melted sketches and scribbled paints

impeccablymessy — Fri, 03 Feb 2012 03:47:38 +0000

Downtown Toronto, 2010

my take on turner’s newark abbey

impeccablymessy — Thu, 02 Feb 2012 05:05:44 +0000

today’s task was to have an old master’s painting as a model and to define such painting in my own way.

After endless scans from Pissarro to Rembrandt, I settled with Joseph Mallord William Turner’s Newark Abbey on the Wey.

I started with my underpainting. I kind of realized that the actual painting’s palette was a bit too close from the old master’s underpainting palette and so I decided to go back to basics and use just raw umber and white to create all my tones.

I started with blocking my shapes using my mid tone- equal parts of white and raw umber. I know it’s crappy but I wanted to define the process so please bear with me.

I then proceeded with defining my darker midtones and lighter ones, blocking deeper shadows and lights and here is what I have so far

Now my underpainting is not exactly 100% finished. I kind of left it without defined points of light, but as my professor said, the underpainting is basically to guide you once colours are ready to be placed. I take that as there’s really not much need to go too deep into details but it would help if you have it.

I would probably define more lights into the painting before I start with my colours. The colours of Turner’s painting are not exactly at its boldest tone (Notice the faint blues, and yellows, and sienna..) so putting the colours in might be harder next week..but probably interesting.

Let’s hope it works out!

point by point study on adding colours

impeccablymessy — Mon, 30 Jan 2012 05:18:39 +0000

this is basically my take on how I’m being taught to add colours layer after layer after layer.

for this particular study, we used the same structure and objects as the subject, except these have colour

as i have mentioned in my previous post, after studying blocking and painting shadows, I moved on from using just raw umber and titanium white to create 4 mid-tones to using colours close to the Old Masters’ palette- yellow ochre, raw umber, burnt sienna, and titanium white.

Now as for colours, I opted to have my 2 shades for each colour and play with it- mixing just the right shade for my local colour and adding raw umber gradually to it to create colours for my shadows and darker tones.

As I progress with using acrylic, I find that it is becoming harder and harder to use as it dries so quick, the difficulty of blending my colours become increasingly hard. As I have realized as well- I may have been lacking a blending medium. Solution: gloss medium maybe?

Grace-the prettiest girl cat on earth

impeccablymessy — Mon, 30 Jan 2012 03:24:04 +0000

starting with an underpainting

impeccablymessy — Tue, 24 Jan 2012 04:01:28 +0000

under painting for still life exercise#2 has been finished last week. This week are all about layering the painting with colors.

First, I opted to choose a palette, very similar to what the Old Masters used.The use of titanium white, raw umber, burnt sienna, and yellow ochre and coming up with five different tones using these pigments are what molded my shadows, shapes, and negative space.

Posting the exercise with colors this week.

random doors

impeccablymessy — Tue, 24 Jan 2012 03:28:31 +0000

This isn’t really something I made in class. It’s one of those random paintings I made-scribbles or doodles if you must- when I was seeking for doors as my subject.

this was made with acrylic on a piece of canvas paper I keep

a random doodle if you please.

Halfway finished

impeccablymessy — Sat, 14 Jan 2012 14:17:27 +0000

Given the task of creating tones and shadows, I opted to use raw umber and titanium white in four different tones to indicate shadows, lights, composition and depth.

I had about three hours to create still life and I still wasn’t able to finish.

still life exercise #1, acrylic on canvas, 11 x 14

Creating shadows & pinpointing lights

impeccablymessy — Sat, 14 Jan 2012 13:59:06 +0000

so as I go through the process of learning the fundamentals, I’ll be documenting my journey of seeking my niche and refining my art.

now as my instructor have said, there is no cheating in art, there are fundamentals, but it is up to you to find your space, and your imprint.

bear with me as I go back to basics please.

impeccablymessy — Fri, 30 Dec 2011 04:31:26 +0000

Kurtz Orchard.

Niagara-on-the-Lake, 2010

moving vehicles

impeccablymessy — Tue, 27 Dec 2011 18:06:59 +0000

I figured that, despite the 8% battery remaining in my laptop, I’d give birth to a new vehicle for my thoughts. See I keep a notebook, and a sketchpad full of scribbles, and sketches, why not add another medium in the form of an art blog right?

nobody will probably read this at this point as I’m just starting. It’s probably more of me talking to myself than actually talking to other people about this. What the heck, I write and make art for myself and that’s that.

word.