After writing about my first painting module during semester one exam season, I didn’t want to stop writing about my experience with paint. I’ll be posting regularly as I create paintings rather than a reflection of all of my finished work. This means that you’ll get to see how a painting develops over time. Hope you enjoy reading about the mind of an art student!
30th January 2018
Devil’s Bridge Waterfalls
Having cycled to Devil’s Bridge falls recently, I was eager to paint the lovely scenery. On-site, I made colour studies and rough sketches demonstrating my desired composition and range of colours. But, before I put paint to canvas, I knew I wanted to work on two pieces at the same time. I decided to paint one small landscape with my left hand and a larger painting with my right hand. This idea was suggested to me in my painting assessment as a way of loosening up my hand so that my work becomes less fussy. That is not to say all of my work is fussy, but I felt it would benefit me to separate my mental projection of the painting from my physical capability. Thus, a strange painting emerged. A painting which I had not previously imagined, which was an unusual experience. Normally, I have a rough idea of how I believe a painting will progress, but with this painting, I had no pre-determined idea. Below are the two paintings finished, can you guess which one I painted with my left hand and which one I painted with my right?
I really like both of the landscapes, but for different reasons. I feel like the left-handed painting (above, left) seems heavier and more intense. I think this intensity reflects my feelings as I was looking over the edge of the bridge, which always makes my legs feel like jelly! Although the heavier painterly application could be due to the fact that I wasn’t using my dominant hand, I like the effect. The distance and pictures planes are slightly distorted but this distortion makes the overall atmosphere of the painting more abstract. In addition, I feel this painting seems more mystifying than my right-handed painting – particularly at the top of the painting – where the roots of the trees are. This is evident in the enchanting colours and bold palette knife marks signify the light shining through the trees, emphasising the mystical wood. I think it’s really interesting that this sort of image was created in this painting. At the time, I was reading A Midsummer Night’s Dream by Shakespeare, which famously includes a mystifying carnivalesque dimension.
In both of the paintings, I decided to paint the waterfall in the landscape last. Although it’s the main subject of the landscape, I wanted it to pass through picture planes rather than look as if it landed on top of the landscape. I attempted to paint the waterfall in a way that shows how it blends and winds through the landscape, and feel as though I achieved this. Of the two paintings, I feel the right-handed painting is more successful in this aspect.
Whilst I was painting with my right hand on the larger of the two surfaces, I found the canvas surface to be incredibly bouncy, especially when I was using my palette knife. Sometimes it felt like I was going to pierce through the canvas! However, I don’t think this negatively affects my painting at all. If anything, I feel it positively affected my application of paint. One of the clear differences between the two paintings is that my smaller painting has a heavy amount of paint applied to it. Whereas, the larger canvas painting almost looks dry in comparison. Even though the paint application is much thinner, it is not transparent and watery. I like the effect of the brush strokes and the way they blend together, bouncing off of each other.
To finish off the box canvas painting I decided to paint the edges bright orange to compliment the orange tones in the painting. I think these two paintings are successful in different ways. Personally, I prefer the painting I painted with my right-hand, however, there are elements of the smaller painting I like too. It also means I can experiment with the size of my surface, as I usually prefer to work small.
31st January 2018
In the first painting workshop of the year, we learnt about glazing techniques. We were told to bring in old paintings to ‘sacrifice’ to practice glazing over. I bought the Windsor and Newton Glazing medium especially for this class and thought I wouldn’t use it again, but now after the class, I can’t wait to use it! The medium creates subtle changes and depth to a painting one can’t achieve using acrylic and water. I chose two of my paintings I didn’t like from the first painting module to sacrifice (below).
Firstly, we experimented in our sketchbooks and on paper with stripes of colour to see how the glazing medium affected the layers.
The colours I used here from the top – bottom, left – right: Prussian Blue Hue, Ultramarine, Deep Turquoise, Cadmium Yellow, Process Magenta, Cadmium Red, Lemon Yellow. The colours I mixed with glazing medium are Cadmium Yellow, Prussian Blue Hue and Process Magenta.
I applied the glaze to acrylics and proceeded to attack my paintings! I really like how they turned out. I actually think that, despite it being an experiment, they look better than before.
Firstly, I painted a line horizontally across Rheidol Valley Skyline in three layers of Cadmium yellow. I started to mix in Prussian Blue and Deep Turquoise to create a cold atmosphere. I especially love the way the bottom right corner turned out. I think the use of palette knife where the light shining over the hilltops is really effective. It creates more planes of trees and emphasises the light shining through the trees.
When I started my second painting, I started the same way. I used a big flat brush to make a big red stripe, this time vertically, down the painting. At first, I didn’t know if I liked my colour choice, however, as I began to add complimentary colours I started to like the atmosphere the fiery colours were creating.
After glazing over the lighter areas with Cadmium Yellow and the darker areas with Prussian Blue Hue, I picked up my palette knife and began to scrape back in the same manner as my other sacrificed painting. Perhaps in this painting, the word ‘sacrifice’ had gotten to my head, since it looks so firey! Although now both of these paintings look incredibly different, I feel they have more depth to them than I could have added a few months ago. I really enjoyed today’s session and can’t wait to use more glazing techniques, especially for the painting I started yesterday, of a sunset near the seafront.
4th February 2018
Over the weekend I’ve been painting three landscapes. Two of which are unfinished and one of which is finished, and I’m happy with. The finished landscape painting is a view of Rheidol valley. In this painting, I feel I was very aware of colour temperature. I tried to make sure that I didn’t use the same colour on multiple planes. The effect of doing this flattens the painting, creating no sense of distance. Since this painting is quite large in terms of subject and contains planes that sit miles away, I really didn’t want to lose that sense of depth.
The other two paintings which I am working on:
I’m not sure about the sunset painting for a number of reasons. Firstly, the tree I decided to scrape into the painting using a palette knife is ineffective and clumsy which makes the painting look flat. Secondly, the silhouette of the town roughly painted out at the bottom looks out-of-place and also makes the painting appear flat. Right now, I want to paint over the canvas and make it a more abstract sunset landscape.
The second and smaller painting is of the trees on the hills of Rheidol valley. At this early stage, the canvas is just a base-coat, but I thought it would be interesting to see where it goes. Similarly to the painting of the valley, I completed this weekend, I was very focused on colour temperature. However, I think the application of paint will become more difficult when I begin to add more detail. After doing the base-coat, I have a tendency to make colour temperature accidentally redundant because I get so invested in the details of the landscape.
9th February 2018
Sunsets and Skies
This week, I’ve been particularly fascinated by glazing and applying this technique to sunsets and sky paintings. Last week, I started two landscapes, this week I painted over them and feel it was a good decision.
The square painting of the sunset from last week has changed a lot. Originally, I wanted the type of painting to be semi-abstract, however, I feel my application of marks was too concentrated and that I should take a more minimalist approach. Despite the texture from the previous painting, I decided to glaze over the canvas with a fresh layer of acrylic.
After I glazed over the canvas, I felt something was missing. I looked back through my more abstract paintings from my first painting module and I found a solution. I used black paint to create silhouettes of trees in an abstract and minimalist manner. I really like how this turned out. My original composition featured silhouettes of trees, but painting them as they are, realistically, seemed too plain, boring and over-done. The simplicity and abstract composition is not something I normally dedicate to this large a canvas. I’d like to do this more because abstracts have just as much quality as realistic paintings, so I shouldn’t just paint them on A5 boards!
Another painting that I’ve been working on is a seascape painting of Aberystwyth seafront at sunset.
Above are two progress pictures. After beginning to paint an abstract sunset painting, I really wanted to paint more sunsets. Last time I painted a seascape like this was during my Art A-Level, so it was really enjoyable to return to this type of painting. The section of
this painting I enjoyed the most were the clouds and the sky. I enjoyed it so much that I decided to go over another of last weeks paintings with a base of sunset colours. This weekend, I’ll begin to paint clouds and the sky into the painting from life – here’s hoping for a good sunset!
The final set of paintings I began this week are two landscape paintings of Rheidol Valley on the way to Devils bridge falls. In addition, I really wanted to recreate my left and right-hand experiment again. So, I went out to my local art store and bought a large square canvas and a smaller square board.
So far, I have painted down two layers, a base layer and what I like to call my ‘guidelines layer’ which indicates the light and shade as well as the distance within the painting. I’m hoping that this experiment will go as well as the first left-hand painting! Instantly, when looking at the two paintings side-by-side, there are multiple differences; the shape, therefore composition; the application of paint; the dryness of the brush strokes and the weight forced into each mark.
12th February 2018
Figuring Out My Technique
Knowing your own technique when painting may seem like an obvious thing to people to don’t paint, but personally, I’ve found it to be my biggest challenge. To avoid repetitive marks that are futile and somewhat unconscious is actually a really hard thing to do. It’s like permanently changing a routine, or for example, changing your handwriting. Over the past few days, I’ve been concentrating on my application. Analysing the way I use brushes and which brushes I use. Generally, what I’ve found is that my more successful paintings are less fussy than my unsuccessful paintings. Recently, I’ve been working on the specifics of that summary, which is why I’ve been using my left hand to paint! The previous pictures that I posted of the paintings of Rheidol Valley with my left hand and my right hand are in the first stage of painting, the base coats. Over the weekend, I worked more on them, and liked them – but I noticed that they weren’t to my satisfaction.
After bringing the two paintings into my tutorial today (left-hand painting, above), my tutor and I analysed what was wrong with the painting. Our conclusion was that the paintings were stiff, which then meant that the left-handed painting seemed more successful than my dominant hand…which is honestly quite insane! The loose, painterly and brave application of paint with my left hand is where my strength lies. So today, I went ham, or so to speak, on the two paintings, embracing the chaos.
Upon reflection of these two paintings, I feel the painting I created with my dominant hand (right-hand) is now the more successful painting. It looks more put together even though the neatness of line has been diminished. I especially like how the clouds look in comparison to the previous progress picture. Although I much prefer the two paintings in this state, I still feel they might be missing something, maybe a bit of pale yellow or autumnal colours?
17th February 2018
Going Out Of My Comfort-zone
I’ve let the latest landscapes I’ve painted live for a bit. After considering them both I have decided to leave them as they are for now. I do like how they turned out, but I’m searching for something in new landscapes that I paint to add to these square ones. Another step I faced from painting these last landscapes was scale. The canvas that I painted with my left hand (above, left) was larger than A4, which is not something I’m comfortable with. However, since I felt that I had space to figure out my technique and I liked the result, I decided to go bigger for my next piece.
On Wednesday the 14th of February, I went for a bike ride from Aberystwyth through Penparcau and Capel Seion to overlook Rheidol Valley. In the distance I saw these beautiful mountains, I had to paint them. They were frosted with snow in the icy sunshine. I made a basic colour study. In the painting below, I’m figuring out which colours work well together as well as representing the landscape and my experience authentically. This canvas is roughly about 4 A5 boards long, so it’s much bigger than I’m used to. However, the extreme panoramic view means that I can use the type of canvas effectively within my composition. Recently, I’ve found that I really like painting on square canvases/boards or canvases/boards which the width is vastly different compared to the length.
So far, I’m really enjoying this painting and I hope to finish it for Monday. In terms of technique, I have used mostly flat brushes and a palette knife. When I apply the paint onto the canvas with my big brushes I keep them dry so that the layers of colour subtly shine through from underneath. When I paint with smaller brushes it’s generally for the first base coats so I can correctly mark out my composition; this was how I painted the mountains and the sky in the background. When I sed my palette knife I’ve been trying to incorporate my large flat brush technique so that the layers shine. I think this is evident in the trees in the top left part of the canvas. And as usual, I scrape back to convey light and structure.
After returning to larger surfaces I feel more confident about the size of the canvas. I’d love to scale up really large. Perhaps for one of my final pieces which will most likely be from Devil’s Bridge Falls.
25th February 2018
Rheidol Valley Mountains
After completing this painting I decided I’d like to do a painting series. The series would focus on landscapes (of course) but the main subject would be the mountains surrounding Rheidol Valley. The first landscape in the series is painted on a long horizontally panoramic canvas (below). From the last entry, you can see the detail I’ve added to the background and foreground. I really like layering the paint to show the many different colours that are mixed on my palette – rather than bending them together with no evidence of brush marks. In terms of composition, I feel the shape of the canvas invites the looker into the painting as their eyes glide across it. Overall I am really satisfied with how it has turned out, and I can’t wait to finish the others in the series!
Below are some progress pictures of the other two paintings in my Rheidol Valley mountain series. For the larger A4 canvas board I wanted to have a bright green base coat that I could scratch into and reveal. The colour I used was Windsor and Newton’s Phaltho Green. The A5 canvas board doesn’t have one base colour, but I was thinking about adding a second layer of a darker colour on some of the hilly areas to scratch into with a palette knife as well.
After doing the base coats and scratching the paint to mark out areas of colour I began to paint in the detail. In total, I let these two canvas boards sit for 3 nights after each layer.
As I began to layer the paint and apply warm greens in different places to the cool greens depth in all three canvases began to develop. I scratched in the trees and the snow on top of the mountains after applying two layers of colour, one dark blue-grey shade and one off-white shade. However, I do feel the sky in the second and third painting should look more like it does in the first painting; subtle and well blended, rather than obvious strokes of the different tones. Also, I feel that the sky in the first painting works better because I had more room to blend it out extremely smoothly due to the size of the canvas.
Overall, I’m really happy with all three of the paintings in the series. I really feel as though I captured the landscape’s essence and life from when I was riding my bike a week ago. it was an icy cold windy day and it was the first time I’d been on a bike ride and had seen snow frosted on top of the hills and mountains! I’ve really enjoyed painting a series of paintings from the same day, with the same intentions and the same subject matter. After this series, I was thinking of painting a series of landscapes devil’s bridge falls by the same rules, just at different angles and on different sized canvases.
8th March 2018
Revisiting Devil’s Bridge Falls
Recently I revisited Devil’s Bridge falls and managed to spend much longer having a look around! It was so beautiful, there’s such a mishmash of colours and shrubbery. The trees inter-twine and twist into the long grass and stone, and as if it couldn’t get any more sublime, there was a light dusting of ice and snow upon the rocks. It was so idyllic and the colour palette was so distinct, I just had to paint it!
First I painted base coats on two A5 boards (see below). The painting on the bottom left is currently still in the same state, however, the bottom right painting has changed rather miraculously.
My choice of painting coloured ground was important to me since the colour palette on that day was so unique. The bright green moss and cool tones in the river really stood out against the warm colours in the shrubbery.
Part of me wishes I stopped at layer two, started the exact same painting and then continued with one of the versions. I feel this way because although the colours are so warm, it still looks like a (very abstract, mind) waterfall landscape. The reds contrast so well with the cool greens and blues. It has such a painterly feel to it which I feel is lost slightly in the final painting. However, I really like how it turned out, for different reasons.
This painting was so fun. At first I was incredibly anxious to start it, however, once I began adding more layers I realised how easy it is to scrape paint off and start again. It doesn’t matter if you make a mistake because you can just paint over it and learn from the experience (not without taking a progress picture first, obviously, haha). In terms of colour theory, I feel I really captured the depth, distance and light within the painting. When I study where my eyes glide across the painting, my eyes focus on the bottom of the landscape first, and then they follow the waterfall vertically into the sky. I’m really pleased with how this turned out. I also learned that I felt A5 was too small! That was a first for me! I felt as though I needed more blank canvas? Weird. So yes, maybe I’m yearning for larger canvases…
From yesterday’s workshop, a piece of advice from my tutor was to experiment with purple ground colours to really bring out the greens in the landscape. So, I did! Although I didn’t paint the sky, I really like the colour palette, even if it does appear a bit unconventional. Although these are pictures of different and early stages, I wanted to talk about how I feel about them so far.
I’m not sure about the second piece partly because I feel there’s a flatness to it, but also partly because I feel there’s no main subject – well, the trees are the subject here, but I don’t think it works. What I’ll probably end up doing is painting over it, and attempting a lighter purple ground in which I paint over the sky area, as well as the composition is similar to Devil’s Bridge Falls River III (above, left). Let me know what you think in the comments below!
In addition, during the past week or so I’ve visited a Kyffin Williams Exhibition, I’ve done lots of artist research and I’ve also drawn some thumbnails of devil’s bridge falls. I will make a separate post about my experience at the Kyffin Williams Exhibition at the national library soon!
12th March, 2018
Devil’s Bridge Falls & Hafod
Since I enjoyed painting Devil’s Bridge falls so much, I decided to paint some more. I investigated different grounds, different angles and techniques within these paintings.
This painting reminds me so much of the first left-handed painting I did at the start of the module. However, I’d say there are a number of improvements in Devil’s Bridge Falls V compared to Devil’s Bridge Falls II. The light in the painting overshadows the earlier painting, it almost makes the first painting seem dull. The bright colours which may seem stark still authentically represent the landscape whilst also portraying a clearer sense of character.
I attempted to use another coloured ground for this painting and I feel it works really well. I used Phaltho Green. When I scratched off the paint to reveal the trees at the top part of the landscape, the contrast between the light and the deepness of the Phaltho green is really pleasing. I’m definitely going to use Phaltho Green more for coloured grounds.
In addition, I also finished another painting, Devil’s Bridge Falls IV. I really enjoyed investigating landscapes with a purple ground. The lilac purple I mixed compliments the cool and warm green tones, as well as the pinky-brown tones, creating an altogether colourful piece.
Although I really enjoyed painting on a purple coloured ground I didn’t paint the sky white at first and left it as the ground colour. This posed many problems when I was painting the foreground plane farthest away in the painting. The trees just seemed to disappear into lilac. It looked odd and didn’t seem to be the right tonal shade to represent the sky, regardless of the colour. So, I painted over with a pale blue with my finger and smudged in the sky. I like the effect of this since you can still see some of the lilac sky shining through, however it doesn’t look like I simply forgot to paint the sky!
Below is my first study of Hafod Estate. The rolling hills in the valley were as just as beautiful as Rheidol and Devil’s Bridge. Something that I talked about in the last painting of Devil’s Bridge falls was the use of a coloured ground. Now, for whatever reason, I feel like the coloured ground representing the sky works here. I have a feeling it’s because it is the same shade tonally – but maybe it’s just because I really like the colour green! Although this painting is purely a small study, I’d love to paint more of Hafod, beyond colour studies.
…so I did! Below are two paintings of Hafod in layer stage two.
For these two paintings, again, I decided to investigate different coloured grounds. I looked back at my previous paintings for more evidence and thought that I should use an orange coloured ground and a Phaltho green coloured ground since they worked so well last time I used them. However, this time I decided to leave the coloured ground visible a the edges, so the painting would have an obvious and purposeful frame surrounding it. The effect of the frame invites your eyes into the painting, as if the landscape is within something else, like a camera screen or book.
I painted Hafod Hills II (bottom, left) with my left hand to create a more loose effect so I could then compare the difference between my right and left-hand techniques.
Something that surprised me when I painted Hafod Hills III (above, right) was that I really enjoyed painting the sky. I mixed a neutral grey and used a big brush which was fairly dry to glide over the already semi-dried grey paint to create a sense of wind.
In the next coming week I plan to paint more of Hafod as well as painting a larger canvas painting of Devil’s Bridge Falls, so stay tuned!
18th March, 2018
Nant Y Arian & Green Grounds
Upon reflection, Hafod Hills I ‘s green coloured ground (ultramarine + cadmium yellow hue) I feel, is really intriguing. With this in mind, I decided to paint more landscapes with green coloured grounds as skies. This week, I painted a set of 3 (larger than A4 but around that dimension) canvases as well as some small canvas boards.
Firstly I wanted to get a basic colour palette of Nant Y Arian so I painted on some small A5 boards, one square, one rectangle.
The painting on the left Nant Y Arian I is a smaller study of one of the larger canvas paintings I came to paint after. In these two paintings, I really wanted to explore pastel colour palette contrasting against the brighter green skies. Below are the three canvas paintings in my Nant y Arian series. However, the final painting in the series, Nant Y Arian III is still a work in progress.
In these paintings, I wanted to demonstrate my experience in the landscape; the gusty wind, the cold lake and the pastel hills. For whatever reason, I think it has something to do with the colour palette, in my opinion, the green skies really compliment the rest of the landscape painting. Perhaps this is because I normally separate the sky from the landscape, when, in actual fact, they are not separate entities, they function as one to create the landscape, and for me to join the two by a simple colour change with a minimalist approach, I feel, really works.
I’m really proud of these three paintings. I don’t normally paint series’ of this size so that’s a small achievement for me. To be honest, I actually found the smaller colour studies Nant Y Arian I & II, too small! I really feel as though I’m warming to larger canvases (oh, my bank account)! By the end of the semester, I’d love to submit a large, (hopefully) at least, A2 Canvas. Fingers crossed!
1st May, 2018
Over Easter, I really feel like I’ve accomplished something. Not only in my personal life, but in my paintings as well! At the beginning of Easter, I had one unfinished painting in my series of Nant Y Arian landscapes. The final painting in this series, I feel, is the least successful, unfortunately. The same traits followed in another painting of Tryfan (see both below). The reason I feel these two paintings are unsuccessful is due to the composition. The landscape canvas emphasises these issues, therefore creating an overall flatness of the paintings. However, these ‘misses’ provided a motivation for a series of ‘hits’ succeeding them.
After reflecting on my struggle with composition, I decided to paint on my next landscape on a portrait canvas. I really enjoyed creating this painting. It was my most successful mountain landscape painting to-date. I love the way you can really see the light on hills that is shining through the clouds and I feel like my colour palette has vastly improved.
Since I enjoyed this painting so much, I decided to create another painting of the same landscape but with a more considered composition. Since I had been struggling with stretching the landscape (be it vertically or horizontally) I decided to paint on square surfaces. So, I blocked out the areas after painting the sky. I used Prussian Blue hue and Phalthothene green. Whilst applying the paint onto this canvas, I mostly used one big flat-end brush, my favourite. I feel this painting works well because it has a nice balance between abstract and painterly application. I especially like the colour scheme, and how electric the bright Prussian Blue looks on the top of the mountains.
After thoroughly enjoying painting this landscape of Snowdon, I decided to explore the same process. Again, I painted the ground colour a gradient from Phalthothene Green to Prussian Blue Hue and blocked out the areas. Although, in this painting, I feel that there is a lack of structure and formality. The painting seems too painterly, and the colour palette is too simple. I think I will work on this painting more because I am dissatisfied with it in its current state.
Cadair Idris Valley II (see below) was an experiment exploring the difference between my formalities and informalities in painting. I wanted to explore a distinct contrast between the sky and the rolling hills surrounding Cadair Idris. I especially love the colour palette I used for this painting, although the composition isn’t my favourite. By limiting my experiments, I have found that my exploration of colour and acrylic as a medium, which has lead my paintings to be more experimental.
Below, is possibly one of my favourite paintings I’ve created this semester. It’s another painting of Tryfan. After reviewing my thoughts on my previous Tryfan painting, I thought I’d apply my current knowledge to this painting. It turned out beautifully, in my opinion. I love the experimental colours, it almost looks like another planet!
After discussing my three square canvas paintings in the same style using the same colour palette, I wanted to explore green skies again. However, I wanted to have one composition stretch across multiple canvases, therefore, individually each canvas looks abstract. I wanted to create big brush expressive brush strokes to illuminate the abstraction of a landscape.
Finally, I decided to scale up. My aim was to have a final piece in my Prussian blue/Phaltho Green sky series. This was my conclusion. A mixture of oranges contrasting with the dark gloomy sky, highlighted by the dusting of snow a top the mountains.
Over Easter, I really feel as though I’ve grounded myself in painting. I can explore colour, composition and application in much greater detail than I could before and I’m really pleased with myself! Next week it’s onto the submission stage, editing and making final touches, reviewing my project as a whole and each individual work.
11th May, 2018
Making changes: Reviewing my Project for Submission
As the second year is coming to a close, I’m finalising all of my paintings. As well as beginning some new studies, I wanted to explore my progress on some of my older paintings. Nant Y Arian III (below) has undergone lots of changes. I felt that the original application was a little scruffy and lacked structure and depth, therefore creating an overall flat appearance across the planes in the painting. Now, I feel there is much more depth, particularly in the water. Before, the water was a grey-white, and the sky was much more green, but now the sky and the water link, they don’t seem like two components of the painting smashed together, struggling to reflect one another.
The two paintings below from my Rheidol Valley Mountains series has issues with the sky. I felt I had a similar issue with this two paintings as I did with Nant Y Arian III, in that both of them had a scruffy application of paint and it didn’t illuminate the paintings in any way, shape or form. So, I decided to paint more minimalist skies on both of the paintings in a lovely deep grey-Prussian Blue colour. As well as adding depth to the paintings, I feel it emphasises the colour temperature across the planes of the landscape, thereby making the painting look cohesive and satisfying for the eye.
The final painting I have changed is Tryfan I. The original version of this painting was probably the most dissatisfied I’ve been with a painting for a long time, and amazingly, I feel like now it is one of my favourites. It certainly doesn’t look like any of my other paintings. The colour palette is very spring and somewhat reminds me of some of Monet’s paintings. The application, however, definitely reflects my style. I really enjoyed going over this painting with a glaze, creating bold marks that felt right.
This semester I’ve absolutely loved talking about my painting process, on this page, there will be one final entry a night or so before my submission date, wrapping up everything and showing my final few steps in my process. I’ve thoroughly enjoyed painting this semester, so much so that I’m pretty set on doing a masters in Fine Art!