Monthly Archives: February 2015

whose statue?

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A statue over the grave of Constance Christian Hardyman (died 1892, age 25) in Smallcombe Cemetery in Bath, at least those are the details on the headstone. A search on the internet reveals that “Constance [Trueman] died in Bath in April 1892 after the birth of the couple’s first child, Constance Christian“, but that doesn’t match up with the headstone. As with many of the crumbling, lichen-covered headstones in that cemetery, who knows who lies below.

This was intended to be a figure study but I wanted to get it fairly accurate, so for the lay-in I drew a grid matching one over the photo. A rough watercolour wash was used to get the main dark shapes (using Ed’s homemade watercolour set, made from a converted mint tin with the half pans attached with magnetic tape).

After that it was trial and error with many layers of acrylic paint. The colour choices were based on the mid-winter frost-covered scene with its purples, russets, blue greys and whites.

I couldn’t settle on the background. I wanted it to be roughly true to the original scene rather than just showing a generic graveyard, but it looks rather contrived and gimmicky despite toning it down with white mixed with glazing medium. I think I should do more straightforward studies before getting too painterly like this, and develop skills in colour mixing, values and composition.

light and dark

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Following on from the previous post, I wanted to create a similar illusion of light areas made brighter by contrasting them with areas of dark, but this time using my own photos as reference – these are taken from a holiday in Malcesine on Lake Garda in Italy.

The picture by the lake seemed to be a bad choice for this experiment as the whole scene is flooded in bright sunlight. The lightest value is on the shirt of the figure in the centre, though the whole of the stone jetty needed to look strongly sunlit. The contrast is provided surprisingly by the distant haze of the receding lake and mountains which even in the bright sunlight appear as a relatively dark blue grey.

In the original photo, the eaves of the house on the right were very dark, almost black. One of the dangers in working from photos is that the shadow detail can often be lost, though in this case I thought that would work to my advantage as I wanted to create more contrast and avoid what James Gurney calls ‘middle value mumbling‘. After painting the eaves nearly black, I tried to add a highlight along the outside edge, but I overloaded the brush with paint and created an unnaturally thick white line. As I wiped it away with a finger, it blended with the dark under-eave colour. The result by happy accident looks much more realistic, with the eaves reflecting the bounced light from below. The house dimensions are way too small compared to the figure in the centre (which is slightly too large) – imagine the size of the figure looking out of the top floor window.

The second sketch was more successful in terms of contrast and perhaps composition but I’m not sure I’ve captured the light glancing across the uneven surface of the pink wall in the centre – it looks more like a wall of drying plaster. This is another hazard of trying to be too faithful to a photograph: what makes sense in a photo might not translate into paint.

glow in the dark

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A quick gouache copy of Terry Miura’s oil painting The Philosophers.

I’m always struck by how the illusion of glowing, light-filled areas can be produced by surrounding those areas with dark. The strong sunlight transmitted through the red canopies can only appear that bright if the whole scene is painted in a low key. Ignoring the white highlights, the lightest values in the painting are the red canopies and the foreground in the sunlight, but they’re not that bright at all when you examine the paint used: a dull pink/brown for the foreground and a not very saturated lightish red for the umbrellas.

The gouache I mixed up for the background lightened dramatically as it dried, taking away from the illusion. This is perhaps partly due to the matt finish of gouache, but it’s something I need to keep in mind when mixing paints. And somehow I’ve managed to chop the philosophers’ legs off and put them on baby chairs – perhaps that’s what they’re discussing.