Assignment 4 – Tutor feedback
Here are some of the main points I have taken from my tutor’s assessment of my Assignment 4 coursework, which again is supportively constructive:
Things to hold onto and develop
∞ Signs of loosening up in brush work.
∞ Some enjoyable and richly evident mark making.
∞ Some use of rich and evocative colours and tones which are visually pleasing.
∞ The effect of atmospheric light pervading everything in a view, in a landscape, can help to unify or permeate all the elements – aim to develop.
∞ Further practice of ‘vastness’ within a landscape composition worth developing.
∞ Signs of ‘mood’ and ‘atmosphere’ using simpler, complementary pairs of colours.
∞ Some good solid preparatory sketches.
∞ A developing sense of scale.
∞ Sketchbook – still more practice and recording of observations and notes about what visually inspires.
∞ More colour sketches – develop a ‘library’ of images for possible future paintings.
∞ Learning log is well-tended – maintain.
Things to let go of or change
∞ Tightness in some work – edges and lines too straight – soften/fragment edges and look for pleasing curvature in a scene as opposed to dead-straight lines.
∞ Paint too thin/transparent in places – use thicker paint.
∞ Starkness in some pieces – lack of colour/warmth in dark areas.
∞ Some flattening effects in certain scenes creating a lack of overall unity/harmony in the painting – pay attention to tonality/colouration and perspective (i.e. ‘sharp near and soft/muted far’).
∞ Signs of mismatch between dark tonality/mood and subject.
∞ Avoid overly fiddly detail.
∞ Keep an eye on the overall view and balance of a piece – stand back and check more/use a mirror/look at it upside down.
∞ Be less literal in approach – don’t play safe – be selective in what to include in the composition – eliminate unwanted or unnecessary detail.
Things to try
∞ Extend the ‘Shed’ view oil pastel sketch into a painted version.
∞ More work along the lines of the ‘Cattle’ painting
∞ Experiment with different painting surfaces (other than canvas board which hasn’t much ‘give’) – try primed watercolour paper or ready primed canvas off a roll.
∞ Experiment with other ways of applying paint.
Things to follow up on
∞ Look at and consider the work of Anselm Kiefer – use of texture, additional materials and the process of layers in his work.
∞ Look at consider the work of Frank Auerbach – use of thicker paint, surface qualities and treatment/simplification of subject.
∞ For the roundedness of a painter, continue to look at and consider the work of David Hockney – working through charcoal drawings, to watercolour studies, to acrylic and oil paintings.
Stuart Brownlee – 512319
22 October 2014