Having a strong framework to begin the practice of painting is a must. Students often ask ‘how do you know when a painting is finished’? My response is: ‘when you have achieved your visual goal’.
In the practice of painting, the action of process and thinking through the discipline will aid the student to keep on track with their visual goal, in this
instance our goal was to achieve a sense of Drama and Sfumato within the genre of Landscape painting using a tertiary palette that had a warm base.
*Remember that experimentation in this manner, when a strong framework has been constructed will deepen knowledge building through the process of practice. Experimentation is not random and without an objective – the aim is that through the experience of experimentation the student will learn the craft of painting and at the same time embody knowledge.
To do this the student must use the language of the discipline and constantly think in terms of painting: Composition – colour – space – tone – shape – line – edge – perspective, for example – the problem in painting never lies outside the picture plane it resides in one’s ability to problem solve in space.
A Simple framework of reference used in the painting coursework: From Abstraction to Representation, Week 3.
Painting genre: Landscape
Painting medium: Acrylic paint
Concept: Exploring points of difference between 2 processes = measurement
Context: Drama and Sfumato
Palette: Tertiary [warm] base – plus tints/shades
Visual Brief: Discuss how colour and separation of space will provide the impact to achieve 2 works in progress – One that evokes a sense of Drama and the other should read as Sfumato].
RS&G forms as a social space for teaching and learning creative praxis the content is firmly located in the practice of painting and drawing, which comprehensively acts as the departure point for the artist as researcher to explore, examine and contribute to finding meaning and understanding through a process of doing. The content covers a range of topics from the ITALK series where local and international artists share their views on how to ‘do’ creative research, as well as sharing material knowledge, recipes and bibliographic information. The site is in itself a research project, a platform for discussion, debate and discovery through sharing and receiving knowledge.
Annemarie Murland is a Scottish artist and independent academic living in Newcastle, Australia and is a passionate advocate for the visual as a means of exploring the world and everyday cultural life that surrounds her. Annemarie has an interest in practice-based research in the discipline of drawing and the practice of painting. Murland supports a think, make and reflect teaching and learning philosophy that underpins her approach to creative practice as a research tool. As a practitioner and researcher, Annemarie proposes that the visual is a worthy and essential contributor to research within the existing value systems that currently operate in universities today.
Teaching Research within the Context of Creative Practice: From Abstraction to Representation, Week ll.
Materiality and Colour: Thinking Through Doing - Practice Based Research
Thinking Through The Discipline: Creating a Dialogue
Brushes, cartridge paper [gessoed], paint and flow medium: Develop a palette of secondary colours using a warm base as a starting point - yellow orange, yellow green, red based purple - develop colours and then tint all colours.
Brief:Body as a tool
Random application using the body and senses as tool - the students are directed to think about how the brush work feels as it responds/reacts to the paper - think of the direction of the brush work - think about the shapes and the size and scale of the marks made - think about using 'all over' space - think about colour and its temperature - is it flat - what recedes and what comes forward.
The idea is to direct the artists' thinking towards the language of painting - rather than thinking about trying to make sense of this process in terms of 'it doesn't look like a painting yet' - process and experimentation, learning through doing is all that matters at this stage.
The student is asked to consider only the process and actions taking place on the picture plane - only questions relating to materials and colour are encouraged- getting to know what materials can do and how colour is perceived and felt by the individual is of primary importance. Knowing colour and its capacity to change in opacity and transparency - its temperature teaches the student to think through a process of practice. Discovery = Knowing - finding meaning and understanding through doing all of which creates a personal and embodied dialogue between artist - materials and paint.
One of the main objectives of this site was to engage, educate and share my approach to practice-based research with other artists and visual researchers, undergraduate and post-graduate students in the creative industries who want to learn how to do visual research 'the artist's way'.
Every research project needs a working Bibliography, which is something that all first-year students should implement at the beginning of their studies, it will continue to grow as will your visual voice. In that vain I have set up a Bibliography under the tab: Bibliography that will aid research, discovery and knowledge building.
Looking to research Old Master Material Methodologies? A good place to start is with the sites:
Interested in Painting with cold wax? Look at this site and there is also a book you can purchase.
A Contemporary Painting Blog that is worth subscribing to:
The sharing and receiving knowledge is at the heart of what I do, so in that vain share this site to help it grow and develop.
What is Rabbit Skin and Gesso: a creative and social space on non-institutional teaching and learning in practice-based research.
Rooted Elsewhere, Oil, Graphite, and Charcoal on Khozo Paper, 157x180, 2014 [Migration in Practice].
What is Rabbit Skin and Gesso: a creative and social space of and non institutional teaching and learning in practice-based research
Uniting paintings past in the present: Why use Old Master Material Methodologies?
Maintaining a non-toxic studio space in which to work is not only a health and safety issue, but by keeping the studio clean and green the contemporary painter will gain greater insight into paintings material history and at the same time build upon their painting practice and material knowledge.
To gain insight, find meaning and understanding of the material possibilities of painting the 'artist as researcher' must test and challenge the characteristics and properties of paint and its supporting mediums. Within the context of studio practice, a process of experimentation and thinking through the discipline will present the practitioner with invaluable practice-based knowledge and will lead the artist towards developing personal painting and material methodologies.
A fab start to our 4 week painting coursework - a primary focus is and will continue to be the role of Materiality in painting as is exploring the possibilities and characteristics of working with a limited palette: primary colours and white.
Activity 1 - illustrated how to make a Chromatic Black and a grey scale - individuality and perspective won out in the end with a range of warm and cool palettes that went on to shape the ensuing works. The brief was to create a Dramatic study in painting using a dark v light schema and a - 2/3 -1/3 division of space - an emphasis on brush work and using the body and the senses as a tool made for a variety of colour field paintings that went on to be glazed using a scumbling technique.
Next week we shall continue with our colour investigation and build on the role of Materiality using alternative painting surfaces - we shall also focus on brush work and look at other painting tools.