Sunday, May 21, 2017

Landscape Perspective Painting

         In my landscape painting, the use of forground interest was a really crucial technique in developing persepective. While there were not necessarily more objects in the front, the brightness of the flowers in comparision to the duller tones of the rest of the painting worked very well in helping to create perspective. I also used changes in size to make more depth. The palm trees in the backround are much thinner and smaller than the two large palm trees in the forground. While the S curve or "winding path" is a perspective strategy, I had to tone it down a little bit, as the light in the S curve detracted from the feel of persepective rather than adding to it. Than said, the winding of the dark blue water is a technique that I did use. And lastly, I used aerial perspective. My sky, trees and foliage in the backround all have a duller, blue white feel to them, in contrast to the bright pink and red pop of flowers in the forground. 

The main challenge that I faced when painting my landscape was the feel that it was flipping forward. I was puzzled about it, for as I said in my previous paragraph I was utilizing many perspective techniques. What was contributing to the flipping forward feel was the bright light in the lake. To fix this, I dulled the light with some blue and green layering, and decided not to paint the light as far up as it goes in the photograph. One thing that I would do differently is be more accurate as to where my horizen line was. Because of all the trees and the foliage, my horizen line ended up creeping up a little too far, so when I needed to paint my two main trees in the forground, there was not quite enought room. 

LMC Unsung Hero Planning

The story that motivates me the most is that of Jacob Valentine II. Valentine made a huge positive impact when he joined President Roosevelts "tree army" and traveled all over the country planting trees and making improvements to the environment. He enlisted in WWII and because of his deep familiariy with nature, was able to save many men who were drowning in a river after a surprise attack by the Japanese. After returning to the states, Valentine became deeply involved in land, biology, and wildlife conservation. Valintines focus was on the wet pine savanna along the gulf coast. In 1970 the U.S interstate 10, which links California with Florida was designed to go directly through the savanna. Valentine knew that if this was constructed with out any consideration for the environment, the many rare species there would surely become extinct. He took his argument to court and stopped the contruction of the highway, saving a lot of land and animals, especially the sandhill crane.

This story particularly inspires me because I believe land conservation and being aware of the environment in one of the most important things we can do. All of the other issues that people are fighting for, will not be issues if we do not take care of the land we live on. Valentine is a really inspiring example of someone who gave the land a voice, and fought relentlessly to protect it and it's inhabitants.

Some images I can use is the geography to Florida from California. I think I can really bring the beauty of both states out, as well as the savanna desert-and then create a piece of it that has a highway being built and grey, poluted air coming up from it. I could include animals that are thriving in the conserved parts, and animals that look sad or weaker near the parts where the highway is being built. Signifigant pieces would be the portayal of beauty in protected land, and the portayal of destruction and polution.

Wednesday, May 3, 2017

Contemporary Painting

                                                  Kerry James Marshall, Untitled, 2009
While contemporary art has many aspects to it, one is the use of civil rights messages. Marshall illustrates an African American women to bring attention to who gets excluded from the story of art. The paint by numbers canvas behind her is half filled out. The hair is painted bright red, a way that Marshal is highlighting how we can make certain choices, and not follow the norm. The womens elaborate clothes, and hair bring attention to her culture and highlight it. The way Marshal has painted her expression makes her seem confident, strong, and happy to be who she is. This painting is showing how it's good to break rules and go beyond the classical norm of many art pieces. 

Njideka Akunyili Crosby, Mama, Mummy, and Mamma, 2014
Learning about Njideka Akunyili Crosby's work I think helps people feel less seperated from those who aren't born in the country that they were. Layering Western infuences and her Nigerian heritage, Crosby shows how different cultures can come together in a beautiful way. A wall in the painting is made up of photos of people in her family to bring attention toher heritage. Blending American techniques and collafed photographs from Nigeria, Crosb creats a strong message in her paintings. I think people get a sense of unity, and layered culture when looking at Crosby's work. 
Jaq Carter, Montipora Edge, 2013
The artist in this work is making a connection with science. I think these pages make it clear that art can be what the artist wants it to be. Painting doesn't have to be limited to 2 dimensions and can use any pigment or color. Any message can be conveyed through art. Finding ideas in the simplest things, or creating a piece that one can walk through-art is not limited. 

Thursday, April 27, 2017

Realistic Self Portrait

My feedback was to narrow my face, enlarge my top lip, and narrow down my hair at the top region of my head. I think the piece of advice that helped me the most in completing my self portrait more accurately was to narrow down my hair. At first I had my hair coming out of my head with great volume and a symmetric feel on both sides. However, that is not how it looks in real life. I made my hair fall fairly close to my head, and emphasised that the strands and sides are not symmetric. Enlarging my top lip made my face appear less narrow at the bottom, which did a lot to improve how much it resembles me. I didn’t narrow my face, for I already had struggled a lot with capturing my jaw line, and I think changing my hair made my face look thinner already.

The difference between my pre-instructional portrait and my final result is really shocking. In my pre-instructional, my eyes are not nearly round enough, have very little accurate detail and are placed too high on my face. I didn't know how to draw a nose and that is very clear when looking at my first portrait. In my final piece I’m proud of how I drew my nose, and think it resembles me fairly accurately. My hair is a big part of my identity, so I really exaggerated it in my pre-instructional. In my final portrait however, it is much more tastefully done and the way I made my marks add to the way it falls. The biggest change I saw though was that my pre-instructional looked nothing like me. Though I found it very challenging, my final self portrait does capture a likeness to my face in real  life. Mark making, learning proportions, studying my face in detail, and the adding of value and shadow all contributing to the improvement in capturing my face on paper.

Tuesday, April 25, 2017

Introduction to Landscape Painting

The Artist's Garden at Vethuil, 1880, Claude Monet

This painting has a calm, cheery feel to it. I notice straight away the child and the path, with the mother and another child in the middle ground. At first glance the buildings in the back seem like a church to me, but upon closer looking they seem to just be buildings. What is most striking about this painting is the towering sunny flowers that seem to be taking over the path. Monet uses overlapping, hiding parts of the buildings with the climbing flowers. The path that seems to go far back into the painting also adds to the feeling of depth. Monet does not use ariel perspective in this painting, as the buildings in the back are just as defined and dark as the objects in the front of the painting. He does however inlclude forground interest, as the child is fairly in the front of the painting. Overall this painting feels like you could take a walk with the child through the path, and uses many techniques of creating depth.

The Garden of Eden, 1860, Erustus Salisbury Field
My first impression of this painting is that it has a lot going on. I wouldn't describe it as choatic, as the garden itself has a peaceful and magical feel to it. Adam and Eve, along with many animals take up the majority of the forground. There are many exotic looking trees, winding streams, and mountains that have a "forever going" feel to them. When looking at this painting the most dramtic way I see Feild creating depth is with ariel perspective. The mountains fade off into the distance, and the sky at the horizen is much less distinct then the objects in the forground. Field subltly uses diagonals with the mountain ranges to create more depth. Forground interest is present, for the forground in extremely busier (with animals and people) then the rest of the painting. In conclusion, I think this painting shows a lot of content and detail while still keeping a serene and otherworldly feel to it.


What it is: Underpainting is a technique of applying a layer of paint that functions as a base for the other layer that are applied in top. It starts to build your painting in contrast and tona values, having a major affect on the rest of the painting. 

How to use it: There are two types of underpainting: tonal ground and tonal. The first covers the entire canvas in one transparent color and creates backlighting shadows that will, as the painting progresses, provide contrast for complimentary colors. The next type is similar to above, however you map out where you want light and dark-even leaving parts unshaded. This type of underpainting created brighter colors, and shine where the whote canvas once was. With thinned, good quality paint, underpainting can change the way a painer looks at color and tonal values. 

Friday, March 24, 2017

Eyes, Nose, and Mouth Exercise


    • To demonstrate understanding of the structure for each feature: eyes, nose, & mouth;
    • To practice using black & white charcoal to render a drawing, using brown paper as the middle value

When drawing my mouth, it felt fairly straightforward, and I like how it turned out. The creases in my lips, and the darker corners as well as the darker middle part (where my lips part) contributed to the successful feeling for my mouth. I think I captured the shape of my lips accurately. One thing I need to keep in mind while drawing my full self portrait, is drawing my feautures exactly and porportionatly, not how I WANT them to look. Drawing my eye felt successfull as well, though I think the corner looks a little too sharp. The parts I really like about my eye is the light in the pupil as well as the highlight around my iris. I think it will take a lot of looking closly in my full portrait to accurately capture my eye shape and not just an eye shape. My nose I think was the least succesful, though I do like the way my nostrils look in the sketch. I need to work on keeping it large and accurately depicting the width of the bridge.

Tuesday, March 21, 2017

Intro to Portraiture

Old Man with a Black Hat and Gorget, 1631, Rembrandt Van Rijn

Born on July 15th, 1606, Rijn's modest family did everything in there means to provide him with an exceptional education. Leaving school to study art, Rijn became highly respected at the young age of 22. He moved to Amsterdam in 1631, which brought him many wealthy patrons to commission his art work. Although Rijn's professional carreer was highly successful, his personal like was marked with tragedy; his wife and children all passes away, and his beloved house was a financial burden. While his life continues to be filled with misfortune, such as him declaring bankruptcy, his artisic skills only continues to flourish as he painted "The Jewish Bride" and "The Syndics of the Cloth Guild" 

Americans who Tell the Truth, 2003, Robert Shetterly

Shetterly was born in 1946, in Ohio. He graduating from Harvard and after made the move to Maine in 1970. Shetterly illustrated many books, and was active in Civil Rights and the anti-Vietnam War movement. His paintings leaned twards narrative and sureal, though more recently his series of portaits have been gaining him attention. Shettetly has been able to use his artwork and attention to educate people all over the country that democracy cannot function and serve its purpose if politicians do not tell the truth. 

Linda Nochlin and Daisy, 1973, Alice Neel

Born in Pennsylvania, Neel was the fouth of five children. After graduating highschool she took night classes at the school of industrial art. Enrolling in a fine arts school for women, Neel became honored for her portraits. In 1924 she met a cuban artist, and continued to improve her art education. After she married the cuban artist, Neel traveled with him; Picking up different art techniques where they went. She gave birth to a daughter in 1926, who died not long after and is buried in Pennsylvania. Living mainly in New York, Neel continued to travel a lot her whole life. Diagnosed with cancer, Neel died on October 13th, with her family by her side, in New York. 

Madame X, 1884, John Singer Sargent

Sargent was born in Florence in 1856. Studying in Italy and France, he caused scandel and complaints, for his paintings were seemingly provocatively errotic. Moving to England, he established himself as the countries leading painter; his works were hung in famous museums like the Museum of Fine Arts. While he tried to keep his personal life and relationships private, he seemed to be involved in constant scandel regarding women. His moves around the world were mostly caused by heavy commisions being offered, as well as trying to keep scandel about his former paintings at ease. Sargents painting, "Group with Parasols" sold for 23.5 million dollars in 1905. 

The mood of Linda Nochlin and Daisy, 1973, by Alice Neel, is a bit scattered. The mother and daughter seems fairly happy, or at least content, yet it is clear that they are not particularly affluent given their clothes. Though there are some cool colors, the painting feels warm and comforting, I think the fact that it is based in a home and on a couch adds to that. The different colors of the clothing and the pattern of the couch add to the "scattered" feeling I mentioned before. The wrinkes of clothes and skin are very obvious, making everything seem a little messy-not sharp or crisp in any way. The daughters face seems a bit impatient, however content and childlike. The mother looks content as well, however the creases in her face and her boney fingers make her look like she has been distraught or worried at times. 

The mood of Madame X, 1884, by John Singer Sargent, is opposite in really every way to the painting described above. I think first it's important to note that this was painting in the 1800's, so the amount of shoulders and chest shown was extremely scandelous. "Madame X" appears aloof, yet upright, confident and mysterious. The  painting is fairly dark in color for they are dull and her skin sharply contrasts with the black of her dress. Her features are all very prominent and beautiful. I cannot quite tell what she is holding, for it look as if she is grabbing a handful of her dress-adding to the provacative feel of the portrait. Some words I think best describe the mood of this painting are: Mysterious, sharp, provacative, moody, dark, confident, aloof and strong.