intense.<br />
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All these things seem so obvious but if I am trying to draw and paint, and find what really interests me, it is this. How the simplest things in life are the subject for the profound and through them, the way to explore what matters most to me.<br />
The more I learn, the less I know.<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-81762989181874542362013-09-15T05:14:00.002-07:002013-11-09T07:56:29.025-08:00Day 2 at LeithToday was spent at Port Seton, first hour mooching around, eating bacon rolls and getting a feel for the place.<br />
I decided that I could not resist being as near to the sea as possible. Rocks galore, pools, gulls and sea.<br />
The weather was grey but rain stopped by 11am. sunnier as the day progressed.<br />
The formation and angles of rocks was intriguing and the sense of time, solidity of rocks compared to the transparency of water, was something I never tire of.<br />
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The brief is to get rough ideas this week, think about it for a week and come back next week to get more information and solidify any thoughts.<br />
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I decided to put as many of my sketches a possible onto this page. Two five minute sketches a day come to a lot. Some were rubbish, some slightly better. However, this is for the record not to be judged!<br />
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This sketch was done with my left hand ( less dominant) and in three minutes.<br />
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Sketch done in fifteen minutes.<br />
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Same sketch but done in 5 minutes.<br />
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One minute looking at the subject. Two minutes drawing from memory. Three times..<br />
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Sketch of the other side of the muslin.<br />
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Margaret, working in the dark! <br />
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Lynne trying my Viol. Three minutes.<br />
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Prayer flags in my garden. <br />
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Clothes and my glasses. Three minutes<br />
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Empty bottle. Five minutes.<br />
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Day out at Port Seton.<br />
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First attempt at the rocks and it got rather fiddly.<br />
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This time I tried to get the over all direction and movement of the formation.<br />
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Got down to the rocks, sat on one, tried to get more information but found it too much to see and kept losing my place. <br />
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More of the angles of rocks from higher up plus attempts at sketching the gulls.<br />
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More detail of rocks closer to me. <br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-5853404193391078882013-09-08T06:28:00.000-07:002013-11-09T07:57:45.400-08:00First day at Leith. Painting CourseToday was the first day with Matt and it was an initiation from the start.<br />
Firstly, I had severe problems with my hearing, ( Hyperacusis? ) and was feeling very unwell.<br />
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The first thing Matt did was to go through the rules and his expectations. Punctuality was vital. Homework to be done. No chatting in the studio.<br />
Then a series of slides of sketches by various artists. That was to be our task for the day and the next three weeks. Sketching, observation and more and more looking. Practise every day until drawing and seeing were a habit.<br />
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His way of teaching is inspirational and difficult to explain. If I could learn by osmosis I would but I feel as though I have only just started to take it all seriously enough to learn. His energy is immense and enthusiasm for seeing the world phenomenal. No drawing or painting from photographs. Face the real thing!<br />
The reason is that we see differently from the camera. His example of looking at a still life of old cans of paint was that we see with memories of other things. Memories of paint tins rusting through lack of use, walls and doors being painted in the past. Associations with the memories. All these things come into play when doing a drawing. Seeing life as it is with the whole of ourselves not just the mundane is the aim.<br />
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His aim is to allow us to find what is important to us and let it grow organically. We are all different and it is not the subject which is important but our feelings about certain things ( colour, light, movement, detail, etc..) which is what he wants to see.<br />
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The morning was spent doing blind sketching, sketching from memory, using the left hand, continual line drawing and looking more and more intently at what we were seeing. ( Still life) And then spending time later in examining every aspect of what we were seeing.<br />
I got confused and tired! Temporary muddled thinking and went off at a tangent doing sketches of the other students. He came to my rescue and I think I understand more of what is needed.<br />
Apparently my reaction was very common!Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-19425924815279756922013-08-12T10:30:00.002-07:002013-08-12T10:30:50.728-07:00The start of something new. Thoughts on what is to come.I now have the brief for my next year at Leith School of Art and it is to read "Findings" by Kathleen Jamie. This is going to be the theme for the whole school for the year. Work to be done can be based on the literal or the philosophical ideas expressed in the book.<br />
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I have read most of the book and my first impressions are that it is remarkable, beautifully written, immaculately observed images and quite profound in places.<br />
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What struck me about the first chapter on lightness and darkness, was the assumption that darkness was connected with Christianity and was negative. This is an alien concept to me. The author's search for complete darkness in order to experience the other side of the brightness which is often artificial, was something I would never have thought of.<br />
I immediately thought of the symbol for both in Chinese philosophy, Yin and Yang with the corresponding dark or light spot in the other representing the fact that in darkness is always an essence of light and in light there is always the presence of dark. The literal translation of the sunny side of the hill and the shadow it casts on the other side, which can always change according to the viewpoint.<br />
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What struck me about the book, " Findings" was the constant reference to the past, death and decay, with a reminder of the technical, plastic age we are in now. References to what had gone with what is in it's place, the past compared with what is now, the sense of regret and even stronger feeling of grief came across the more I read. The descriptions of solitude in West coast islands, birds, land and the Scottishness of these places was ever present. Silence apart from the sounds of nature with the occasional foray into humanity was most evident.<br />
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My reaction was to look up the philosopher, Roger Scruton, to see what he had to say about beauty because that was a word that summed up what seemed to be missing in kathleen's book.<br />
I found his book, Beauty, was full of references to the world of classical music, opera, literature and art that I was familiar with. His logic and critical analysis was superb and I found his book much more to my taste. I was in familiar territory and, although there was much that I have to re-read, I found more idea pertaining to how I was going to tackle painting this Autumn.<br />
The two books complement each other and are both full of inspiration. One, because it is alien to me, and the other because it is familiar.<br />
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Findings.... What we find depends on where we look! <br />
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Such a simple statement but it feels very important to me at present. There is a chance to look where I have never been before but also a chance to consolidate what I have already and see it afresh. My life is very rich, full of colour and music. Will I be persuaded to look more at the natural world which decays and is transitory in it's very nature? The Buddhist in me knows that everything is impermanent. There is beauty in everything but there is also a world of culture which is immensely rich.<br />
Back to Roger Scruton...<br />
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Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-36261165438315288602013-06-14T02:48:00.003-07:002013-06-14T03:33:01.974-07:00New PaintingsThis is a selection of paintings done in the last few months. Sketches were made last year, seasons change and I tried to capture how I felt in the situations.<br />
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Late summer in Kippen<br />
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Light on the sea, Arran<br />
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Winter walk in Kippen<br />
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Light on the Fields<br />
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Coming Home in Winter<br />
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Looking Back to Kippen</div>
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String Trio</div>
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Open Studio 2013</div>
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Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-41000140926830585712013-04-20T04:15:00.000-07:002013-05-01T04:43:13.201-07:00Journey towards Abstraction<br />
The task for the day was to draw chairs, in all sorts of shapes, sizes. etc., on tracing paper, then to move the images around until a satisfactory composition happens. Draw the image on A2 paper, using charcoal and rubber, and then start to abstract it.<br />
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I found this extremely difficult as I was not sure what I was doing or why.<br />
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Moving the images around over white paper seemed great fun but when it came down to it, I could not get a satisfactory composition. Echoing shapes, finding structure, all seemed impossible. I started to wish that I had different drawings.<br />
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I tried a simple sketch to get the idea but it still seemed very contrived.<br />
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FINAL DRAWING<br />
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This is my final drawing. Charcoal on A2. I am not happy with it as the composition is not good. The page is just split diagonally and the drawing is not abstract at all.<br />
I seemed to resort to looking at the lines and negative space in the same way as drawing the chairs in the first place. on the whole, a failure to abstract.<br />
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SECOND DAY OF ABSTRACTION<br />
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The following Friday was to introduce colour.<br />
We started the day with a talk by Jane on the basic principles. (see below)<br />
I also did a few tests of colour to see what combinations worked well.<br />
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I retrieved my sketches on tracing paper, tried moving them around, doing sketches of possible compositions.<br />
I felt very unhappy with the whole process.<br />
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After a strong coffee and lots of thinking, I came to the conclusion that what I was trying to do from these individual drawings of chairs did not make sense to me.<br />
If I was to make something out of a drawing it seemed more sensible to stick to my original vision and go from that rather than from something that felt more detached.<br />
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I went back to my earlier drawing of the chairs. (see below)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho-IiIma5_Q20rv0fTvpxQ5UFJkti7PBVzu7JuWDwJVAwy8tgBe_pqay-8DMj3tVt2zJpKie5PNdfDJu3PUGaMvKFHc-UFXuX8hvaS88fGnwYF7L-ldvPPw29W7-JQ2XzF5PHfm945yqwy/s1600/P1030892.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho-IiIma5_Q20rv0fTvpxQ5UFJkti7PBVzu7JuWDwJVAwy8tgBe_pqay-8DMj3tVt2zJpKie5PNdfDJu3PUGaMvKFHc-UFXuX8hvaS88fGnwYF7L-ldvPPw29W7-JQ2XzF5PHfm945yqwy/s320/P1030892.JPG" width="224" /></a>This was my attempt at focusing into the stack of chairs and looking at the negative space, shapes and textures.<br />
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The first painting, acrilic on A2 was done very quickly, looking at shapes, colours and patterns. What I wanted was for the top part of the painting to be quite dynamic but the bottom to be more rooted, yet holding it together by the lines and shapes.<br />
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The second painting was experimenting with different colours and getting in closer with the shapes.<br />
Not quite successful but better that last week's drawing.<br />
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The third painting ( right) was to use mainly blues and more tone and try to think more of the composition. The yellow was added to bring more sparkle. ( complimentary colour)<br />
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On the whole I felt happier with the day painting from from my original drawing rather than trying to created something from bits of drawings.<br />
Perhaps the whole point of abstraction for me is to go slowly and let it evolve in time rather than make a huge leap not quite knowing what I am doing.<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com1tag:blogger.com,1999:blog-6181227592569457303.post-19610269533905746632013-04-14T04:19:00.000-07:002013-04-14T04:19:00.498-07:00Stack of chairs<div class="separator" style="clear: both; text-align: center;">
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Friday morning at Leith School of Art and I walked into the studio and was confronted with a pile of chairs!<br />
This was the still life for the day............<br />
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After the initial shock, I began to be quite excited by the idea of tackling such a tricky subject. Life throws allsorts at me and so, why not chairs?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtTCKlC9pmJEeGexVwd7YKAJP39V5DIfrQiOtSOHX6XEEYHu3yuMC5kZZo5XDPzy3JJdzb8ZpGW6UaArRtVFMhvrQ7akakIEGOiHxuSwxAYWi5oM_sxtJV4dl77Bp_emJhgroM-0BoDrgn/s1600/P1030898.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtTCKlC9pmJEeGexVwd7YKAJP39V5DIfrQiOtSOHX6XEEYHu3yuMC5kZZo5XDPzy3JJdzb8ZpGW6UaArRtVFMhvrQ7akakIEGOiHxuSwxAYWi5oM_sxtJV4dl77Bp_emJhgroM-0BoDrgn/s320/P1030898.JPG" width="242" /></a> The brief for the first drawing was a five minute sketch drawn blind. Graphite on A4 paper and not looking at the easel but focusing on the chairs.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpKPrFuvUgn7UgTdzI4NoL-nZoYqqfhIsLTD6BcVfatkcx1KxwndCV0sanC2p7Dd7rsTmUqFEVc7wIr8eQv780M4isW2tLnlhSNcAeCatzpYrxwqwj4mi7WkIgb8g1IBQCw-M8EY3BNJJu/s1600/P1030897.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpKPrFuvUgn7UgTdzI4NoL-nZoYqqfhIsLTD6BcVfatkcx1KxwndCV0sanC2p7Dd7rsTmUqFEVc7wIr8eQv780M4isW2tLnlhSNcAeCatzpYrxwqwj4mi7WkIgb8g1IBQCw-M8EY3BNJJu/s320/P1030897.JPG" width="232" /></a>The second drawing was not much better but I was beginning to understand.</div>
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The next drawing was done with the non dominant hand. In my case, my left. I had no control over what marks I was making and I found it difficult to connect my brain with my hand.</div>
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This made it very interesting when the next short drawing was done with my right hand. </div>
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It was immediately easier and I felt my old patterns of finding structure, brain connected to hand and vision was more familiar.</div>
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The result was very curious. In everyones' drawings, the dominant hand sketches were the most boring.</div>
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Blind drawings had more vigorous marks, non dominant hand drawings were more lively and had far more interest. They also showed the feeling of chaos that the stack of chairs produced. </div>
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The brief for the rest of the morning and the afternoon was to spend longer on a charcoal drawing, A1 size and focusing first on the stack of chairs and then focusing in on the one aspect of the chaos.<br />
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The right hand drawing was causing me trouble as it was losing all spontaneity until, with five minute before finishing, Ginny suggested rubbing out most of it and redrawing.<br />
Nothing like a bit of pressure and time limit to focus the mind.<br />
The result was a more complete drawing.<br />
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The drawing on the left was tricky because of the tendency to be fussy over perspective. My aim was to capture the detail of the chair back on the left and the detail of the shadows, which echoed the amount of pattern and detail. Not enough time to get it all in....<br />
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Summing up the experience.. What I failed to do was to capture the energy and sponaneity of the blind drawings. They both became too sterile and next time I hope to remember to think less of the result and more of the initial feeling.<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-46376863763777511392013-03-16T06:12:00.002-07:002013-03-16T06:12:26.262-07:00Edinburgh Drill HallYesterday was the final day of the project to paint the impressions of the Edinburgh Drill Hall off Leith Walk.<br />
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We started three Fridays ago with spending the day sketching and making notes on how to tackle the next two Fridays painting.<br />
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What struck me most about the venue was the enormous space everywhere. The floor space was vast and the roof, made of girders with large areas of light coming in, was almost too overwhelming to take in.<br />
The cafe, was a totally different feel. Lots of brightly coloured tablecloths and red chairs, lots of people and bunched up together by the entrance.<br />
The other thing that struck me was the light coming in from the door, compared to the darkness immediately between the entrance and the cafe.<br />
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Jane and Ginny having coffee. It was cold and so they were wrapped up and huddled around their hot drinks.</div>
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Getting the light on the balcony area was important and the yellow ochre of the doors compared to the underneath area. The lighting was quite extreme, from the light from above to the the dark at the entrance.</div>
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What struck me was the idea of the sky being very important as part of the building as well as the amount of floor space. The roof and the sky were one. Without the roof, the sky would not be seen so intently.</div>
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This led to the idea of doing three paintings as a triptych. Heaven, Earth and Humanity.</div>
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These were the first attempts the following week. </div>
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I wanted to get down the main structure and see how they would fit together.</div>
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Third Friday. Final paintings..<br />
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This was about bringing the paintings to a conclusion and I decided to make the space of the floor the feature but instead of space, I concentrated on the reflections and made the lower area more structured. A hint of the metal work of the roof and sky to show the light coming in.<br />
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What impressed me most was the feeling of the metal structure towering over my head.The enormity of space and light was the reason to show the metal work darker at the top of the painting and melting into the building.<br />
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The idea of heaven became more about the structure of the roof.<br />
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The two figures of our tutors having coffee, Ginny's striped skirt and the difference between Jane's complexion ( she is Greek) and Ginny's fairness, the splotches of red and acid green of tablecloths, all seemed to sum up the effect of people between the two vast spaces.<br />
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All three paintings have in common the door which is the brightest yet smallest part of the paintings. The entrance and connection which makes the whole experience possible. </div>
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-56837637203411554282013-03-16T06:08:00.003-07:002013-03-16T06:08:54.304-07:00Leith.. Ink and BleachToday at Leith School of Art was a new experience. We were handed some blue ink, brown ink, a one inch brush, a stick and some bleach. There were two models. One in Japanese costume and one nude and they alternated betwen the main studio and the sculpture room.<br />
First was a series of 3 minute sketches with ink, brush and stick on A4 paper. Then came some more 3 minute poses but this time using bleach to take away from the drawing in order to put back more correct lines.<br />
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I found this extremely difficult as I was not sure what I was doing and then the bleach made everything run so much that there was a real mess on the paper. I could not draw into the bleach because the lines went fuzzy, also the stick was unwieldy. The blue ink turned green and trying to do a life drawing with the tools getting in the way so much seemed impossible.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTCssb3FoIDk4YMKpUcTK-F7FbooVI2m-Pn2zgVMTtSw0lU2sFx5YhhyB_N1SB9q1zt8RXbWY47G-X4s9CH87ESAdK9BwEYY2RLvyXpYvi7dv_VuwOOMOUpeBWRmieV0WsvGWrzWCKJa9F/s1600/P1030706.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTCssb3FoIDk4YMKpUcTK-F7FbooVI2m-Pn2zgVMTtSw0lU2sFx5YhhyB_N1SB9q1zt8RXbWY47G-X4s9CH87ESAdK9BwEYY2RLvyXpYvi7dv_VuwOOMOUpeBWRmieV0WsvGWrzWCKJa9F/s200/P1030706.JPG" width="143" /></a>The afternoon was spent in doing a pose for an hour. Point of despair came quickly and I had to ask for help from the tutor, Jane. She suggested covering the paper with ink and drawing with the stick using bleach to take away rather than using the ink on white paper. This helped.<br />
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First of the life drawings using ink, brush and stick. <br />
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My drawing suffered as a result of trying to use the stick, which seemed to have a mind of it's own. It was two feet long and slightly bent.<br />
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I was also experimenting on putting the figure to one side of the paper instead of in the middle. Trying to work on composition as well as the form.<br />
The left drawing did not work so well but I am more pleased with the ones on the right.<br />
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However, when using the bleach, my drawing went completely off track. Shoulder problems! Tired to use bleach to get rid of bad drawing but made a great mess instead.<br />
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This one was a nightmare as the model was practically in silhouette and I did not know how to start so left out the bleach!<br />
Told by tutor, Jane, to persevere.. ( Leith School of Art motto)<br />
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Result was another mess.<br />
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After lunch was the hour long drawing. I chose the Japanese girl thinking it might be easier. Wrong!<br />
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A1 paper and too much to think about. Her Kimono was highly patterned and she was sitting on a chair on a patterned rug.<br />
The angle of her knee made it look as if she were standing and as I was drawing the ink and bleach was running everywhere.<br />
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Hopefully, it was beginning to get somewhere after half an hour. Detail was out of the question and so was any attempt at pattern. Feet turned into a blur and despair took over once again.<br />
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However, at the end of the day, I was very glad to have had such an interesting experience and might even try it again..<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-32228880590304353762013-02-02T08:19:00.000-08:002013-02-02T08:20:03.794-08:00Still Life at LeithThis is a collection of still life drawings done at Leith School of Art.<br />
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First was a collection of drawings done with pastel on coloured paper, A3 size. The still life was in two rooms, the first was in daylight and a collection of many objects, randomly arranged. I found it difficult to get the composition to work as there was just so much stuff to choose from and too many colours. Working out how to mix the colours with the most appalling quality pastels of rough grey paper was a challenge.<br />
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The next drawing was done in the main studio which has rather no daylight and rather an inefficient lighting system. There was a long table with an array of fruit, candles and material spread randomly.<br />
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The lack of light was difficult and getting used to such a lot of objects and again, having to choose from so much, I found difficult.<br />
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I chose to sketch the candlestick with fruit to learn how to draw flames, which were so bright compared with the rest of the objects. The task was to show the extreme contrast which was pushed more and more in order to make it work.<br />
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The fruit on checked material was a challenge in composition and also because there was virtually no light on what I was doing. Everytime I went outside to spray the drawing with hairspray, I was shocked to see how bright my colours were.<br />
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This was a day of drawing and painting still life to convey the jumble and chaotic nature of objects.</div>
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First were quick, small paintings in acrylic to show the relationship in colour of how to get the composition to work. This was done using a big brush and to see how colours work next to each other. </div>
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The next task was to draw with a stick and ink on A2 paper. We were allowed diluted ink and a big brush to add tone and then white paint to use in order to rub out the marks.<br />
This proved quite tricky as, first, the stick was incredibly difficult to get a mark where I wanted it, and second, I did not understand how to use the white paint.<br />
The idea of using white was to think of it as a rubber and use it to cover any marks that were not wanted and then draw over it.<br />
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The next brief was to cover A2 white paper with random colours. ( acrylic paint.) Then we had to draw the objects with pastel over the pre-prepared paper thinking of the marks and the colours showing through as part of the composition.<br />
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The following week was a still life painting with acrylics, to take two seeks over it and start by painting with a big brush, showing the chaos of the objects, balancing the colours and to be prepared to paint over whatever had been done. This is an important idea at Leith. Being able to keep working at something, rebuild constantly.<br />
"Kill the beloved" is a phrase often used. Don't give up and start again. Keep repainting, redrawing and persevere.<br />
First I covered the paper with random colours so as to not start with a white surface. I was very near the objects and, as they were on the floor, I was looking down on everything. Again there was the problem of how to choose as there was so much. Working out the composition is always the most difficult for me.<br />
The elipses are not accurate but I was concentrating on how to get the lamp to work in the whole picture and what to focus on. The blue of the middle bottle was the brightest thing I could see and the yellow of the lamp was a challenge to balance in terms of composition. I made the peach material more yellow to join it together and to get the shine on the blue bottle I used cerulean blue with a little white, then put a more purple blue next to it in order to make it shine more.<br />
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The blue paint next to the lamp was the idea of Jane Courosopolis ( tutor ) to see what would happen just by putting a different colour there to balance the whole thing.<br />
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This seemed to hit a note with me and I intend to more of this. I really like the freedom of using colour in order to emphasis another colour.<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com1tag:blogger.com,1999:blog-6181227592569457303.post-22741514534344395252013-01-15T04:03:00.003-08:002013-01-15T04:03:27.103-08:00Figure drawing at Leith School of ArtFriday was the first day of term at Leith and I had not picked up a brush or pencil since before Christmas.<br />
A1 paper, stick and ink, two minute poses.<br />
The stick did not work, the ink was diluted and I was in shock!<br />
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After the break we had a succession of quick poses with two models who were alternately moving and keeping still for two minutes or less.</div>
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A4 paper with pencil.</div>
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The afternoon was a longer pose. Charcoal of A2 paper. </div>
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What i noticed was ho I lost the spontaneity of the quick poses but really enjoyed the time to get the solidity of the form and proportions. Trouble with the shoulder and trying to draw the subtleties of the right shoulder and the twist of the body.</div>
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com1tag:blogger.com,1999:blog-6181227592569457303.post-26206297524921133682012-12-19T05:55:00.002-08:002012-12-19T05:55:42.013-08:00Assignment 4 Figure drawingThis is put together in a rush and the two drawings chosen from a selection of many figure drawing done in the last few months.<br />
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I realise that I have not done a line drawing of a seated figure but I hope that my other drawings show an indication of my use of line.<br />
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This is Kate relaxing. Drawn from a sketch as she was recovering from lunch. A2 paper and charcoal.<br />
I have done many versions of this drawing under the entry<br />
"pushing my boundaries" but decided to submit this as it was the simplest.<br />
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The seated figure is Michael who had so many body piercings that this was the only view I felt I could tackle. It was done with brown oil paint on A2 shiny card, then drawn with a rag. I realise that it does not show my skill with line but my only drawings that work well with line are A4 and done very quickly.<br />
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These are the only two drawings that show any indication of the surroundings as I tend to focus more on drawing the figure correctly than making a composition at present.Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-84382044587967388532012-12-19T05:41:00.001-08:002012-12-19T05:41:13.614-08:00Self portraits of famous artists.This is something I was very interested in but had trouble downloading the images from the Bridgewater library and so this is just my observation of certain artists until i can work out the technology.<br />
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First, I noticed that some artists concentrated on looking intently at themselves and others made more of the composition, situations and general appearance of the painting ( or drawing)<br />
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Van Gogh did many of himself, both full face and using the surroundings to create the image. There seemed to be a real questioning of who he was.<br />
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Edvard Munch's self portrait with the bone of an arm at the bottom was really fascinating as it seemed to echo the bleakness and depression of his life. His full frontal image of his inscrutable face really conveyed to me the feeling disconnection with the world.<br />
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Andy Warhol was interesting to me in that there seemed to me to be no indication of who he really was. " "People are always calling me a mirror and if a mirror looks into a mirror, what is there to see?" This quote of his seems to be a clue as to his inscrutability. His self portraits are worthy of far more time and writing than I have.<br />
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Gaugin's self portraits were much more complete paintings in his surroundings, colour, composition and a feel for the period he was in. Again, far more could be written but time eludes me.<br />
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Lucien Freud was looking so intently at himself and my feeling was that he was looking into his soul through painting himself.<br />
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To be continued.......Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-58648337038509407402012-12-19T05:39:00.002-08:002012-12-19T05:39:26.826-08:00Portrait from memoryThis is a sketch, drawn from memory, of Louise, in response to her self portrait on the media hub.<br />
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She looked so serious that I had to show the other side of her.<br />
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She came to visit me for a weekend and I was aware, most of the time, of her infectious laugh. This sketch is taken from a photo that was still on my camera and so it is a combination of looking briefly at the tiny image in the camera, which kept disappearing, and the memory of her laugh.<br />
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What I wanted was the feeling of joy that came from her.Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com0tag:blogger.com,1999:blog-6181227592569457303.post-2244460977754784712012-12-19T05:39:00.001-08:002012-12-19T05:39:06.052-08:00Old Lady with a Turquoise Earring. self portraitsThis shows the stages of the self portrait I have tackled. I have found it difficult because I do not relish looking at myself for long periods of time and examining the sagging flesh and wrinkled face that has developed over time. However, it had to be done!<br />
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First I did a charcoal sketch which I then wiped over with a cloth, followed it with a sketch using blue and yellow pastels. I wanted to use purple to have the complimentary colour but could not find it! I then rubbed it over with the cloth as the mistakes ( face too fat, neck too wide, mouth too crooked, jumper not hanging ) were too obvious.<br />
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I then used a rubber to mark out the lightest parts of my face and also found my purple pastel which I used to emphasise the shadows.<br />
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The rest of the time was spent in tweaking the drawing, trying to get the proportions better, the tones more accurate and both eyes looking in the same direction.<br />
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It all looked a little boring and so I put on my earrings.<br />
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The final drawing is now " Old Lady with a Turquoise Earring." <br />
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The drawing on the right is one I did earlier, (with shorter hair)<br />
drawn with a biro on my notebook. Slightly intense, rather cross and not feeling my best!<br />
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I realise that I have not put myself in a room, no other objects of interest and no idea of where I am. This was intentional in order to focus entirely of who I am, as a result of looking at other artist's self portraits. My intention has been to be honest and look with clarity at my image in the mirror, without prejudice, without over-emphasising my distorted view of myself or my mood.<br />
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com2tag:blogger.com,1999:blog-6181227592569457303.post-82395086478338775072012-12-14T07:12:00.000-08:002012-12-14T07:12:38.154-08:00A collection of figures<div class="separator" style="clear: both; text-align: center;">
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<br />Sarah of Kippenhttp://www.blogger.com/profile/06293833135037740427noreply@blogger.com2