At the moment the following is subject to a video tutorial to take place later.
I will send a selection of my tondos with my Part 5 submission, or sooner, as it was difficult to judge the works’ quality from the blog. I can also send my Part 3 Family Album artist book at the same time.
Response to general points
- The blog complements the work submitted, which is valuable for assessment; that is useful to know. As a point of interest, a friend who bought one of my POP paintings found that reading my blog notes on the development of the painting enriched her appreciation of the work itself; maybe there could sometimes be a case for this ‘journal’ of the work’s development becoming part of the work.
- Using a viewfinder helped me find good subject matter, although I found a huge difference between what my eyes and brain saw and what the camera snapped. Photos help too. but are dull on their own – mundane subject matter needs to be transformed by the eye and the brain working together (observation and imagination) to express feeling.
- Harvard referencing – recommendation noted and I will do for Part 5. I couldn’t find Pierre Bonnard’s tondo online either (my source was the course-recommended book The Artist and the Camera), and I’ve added a photo of it to my blog here
- Will continue to integrate contextual research into development of / reflection on my own work
Project work –
Need to discuss tutor’s comments on Teabags to understand fully lessons to be drawn from Matisse et al and Lisa Milroy (Geisha series?)
I feel my Scissors tondo was one of my best because its composition, texture effects, palette, augmentation with other media, all make it quite a rich painting – perhaps we can touch on this is our video tutorial.
The Drummer – I looked at Alexander Cozen’s blot technique in the link (http://www.handprint.com/HP/WCL/artist03.html), a liberating method of suspending critical judgement in order to paint an imaginative vision. First and most importantly the subject must be clearly visualized in the mind. I like the idea of then crumpling and flattening the surface of a large sheet of paper, and painting the major forms quickly with liquid medium. The resulting image is then copied onto watercolour paper as a basic outline of a painting.
Also took a look at decalcomania, or pressing paint between two surfaces, for example paper and plastic wrap. Both these techniques could contribute to my Part 5 work.
Coloured pencil tondi – I agree the brushes alone would make a stronger painting, I think I’d almost picked up on that in my blog by saying I’d make the paints recede more if I did it again – they distract and should either not be there or be pushed firmly into the background.
I’ve just found some fine coloured pencil tondi by Fernand Khnopff in The Artist and the Camera, page 146-8. They show how coloured pencils and pastels can be used in a subtle & suggestive way, which I plan to try to adopt in some of my work for Part 5.
To be discussed (what work is best and has moved me on most)
I like the suggestion to transform the research on artists I look at to reflect my own themes. Also for the mini-essay – focus on a contextual theme that supports my thoughts on media research – need to discuss further.