For this final assignment you’ll submit a series of three to five paintings on a theme of your choice. The subject matter, approach and techniques are entirely up to you. Reflect on the studies and paintings you’ve worked on during the course and select an area of special interest to you that you’d like to develop further. This is a good opportunity both to work out some new ideas and to consolidate what you’ve learned already.
Sketchbook 3, pages 91-97
Theme: The human figure and face
When reflecting on my work throughout this module there was a lot I wanted to develop further; mark making, colour, texture, different tools and techniques and even collage, which I really didn’t expect to enjoy as much as I did. My tutor posed an interesting question, ‘what does my work mean to me and what specifically, do I want to communicate through my work’. Slavishly following the course module I hadn’t really looked at my work from this perspective until most recently, and whilst I continue to reflect upon the question, at this moment in time I don’t have an answer.
However, one area (genre) of special interest to me is the human form. Throughout history, artists have long objectified the body. In contemporary art, depictions of nudity have deliberately obscured the boundaries between art and pornography, grotesque distortion, deformity and for the few, uncompromising honesty. In 2018, the Tate Britain exhibition ‘All Too Human’, exploring the works of Francis Bacon, Lucian Freud, Paula Rego, Frank Auerbach and Walter Sickert amongst others, as to how they represented the human form, and in doing so, redefining realism.
Sketchbook 3, pp 91 – 92 
For this assignment I wanted to take the inspiration of contemporary figure artists as a platform from which to develop and exploit some of those areas where I have previously played it safe, or to the other extent – overworked a piece of work. Knowing when to stop – well there’s a question! To cite Hans Hoffman, to him, work is finished when all the parts involved communicate themselves, so they no longer need the artist. In stark contrast Barnett Newman believes the idea of a piece of work being finished is a fiction, and is a question for moral consideration. (Chipp and Selz, 1980)
Whilst I am confident in my ability to draw and paint, I feel that I am moving towards a more expressive style – which may go a little way to articulating what I want to communicate through my work. I like to see, or visualise how a piece of work is constructed, see brush strokes, honesty and a spirit of the artist. Expressive, distorted (as opposed to abstraction) bordering un-finished. I will hope to convey these elements, whilst at the same time incorporating what I have learnt and developed through the course during this assignment.
At the start of this assignment I worked with a life model, and although we had three sessions together, and I would love to have worked from the life model throughout, this was impractical to sustain. Thus, I produced a number of sketches and studies, and with the models consent – I took some photographs which although not ideal, they would help to develop my ideas. I was working to a deadline of three-weeks, the last coincided with a week off work, during which time the model would be available for a few hours each morning. This was turning into a military operation!
Mixed media:
One thing I have come to realise is that inspiration comes in many forms. Having recently attended a musical performance and ballet in Manchester, I wondered how I could incorporate the rhythm and fluidly of the ballet dancer into my art. In my sketchbook I produced rhythmic circles connected with flowing lines; representing the curvature of the human form and key structural features. It took me a while to work out how I might convey this in a three-dimensional form. (By the time I had developed this ideas I was already working on two paintings simultaneously).
Sketchbook 3, p 94 
Sketchbook 3, p 95
The support, stretched oil paper (45x38cm), was not primed as I wanted the texture of the surface to bite against the oil paint. In contrast I also added modelling paste to the violet oil paint to create texture and form. Once mixed this was applied with a plastic scrapper.
Mixed media on oil paper, 45×38 cm
Impasto
Whilst exploring different ways of applying paint I enjoyed the expressive element of impasto, applying thick layers of paint with a painting knife, random tools or objects; even my fingers. This fluid yet tactile approach felt like I was immersed in the experience of creating an unpredictable invention.
I started with a very loose charcoal sketch to outline the figure; although this was eventually lost under a thick layer of paint. Paint was applied and worked with different painting knifes. Colours, straight from the tube were mixed on the support. The use of impasto does not lend itself to working up close to the canvas, so marks don’t always appear as you may have intended when viewed from a distance.
I was content with the outcome, particularly the three-dimensional, almost sculptural quality of this piece. Whilst I feel I had been able to illustrate depth and space, applying paint wet-on-wet resulted in colour and tonal variations becoming lost. That said I had immense enjoyment in the spontaneity, freedom, and excitement in creating an illusion of detail. My sitter really didn’t like it. For the viewer, it certainly helps if they know what they are looking at, and as previously mentioned its best viewed from a distance, as up close it’s as much sculpture as painting.
Figure 2 – Reclining nude
Oil on paper, 21×28 cm
Figure 3 – Close up of reclining nude
Staying with the use of impasto, Van Gogh’s paintings transmitted the idea of speed and haste, and expressed a deep emotion and primal sensibilities of the subconscious mind.
By incorporating speed I felt that this may open my own subconscious mind – and this was my intent for this study. Notwithstanding my intent for speed I also wanted to exploit light, which can be difficult when working from sketches and photographs, but more poignant to the use of impasto is how light is reflected off the varied heights of the surface to make the painting feel life-like.
Having made some outline marks of the composition, I applied and mixed paint on the support with a painting knife. Mixing colours meant applying colours side by side, or one of op of the other, and dragging or blending with the painting knife.
As the piece developed gradations in colour started to appear, although this was also dependant on my viewpoint, moving left and right of the easel, as well as the strength of natural light pouring into the studio.
What I really liked about this piece was the spontaneity of mark making, darting in and out of the support to apply or remove paint. The fluidity of mark remains visible and is reactive to the composition. (See figure 5 and 6) But what does it tell me about my subconscious mind? Perhaps that’s a question for an Art Therapist. There is a down side to impasto painting – it requires a lot of oil paint.
Oil on paper, 28×21 cm
Brush work:
Feedback from my tutor had encouraged that I maintain the impulsive and intuitive nature of my mark making and seek not to overwork the outcome. He also recommended the works of artist that I may find inspiring. One such artist was Elizabeth Peyton whose glorious use of colour and mark making captures the personality and expression of her sitters.
Developing the theme of marking making I produced a series of small studies, initially with a limited palette of two colours; burnt umber and titanium white. The purpose of this exercise was that each mark had a purpose towards creating a tonal study. To avoid being consumed with detail – and overworking, I deliberately chose a wide paint brush. Once completed, I introduced primary colours, albeit in a non-representational way. This was to establish how they would react alongside the composition and a limited palette. What I discovered was that the eye is first drawn to the primary colours and not the composition. The red above yellow in the bottom right (see figure 7) almost acts as a warning – do not enter.
Oil on card, 23×17 cm (each card)
Sketchbook 3, p. 96 
Sketchbook 3, p. 93
Developing this study further and on a larger scale I mixed cerulean blue with a quick drying medium which I used to draw a loose outline of the figure. The use of cerulean blue was a conscious decision in my thought process as I felt it might act to ground the figure against the white background. As the painting developed most of the outline was lost.
The outcome was overworked and disappointing. Paint marks were stiff and laboured and body parts look isolated from one another.
Oil on paper, 50×40 cm
Mark making – tools and brushes:
In something of a reverse from the previous exercise I stripped back the skin tones to explore a more dynamic, impulsive and intuitive nature of my mark making. To provide some structure I produced a very loose outline of the figure using a charcoal pencil. (See figure 8) I then used different coloured oil paints; diluted with a quick drying medium, to draw the figure. With a linen cloth I removed the marks from the support. (See figure 9 – 10). Inevitably some marks and the darker tonal areas remained visible which I would use as reference as I developed this study.
With a limited palette of titanium white and cerulean blue I used a plastic scrapper (7cm wide) and a No.18 short-flat paint brush to block in tonal variations. I had envisaged more of the dark under layer showing through the titanium white but instead they had been absorbed into the support. (See figure 11)
Figure 8 
Figure 9 
Figure 10 
Figure 11
Once dry, I used Prussian blue to redefine some of the marks, varying the thickness to reflect the depth of tone. I feel that I manage to retain an expressive nature to my mark making, albeit less impulsive or intuitive. I was initially disappointed with the outcome (see figure 12) perhaps overthinking as opposed to overworking. As it continues to sit in my studio, there are more elements which now appeal; particularly an undertone of being unfinished and visible marks upon marks.
Oil on paper, 50×40 cm
Abstraction (Collage)
Artists such as Jenny Saville have recently explored the distortion of figurative imagery using fragmented sections of representation alongside geometric and gestural mark making by combining different painting techniques. Reflecting on this I felt this was an opportunity to explore an idea I had swishing around in my head.
My inspiration for this study is deep rooted from when I used to live near the Malvern Hills in Worcestershire. I felt that the hills, when viewed from a distance and a particular view point, took on the form of a reclining female figure (bear with me on this). Using materials and techniques that I had discovered or developed throughout the course, I felt that this would be a good opportunity to develop this idea further, combining the human figure with the landscape to produce an abstract piece of work.
For this study I started by producing a collage using pages from a magazine and layers of tissue paper. These were applied to an oil paper support using PVA glue. The tissue paper was rolled or concertinaed over areas of the body where skin may to be taught over the bone structure. The coloured pages of the magazine were used to depict tonal variations. Once dry I used a palette of warm colours to create a balance of skin tones and autumn colours to mirror the human form and landscape. I was reasonably pleased with the outcome but I would have liked more time to develop this further, incorporating natural materials would have lent themselves to creating a more textured landscape. (See figure 13)
Collage, mixed media on card, 50×40 cm
Having spent two weeks exploring and developing ideas (or not, as the case may be) my final week was to produce a series of three to five paintings on my choice of theme.
Standing female nude:
Working with my model I started with some charcoal sketches. To maintain an expressive element to my work I moved away from the sketch book to loose sheets of smooth A2 cartridge paper clipped to MDF hardboard and mounted on my easel. The weight of the hardboard has taken its toll on my easel which could no longer take the weight. To get around this I attached two bulldog clips to legs to support, and prevent the horizontal bar from sliding down.
Before I knew it session 1 with my model had finished and I hadn’t even taken the tops of my paints. For those who are fortunate to work with a model do remember that there is a code of practice, but also to include breaks, a heater and if you are returning to the same pose, tape or mark the models position on fixed points, i.e. floor or chairs etc.
From this session I had produced a number of charcaol sketches on A2 paper. (See figures 14 – 18). These provided me with an idea of the pose, light and viewpoint from which to develop this further.
Fig. 14 
Fig. 15 
Fig. 16 
Fig. 17 
Fig. 18
The second session with a life model started with preliminary paintings. The aim was to confirm the angle of view (frontal or side-on), with a brief tonal study (positioning of a light source as the weather was really overcast), but also to loosen up before moving on to a final study.
Fig. 19 – Female nude study. Oil on paper , 30×20 cm 
Fig. 20 – Female nude study. Oil on paper , 30×20 cm
For this final standing pose (see figure 21) I started by measuring and marking out the figure of the model on the support. The support was stretched, un-primed oil paper (65×50 cm). To fill the picture frame I had made the conscious decision to only include three-quarters of the figure, otherwise it may have left a lot of negative space, and thin stick figure – neither of which was my desired effect.
I really enjoyed the process of creating this piece of work, from the preliminary sketches to the final outcome. I particularly like the bold and visible brush strokes and impressionist obscurity of the form. Reflecting on the piece now, I can see that the proportions around the right shoulder (left as you look) are not correct, the arm may be too thin or the mark around the armpit is too short. The right thigh (left as you look) bum cheek should be fuller.
Oil on paper, 65×50 cm
Resting female nude:
Having spent considerable time sketching the standing figure, time was against me. However, I had already learnt the lesson that time in preparation is seldom wasted. I addition to the sketches of my life model (see figure 22), I also made reference to the preliminary studies I had developed over the previous weeks
Charcoal on paper, 42×29 cm
During my research I had looked at Derain’s use of colour to replace light and dark hues to render form; the obscurity of Gilman’s models features; Gilman’s bold and contrasting brushwork and the simplified figures and bold outline employed by Matisse. Taking inspiration from all three the intent of this study was to develop these ideas and techniques within my own style.
For my first study I started with a charcoal sketch, some of which remains visible under the paint (see figure 23). I used a limited palette of crimson alizarin, burnt umber, cerulean blue and titanium white. Paint was applied with a #14 short flat brush.
Most of the figure was painted using a range of tones by mixing burnt umber and titanium white. Natural light enters from the top left of the painting: albeit an overcast day with no direct sunlight. The use of a limited palette focusses the eye to observe the tonal variations, which I felt I had captured quite successfully. Where the tones were darkest I had incorporated the use of a bold outline. I was pleased with the solidity and rendering of tone to create a three-dimensional form.
Oil on paper, 50×40 cm
This was the final session with the life model. To use the time efficiently I used my prepared oil paper support to sketch and develop a pose, and to paint; an idea I got from visiting the Lucian Freud Self-Portraits exhibition at the Royal Academy London recently. At first it seems like a really good idea, but having turned the support numerous times and rubbed over marks with a linen cloth it was difficult to work out what I was left with. (See figure 24)
Having decided that I had a reasonable composition for the size of the support (19″x15″) I used Prussian blue oil paint to sketch the outline of the figure. In addition, I used a palette of crimson alizarin, yellow ochre, burnt umber, raw sienna and titanium white. Prior to this study (and without the model) I had experimented with colour to create form, which whist unsuccessful, I wondered if I could use intense colours and connect brushstrokes without blending.
I wasn’t really sure about the outcome. (See figure 25) The use of warmer, vibrant colours would have explored this theory with more rigour. I was tempted to paint over the marks from the sketch work but felt this added some context to the development of this study.
Oil on paper, 50×40 cm
The face:
There is less pressure when the artist is also the sitter, but I also felt as though the self-induced pressure of using the life model had ensured that my work remained expressive; without the need to render detail or overwork.
Reflecting on my tutors’ feedback from a previous exercise, he commented that my use of a limited palette and the limited number of brush strokes during my preparatory work created a decisive and purposeful image, which was often missing, or a little flat in my final pieces. I also felt that I wanted to incorporate mood, attitude and/or atmosphere.
In my sketchbook, I developed ideas which centred on my decision making (don’t get caught in two minds and produce something this is flat, or stiff); mark making, colour and composition.
Using a limited palette of predominantly burnt umber and titanium white I started with a warm-up exercise. (See figure 26 and 27). Notwithstanding the feedback I had previously received from my tutor I was keen to work with a palette of colour.
Figure 26 
Fugure 27
Working on a smaller scale (23x20cm) I developed three colour studies. (See figures 28 (a) (c) For figures (a) and (b) I created form with overlapping marks. The use of warm and cold colours was to establish if they enhanced mood or attitude, or not. My conclusion was that although it may enhance mood or atmosphere, it is the facial expression that will dictate attitude. For figure (c) I used complementary colours to replace light and dark hues to render form. On reflection I felt that this have been more purposeful had I included a background.
For my last piece for this assignment (see figure 29) I wanted it to reflect my preliminary work, research and conceptual ideas. The support was stretched, un-primed oil paper (12″x18″).
The first thing to say is that it’s difficult to paint a self-portrait close up when you wear varifocal spectacles. My intent was to render form by using different colours and hues, using overlapping brush marks, but without blending or overworking. The lightest areas were left blank to let the support show through. This was intended to enhance the darker tones although I can now see that I could have used this concept more effectively.
I was pleased with the outcome which I felt had met my intent and aspirations for this piece of work. I also wanted to communicate the spontaneity and expressivenessof my artwork, and I hope this comes across.
Final paintings:
References
Cohen, A. (2018). Jenny Saville Changed the Way We View the Female Form. [online] Artsy. Available at: https://www.artsy.net/article/artsy-editorial-jenny-saville-changed-way-view-female-form-painting [Accessed 3 Nov. 2019].
Gladstonegallery.com. (n.d.). Elizabeth Peyton – Bibliography – Gladstone Gallery. [online] Available at: https://gladstonegallery.com/artist/elizabeth-peyton/bibliography [Accessed 3 Nov. 2019].
Graves, E. (2003). The Nude in Art – a Brief History : Museum : University of Dundee. [online] Dundee.ac.uk. Available at: https://www.dundee.ac.uk/museum/exhibitions/djcad/lifestudy/graves/ [Accessed 3 Nov. 2019].
The Courtauld Institute of Art. (n.d.). Walter Sickert: The Camden Town Nudes. [online] Available at: https://courtauld.ac.uk/gallery/what-on/exhibitions-displays/archive/walter-sickert-the-camden-town-nudes [Accessed 3 Nov. 2019].
the Guardian. (2019). Elizabeth Peyton: Aire and Angels review – beautiful loners. [online] Available at: https://www.theguardian.com/artanddesign/2019/oct/12/elizabeth-peyton-aire-and-angels-national-portrait-gallery-review [Accessed 3 Nov. 2019].
YouTube. (2014). Lucian Freud’s RAREST Interview – Part 1/5. [online] Available at: https://www.youtube.com/watch?v=i5KcT4PBh2M [Accessed 30 Oct. 2019].
Reflection
Demonstration of technical and visual skills:
I can see that I have come a long way since my first assignment. The understanding of colour theory has given me the confidence to explore and exploit various ideas and concepts; be that through the luminosity and vibrancy of colour or a limited monochrome palette. I would like to say that those muddying mixes are a thing of the past, but that would be stretching it too far. I have enjoyed exploring more gestural techniques which is reflected in my own work, particularly during assignments 4 and 5. I feel that my observational skills are stronger than my compositional skills at this juncture, and this is an area I will continue to develop.
Quality of outcome
My tutor had previously commented that my preparatory work was more decisive and purposeful than my ‘final’ pieces, which were often flat or lacking direction or purpose. One aspect I have come to appreciate is that you need to feel it, rather than think it, to be expressive. I hope that I have manged to communicate this ‘feeling’ through the outcomes of my artwork. For this assignment I used the familiarity of the human figure and the face to communicate my ideas in a conceptual manner.
I feel that my work (and blog) is presented in a coherent manner, although I acknowledge that I should use my sketchbook more effectively to communicate the life-line of my idea. I no longer see my work as good or bad, but instead what it communicates (if at all), and of course, that’s open to interpretation.
Demonstration of creativity
I feel that I have been able to demonstrate creative thinking and experimenting with different materials. There is no doubt that when I reflect on my work throughout this assignment, and previous modules, I am much more confident in experimenting with mark making, media and collage – albeit with varying results, but that’s the excitement of experimenting. Part 5 – Personal Development, has provided a platform from which to explore this further, to take chances where previously I may have played it safe, or avoided something entirely. Although I have finished this assignment in order to meet the timelines, I continued to work on a collage incorporating the human figure into the landscape.
Context
I am becoming clearer about my own artistic style and voice which I feel I have been able to express during Part 5 of the course. Looking closely at the work of other artist, and timely visits to two separate exhibitions has helped to explore and develop my critical analysis of artworks and consider how this can communicate a narrative or meaning. I think this has helped me to conceptualisation my own ideas and self-reflect. Being able to be critical about one’s own work is important as this leads to developing and exploring techniques and ideas. I also feel that it’s important to hear listen and understand the ideas of other artists, which may (or may not) influence your own work and ideas.
OCA BA(Hons) Painting Degree - Level 1 