Sketchbook pp. 47 – 51
Colour – Composition – Technique
Akin to writer’s block I often find creating a still life composition a mental challenge of continual uncertainty. Shuffling various objects around to get just the right placement had previously resulted in fruit decaying before I got to paint it. Looking at the still-life paintings of one of my favourite artists, Giorgio Morandi, the composition of his still life paintings looks deceptively simply, but instantly recognisable. In search of inspiration and before picking up a paint brush I researched Morandi’s use of colour, composition and techniques.
Morandi’s subject matter gravitates towards familiar everyday objects that could be found in any household kitchen, yet they are purposely stripped of any identifiable labels. Objects are placed on a nondescript tabletop and grouped together in various arrangements. They are not loud or ostentatious nor do they demand our attention when perhaps compared to the works of Dutch Masters or those who’s worked spanned numerous art movements, such as Andy Warhol, an example being Campbell’s Soup I (1968). They are merely everyday objects that are often overlooked and taken for granted.
Using a muted colour palette, often working in a range of whites and greys, or other equally sombre colours, Morandi achieves a delicate balance of subdued colours and limited tonal range which only hints at form. The objects have a dull surface appearance, lacking reflections or shine. Many of them are painted with the absolute minimal amount of shading and highlights. Morandi literally takes subtle gradations of greys to a different level. The perspective of his still life paintings is always looking straight on or looking down at them and there is a no indication of location or setting.
Perhaps what is less obvious (or known, unless you have seen one of Morandi’s paintings with the naked eye) is that he was not concerned with hiding brushstrokes to create a smooth surface appearance. Instead, he paints in such a way that the quality and handling of the paint has as much contemplative importance as the objects he is painting.
The combination of all these aspects, in my opinion, make Morandi’s still life paintings so instantly recognisable and which must be properly absorbed to be understood and appreciated. Furthermore, he produced a plethora of still life paintings, often using the same objects. This repetition became a symbolic signature. There are pro’s and cons to using the same objects for still life paintings – painting from memory perhaps the most obvious.
Preparatory studies
The criteria in the course handbook steered students to consider; viewpoint; direction of light source; shadow, tone and highlights and the mood being conveyed. In addition to these aspects I also wanted to incorporate linear perspective and depth. Having reviewed the work I had done up to this point of the course, I started by making preparatory drawings, both in paint and pencil, rearranging the objects and changing the viewpoint between each one (see figure 1).
Prior to compiling painting studies, I had prepared several surfaces of stretched oil paper on MDF hardboard, each with a different coloured acrylic wash undercoat ranging from mid-grey to yellow ochre.
With a short flat paintbrush, ultramarine oil paint diluted with a quick drying medium was used to draw the outline of the composition. A considerable amount of time had been spent measuring and mark making before committing to blocking in darker tones. While it may not have required so much detail at this stage it focused the eye and sharpened my observation. This was left to dry for about five-days. (See figure 2)
The natural light conditions had changed significantly compared to the week prior, although there was nothing that could not be altered as I set about finishing what was supposed to be a preparatory painting. Having taken time reflect, I had concluded that I hadn’t really decided what I wanted to achieve from this painting. Was it a preparatory painting or had I become absorbed in the detail? It felt like the latter. (See figure 2)
Returning to the sketchbook, I developed sketches that I felt incorporated more of the course (and my own) criteria for this assignment. (See figure 3) To develop these further coloured pencils and watercolour pencils were used to add colour, shadows and tone. I find the tonal studies help simplify tonal values. (See figure 4) Referencing these studies helps identify the variation of tonal values when using a range of colour hues.
Assignment submission
For this assignment I had prepared an A3 oil paper surface with an acrylic yellow ochre wash. Once dry, I used a charcoal stick to draw the outline shapes of the main objects and lines to depict the linear perspective. Once I was content with the composition and mark making, I used ultramarine oil paint diluted with a quick drying medium to draw the composition. (See figure 5)
The final piece for this assignment took four hours to complete. (See figure 6) In hindsight, and something I will adopt going forward, I could have produced more than one version simultaneously, especially whilst waiting for layers of oil paint to dry.
The natural light source was coming from two separate directions, but predominately from the long window on the right of the scene. The composition centred on a large clay jug, three books and a wicker pot. They are nested on a bookcase in my art studio. When composing this composition, I was mindful as to how much of the studio I should include to provide context to its surroundings. With no overarching theme to the composition I felt that the balance was sufficient without making it an interior scene.
Using natural light and painting over three separate weekends presented a few challenges when looking at shadows and tones as they were forever changing. Suffice to say, the painting on week three was considerably different from the week prior. Bright sunshine was replaced by dark overcast clouds and a light filled studio was no more. Having made a conscious decision to paint what was in front of me, the painting was altered to reflect deeper and darker shadows, which may justify the dominance of tertiary colours. In contrast, I also feel that this may have contributed to those ‘muddied’ aspects of the paintings that had been overworked.
The outcome was pleasing, but on reflection I do not feel as if I had considered the composition as a whole and as a result, some elements have been lost, such as the wicker container on the right of the composition which appears flat. I do feel that I have created depth and perspective and notwithstanding my previous comment, the perception of three-dimensional forms. Conscious that I spent a lot of time observing and depicting tonal values of the composition, I feel that this element had a positive outcome.
Producing preparatory studies proved invaluable, especially the tonal studies using a limited palette. Understanding how these can be used, or influence decision making cannot be underestimated.
Working with bold, large gestures I had avoided getting drowned in aesthetic detail or trying to produce a tight piece of fine art. Reflecting on concept, process and outcome (see notes on reflection of course criteria) I particularly enjoyed mixing oil paints, bracketing a colour to achieve the right hue and finally adjust the chroma; hopefully without changing the value, but this is rarely the case. I find the process as therapeutic as the act of painting. Subsequently, my responsiveness to colour continues to improve.
Oil on canvas
49×38 cm
Reflection on course criteria
Demonstration of technical and visual skills (materials, techniques, observation skills, visual awareness, design, compositional skills)
I felt that my technical skills (handling of media, perspective, colour, composition) have progressed in some areas. I feel confident in using oil paint, which despite the time it takes to dry, is my preferred medium. The study of colour in this module, supplemented by my own research had broadened my understanding of colour theory which I was able to translate into my practice. Reflecting on some of my earlier works I can see areas where I had developed and improved, but equally I can also see some repetitiveness in my application, and areas in which I need to develop further. The dominance of broken / tertiary colours being an example.
Research has led me to try new ideas and techniques, which I am sure will shape my own style as I progress as an artist. I believe I have a good visual awareness, to look hard, question what I see and respond to the subject. While observation is only one element of a successful painting, observing and understanding the effect of light can produce a more realistic painting and is something I am keen to work on.
Quality of outcome (content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas)
In line with my technical ability, the quality of my outcomes has also been progressive, although I still feel that there is a gap between concept, process and outcome. Some of my preparatory work and tonal studies are more appealing, and successful than the finished pieces. Now I feel the need to develop a more creative interpretation of assignments rather than seeing assignments as a to do list. Perhaps deviating from realistic colours, forms, perspective and scale is a start point, but would value the opinion of my tutor before doing anything too radical. That said, I continue to apply lessons I have learnt from the course material and from my own research.
Feedback from my tutor at Part 1 commented that moving forward, I should challenge myself to work from more complex and unconventional subject matter, using a more diverse range of still life objects as the subject. ‘Focus on experimentation rather than final outcomes as at this stage, employing what you learn from the exercises within the final assignments’. They are fair and just comments which I have yet to fully encompass.
Demonstration of creativity (imagination, experimentation, invention, development of a personal voice)
My willingness to experiment is growing as I become more confident with my materials. However, my work appears reserved and I do not feel as if I have yet to find my personal voice. I believe this may relate to my previous comment about seeing assignments as a to do list. Although having experimented with colour, textures and layered techniques, I do not feel as if I have pushed the boundaries sufficiently.
Context (reflection, research, critical thinking – learning log)
The learning log is set out chronologically as per the course handbook. I know that I must explain my conceptual ideas behind my choice of subject and explain why I chose to compose and paint them the way I did. I also acknowledge that this an area for continued development.
There is immense value of researching the work of other artists and that viewing work in the flesh (rather than on-screen or page) offers a richer and enriching experience. I therefore make every effort to visit at least one exhibition or gallery collection for each assignment. While I make notes on these visits, I feel that going forward I must spend time making visual and written notes regarding the artwork; quality of media, the composition, tonal range and values, colour-notes and consider connections with my own or others’ work. I feel that this may also provide greater clarity of connect concept, process and outcome.
OCA BA(Hons) Painting Degree - Level 1 