Tones. Wet & Dry Media 7/11/16

For some artists, there exists a clear distinction between drawing and painting. The former is a dry process, involving pencil, pen or charcoal, and the other involves wet paint and brushes.

But there are no rules. Whatever media you have is media you can use in a painting, though some get along better than others. Pastel lines over a watercolour can help to emphasize lines and shapes. A bit of acrylic paint in a charcoal or pencil drawing can add a shock of colour to an otherwise black and white composition.

Here was where we’d expand upon are knowledge and begin using a verity of medias’ involving colour, however before we’d enter this task we were asked to complete a series of black and white sketches, from my personal understand it was to get the class geared up towards the main achievement later, as well as showing form and what the response will be towards working through colour.

The following task required us to squint through our eyelashes. This would reduce the mid-tones, leaving only the darks and lights. The proportion aspect was taken into account, pastel was the theme during the start of the workshop, which I'm more confident using than a pencil, because I find black pastel for my work more impactful.

Here we'd reverse the assignment displayed the previous session and had to provide the black on a pure white sheet. Working whilst having are eyes reduced to focusing on the form and light tones was comforting as it gave us time to prepare are selves later on.




I wasn't pleased with the end result for this pose as I had to work head on with the face as well as foreshortening the figure whilst squinting the image, I was in conflict with myself and resorted to having detail throughout the upper body, but my major problem was the proportion as it was very poorly scaled with the shoulders and the legs.

The technique now was requiring 2 colours - we made sure the two colours
contrasted, example: red and blue. Here we began are decent into colour.







Once again using the ongoing rule of squinting the eyes.
Very curios with what the result provided, the inclusion of colour was a fresh take and I felt a scenes of progression undertaking when colouring at this point. It's obvious to know which colours display which tone.  

Water colour (Left) was also an aspect I explored during the session to, once again focusing on using a was or light red, whilst displaying a background layer which brought substance towards the paint outline. The proportion was used very carefully especially working with equipment which wouldn't erase out, so pressure was there.  

Now I drew my attention for a more messy approach which is were Oil Pastels made an appearance towards the end of the workshop. I found the modules pose strikingly different from anything we'd worked with. My choice of colours was keeping with contrast so shadows and lighter tones are clear, also displaying more substance to the object as it played a vital role for the piece.