Thursday, December 10, 2015

Hipeastrum project - first stages


COMPOSITION:

I really envy those artists who take about 10 to 15 mins to do a still life set up. Alas, it is not the case with me. When I used to do 'Tuesday painting' with another painting buddy, Sally (who unfortunately for me moved back to England) would be well into her painting, while I was still moving fruits or vases around 3 hours later!

However, during a wonderful workshop month with Civita JSS last year, some of my best still lifes were of simple setups put together by one of the wonderful teachers, Jody Joseph, in a few minutes.

I asked her why her set ups for me always worked... what is the secret. As far as I understood - its not so much the objects and how they are placed, but how they relates to the 4 edges and what interesting negative spaces they create.

For example, if there is a large space between the object and the top edge, she would put a piece of card against the wall, to create a connection between the object and the top edge - this connection can be as simple as an imagined shadow, or a shift in colour.



So for this project, I decide to focus on that aspect of the composition. The Hipeastrum and its leaves, in its smokey blue glass is a pleasing enough object.

Connection to the edges:

The simple placement of the object on a white cardboard at an angle to the edge of the table, covered with brown paper, results in a strong horizontal line as well as a diagonal one, which in turn creates the connection of the object to the two sides of the canvas. The leaf and the cast shadow going out beyond the edge further strengthens that side connection.

The placement of the Otto Dix postcard makes a connection towards the bottom edge, as verticle line of the corner of the room makes the connection to the top edge.

So now we have an object solidly connected to the edges, thereby also creating interesting negative forms. Time for the drawing.


Again, following one of my Civita JSS workshop tutors teaching, I use straight lines for the drawing, focusing on a strong structure.


COLOURS
For this project, I observe and try and be as accurate as possible in painting the colours that I see, not what I 'think' I see. One way to do this is to put a palette of the mixed colour against the colour area of your subject to see if your mix matches.

I also pay attention how the neighbouring colours look and  as I lay them next to each other.

An interesting way to paint is to carefully observe each neighbouring shape and its colour, rather than observing a leaf, or a petal or a transparent vase. By concentrating on the juxtaposed or interlocked shapes, you reduce your subject to its simplest forms. In effect, a painting or an image is not a replica of the subject. It is a 2 dimentional rendition of a series of abstract forms, which the eyes then translate as a replica or an imitation of the original. I know... it kind of does your head in.



It is also useful to identify and paint your darkest darks and your lightest lights which can then be used as a reference point when you paint the tones in between.


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