05 September 2011
02 September 2011
04 June 2011
FINISHED!!!!!!!!!!!
Just handed in my last project for VSW14 - such a stress!!! Now all i have to do is wait and see how i went.
i need to debrief on this one, as there were so many obstacles to my succeeding that it nearly tipped me right over the edge....but right now i am too tired, exhausted and drained. be back soon to elaborate :o)
also had to go to the opening of a local exhibition tonight where we had some of our work on display.
i need to debrief on this one, as there were so many obstacles to my succeeding that it nearly tipped me right over the edge....but right now i am too tired, exhausted and drained. be back soon to elaborate :o)
also had to go to the opening of a local exhibition tonight where we had some of our work on display.
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| Franz Baumgartner, 2011, Challenges Strengthen Our Faith |
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| Susi Baumgartner, 2011, My Mentor |
16 May 2011
Quotes on Being an Artist
“It is not enough to know an artist's works. One must also know when he did them, why, how, in what circumstances ... I attempt to leave as complete a documentation as possible for posterity. ” – Pablo Ruiz Picasso
sketches and drawings from Edward Hopper
© Edward Hopper 1959. Whitney Museum of Art. New York
![[howard+hodgkin.bmp]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz6WAmw2rplDUk-2I70f3ao7xtwdDUlbZ1bVHHAaBFs3RF0fMSX8dItxysQcV_TOS914Cf3zbw0jnjy0ZptiJosM1rosyEjK8b7EhK7zgHdfpojNDDaVQuhFCastlQX83oSbZq1rxaW74/s400/howard+hodgkin.bmp)
PROJECT 8: TRANSFORMATION & DEVELOPMENT
Things to consider
Ensure you think creatively and with imagination. Utilize all that you have learnt from the previous exercises in this unit from mark making and exploring the physicality of paint, to creating temperature with colour.
Summary of Artists to Research
Edward Hopper, Rover Thomas, Alberti Giocometti, Lucio Fontana, Ross Blechner, Kathleen Petyarre, Leonardo da Vinci, William Turner, Casper David Friedrich
AND
Damien Loeb http://www.damianloeb.com/
Marc Chagall http://www.chagallpaintings.org/
Eric Fischel http://www.ericfischl.com/
Luc Tymans http://www.artcyclopedia.com/artists/tuymans_luc.html
Spend some time researching a few of the above listed artists as well reading the following articles which focus on two different artists approach to working with space and painting.
Web-based Research
Helen Frankenthaler: http://www.stfrancis.edu/en/student/beatart/frank.htm
Mark Rothko: http://www.nga.gov/feature/rothko/rothkosplash.html
Shared Art Files>Art Image Database>VSW14
Howard Hodgkins
Clarice Beckett
Francis Bacon
Paula Rego
R.B. Kitaj
Edward Hopper
Ensure you think creatively and with imagination. Utilize all that you have learnt from the previous exercises in this unit from mark making and exploring the physicality of paint, to creating temperature with colour.
Summary of Artists to Research
Edward Hopper, Rover Thomas, Alberti Giocometti, Lucio Fontana, Ross Blechner, Kathleen Petyarre, Leonardo da Vinci, William Turner, Casper David Friedrich
AND
Damien Loeb http://www.damianloeb.com/
Marc Chagall http://www.chagallpaintings.org/
Eric Fischel http://www.ericfischl.com/
Luc Tymans http://www.artcyclopedia.com/artists/tuymans_luc.html
Spend some time researching a few of the above listed artists as well reading the following articles which focus on two different artists approach to working with space and painting.
Web-based Research
Helen Frankenthaler: http://www.stfrancis.edu/en/student/beatart/frank.htm
Mark Rothko: http://www.nga.gov/feature/rothko/rothkosplash.html
Shared Art Files>Art Image Database>VSW14
Howard Hodgkins
Clarice Beckett
Francis Bacon
Paula Rego
R.B. Kitaj
IMAGES Pasted from <http://www.paintinghere.com/painting/Western_Motel_722.html>
07 May 2011
PROJECT 7: COLOUR, TONE & TEMPERATURE
Brief
The following exercises will introduce you to the way tone and colour combinations can create a temperature within a painting. Look at the following images in your image gallery to see how various artists have employed this to convey a strong dynamic and temperature within their work. Take some time to read the article on Luc Tuymans and consider how he uses colour and image construction to create a mood and sensation in his paintings.
Reader
Archer, M., Luc Tuymans: Behind The Mask.
-Blackboard Learning Resource
Shared Art Files>Art Image Database>VSW14
Requirements
• Full range of oils or acrylic paints.
• Water or turpentine.
• Palette (large & preferably white) that allows plenty of room for colour mixing.
• 1 primed support, A4 or A3 size (primed ply board, masonite or acrylic paper).
• Decent brushes (the more you have the better) and rags.
• A simple image, model or object. If you have trouble isolating different tones choose something that has a limited tonal range.
For this exercise you need to use a divisionist technique (of small separate marks), to paint the object in monochrome.
Things to consider
1. You should paint a monochrome painting first and then apply the colour to it.
2. To make this exercise easier use the tonal scale you made earlier as a guide.
EXERCISE 2
Requirements
• Oil or Acrylic paint – warm and cool red, warm and cool blue, warm and cool yellow.
• Palette knife.
• Palette.
• Rags.
• Water or turpentine.
• Jars.
• 1 primed support, A4 or A3 size (primed ply board, masonite or acrylic paper).
• The simple image, model or object from Exercise One.
The following exercise will familiarize you with potential tones and temperatures whilst using complimentary colours. If you are working from a model or object place the selected item on a plain sheet of paper. Ensure that whatever is behind your model to form the background is simple.
Web-based Research
Before commencing this exercise revisit the traditional colour wheel which can be found at this website under “colour wheel”
* http://www.worqx.com/color/
EXERCISE 3
Requirements
• Oil or Acrylic paint – warm and cool red, warm and cool blue, warm and cool yellow.
• Palette knife.
• Palette.
• Rags.
• Water or turpentine.
• Jars.
• Selection of brushes.
• 1 primed support, A4 or A3 size (primed ply board, Masonite or acrylic paper).
• The simple image, model or object from Exercise One.
Again this exercise will familiarise you with potential colour variations and temperature whilst using complimentary colours. Once again, if you are working from a model or object place the selected item on a plain sheet of paper. Ensure that whatever is behind your model to form the background is simple.
Choose a primary colour and a complimentary opposite colour for this exercise.
Week 9 Online Blackboard Activity
Post images and discuss your learning experiences from Project 7 on the VSW14 discussion board.
Record your online activity in your visual diary.
The following exercises will introduce you to the way tone and colour combinations can create a temperature within a painting. Look at the following images in your image gallery to see how various artists have employed this to convey a strong dynamic and temperature within their work. Take some time to read the article on Luc Tuymans and consider how he uses colour and image construction to create a mood and sensation in his paintings.
Reader
Archer, M., Luc Tuymans: Behind The Mask.
-Blackboard Learning Resource
Shared Art Files>Art Image Database>VSW14
- Luc Tuymans
- Betty Poulsen
Requirements
• Full range of oils or acrylic paints.
• Water or turpentine.
• Palette (large & preferably white) that allows plenty of room for colour mixing.
• 1 primed support, A4 or A3 size (primed ply board, masonite or acrylic paper).
• Decent brushes (the more you have the better) and rags.
• A simple image, model or object. If you have trouble isolating different tones choose something that has a limited tonal range.
For this exercise you need to use a divisionist technique (of small separate marks), to paint the object in monochrome.
Things to consider
1. You should paint a monochrome painting first and then apply the colour to it.
2. To make this exercise easier use the tonal scale you made earlier as a guide.
EXERCISE 2
Requirements
• Oil or Acrylic paint – warm and cool red, warm and cool blue, warm and cool yellow.
• Palette knife.
• Palette.
• Rags.
• Water or turpentine.
• Jars.
• 1 primed support, A4 or A3 size (primed ply board, masonite or acrylic paper).
• The simple image, model or object from Exercise One.
The following exercise will familiarize you with potential tones and temperatures whilst using complimentary colours. If you are working from a model or object place the selected item on a plain sheet of paper. Ensure that whatever is behind your model to form the background is simple.
Web-based Research
Before commencing this exercise revisit the traditional colour wheel which can be found at this website under “colour wheel”
* http://www.worqx.com/color/
EXERCISE 3
Requirements
• Oil or Acrylic paint – warm and cool red, warm and cool blue, warm and cool yellow.
• Palette knife.
• Palette.
• Rags.
• Water or turpentine.
• Jars.
• Selection of brushes.
• 1 primed support, A4 or A3 size (primed ply board, Masonite or acrylic paper).
• The simple image, model or object from Exercise One.
Again this exercise will familiarise you with potential colour variations and temperature whilst using complimentary colours. Once again, if you are working from a model or object place the selected item on a plain sheet of paper. Ensure that whatever is behind your model to form the background is simple.
Choose a primary colour and a complimentary opposite colour for this exercise.
Week 9 Online Blackboard Activity
Post images and discuss your learning experiences from Project 7 on the VSW14 discussion board.
Record your online activity in your visual diary.
PROJECT 6: COLOUR RELATIONSHIPS
READ:
Brief
The following exercises will allow you to observe the interdependency between quantity and quality of colour. This will also be taken into the context of your every day environment.
Summary of Artists
There is an enormous range of artists who focus on colour and colour relationships as a part of their painting practice.
Listed are a few for you to research:
Gabrielle Evertz,
Katherina Grosse,
Karin Sander,
Torie Begg,
Beatriz Milhazes,
Franz Ackermann and
Ugo Rondinone.
Before commencing the following exercises have a look at the following articles that look at technical applications to colour and the application of colour within space.
Web-based Research
Reader
-Blackboard Learning Resource
Shared Art Files>Art Image Database>VSW14
Ian Davenport, Puddle Painting: Magenta,
2009, acrylic paint on stainless steel, mounted on aluminum panel , 98 1/2 x 98 1/2 inches 250.2 x 250.2 cm
© Ian Davenport
EXERCISE 1
Requirements
• Variety of colours (acrylics).
• Water.
• Brushes.
• Palette (large and preferably white) that allows plenty of room for colour mixing.
The focus of this exercise is to work within your own environment to create a new tension ordynamic using colour. First you need to select an area from your immediate surroundings. It may be a corner of a room, part of a wall, a garden gate, the ceiling or part of a door-frame. In your selected space choose a colour that you will paint into that area to give it a new visual dynamic.
Document your work once you have completed this colour intervention.
Things to consider
1. Before commencing, consider what effect you want your added colour to achieve within this space. Think creatively.
2. Do you want this colour to work in a way that compliments the surrounds or will add contrast?
3. Will you add a subtle tonal shift or juxtapose complimentary colours?
4. If you are unable to work directly onto a surface in your immediate environment consider working with a support that can be placed within the area you are interested in.
5. You are not making a painting for the wall; the space/wall or other surface is the painting so to speak.
6. This exercise is not about painting a mural, try not to become figurative in your approach to this exercise.
- Schwabsky, B. - A Benjaminian View on Colour. (Week 7 Project 5)
- Jim Saw, - Describing Colour.
- Virtual Art Academy
Brief
The following exercises will allow you to observe the interdependency between quantity and quality of colour. This will also be taken into the context of your every day environment.
Summary of Artists
There is an enormous range of artists who focus on colour and colour relationships as a part of their painting practice.
Listed are a few for you to research:
Gabrielle Evertz,
Katherina Grosse,
Karin Sander,
Torie Begg,
Beatriz Milhazes,
Franz Ackermann and
Ugo Rondinone.
Before commencing the following exercises have a look at the following articles that look at technical applications to colour and the application of colour within space.
Web-based Research
Reader
- Wilcox, M. Blue and Yellow Don’t Make Green.
- Ryan, D. Transverse Spaces.
-Blackboard Learning Resource
Shared Art Files>Art Image Database>VSW14
- Adrian Schiess
Ian Davenport, Puddle Painting: Magenta, 2009, acrylic paint on stainless steel, mounted on aluminum panel , 98 1/2 x 98 1/2 inches 250.2 x 250.2 cm
© Ian Davenport
Requirements
• Variety of colours (acrylics).
• Water.
• Brushes.
• Palette (large and preferably white) that allows plenty of room for colour mixing.
The focus of this exercise is to work within your own environment to create a new tension ordynamic using colour. First you need to select an area from your immediate surroundings. It may be a corner of a room, part of a wall, a garden gate, the ceiling or part of a door-frame. In your selected space choose a colour that you will paint into that area to give it a new visual dynamic.
Document your work once you have completed this colour intervention.
Things to consider
1. Before commencing, consider what effect you want your added colour to achieve within this space. Think creatively.
2. Do you want this colour to work in a way that compliments the surrounds or will add contrast?
3. Will you add a subtle tonal shift or juxtapose complimentary colours?
4. If you are unable to work directly onto a surface in your immediate environment consider working with a support that can be placed within the area you are interested in.
5. You are not making a painting for the wall; the space/wall or other surface is the painting so to speak.
6. This exercise is not about painting a mural, try not to become figurative in your approach to this exercise.
30 April 2011
PROJECT 5: COLOUR & ASSOCIATIONS (TONE & HUE)
This week it's all about Colour! and exploring the aspects of colour. (and this is a collection of work, in progress...I keep adding to it as i find things!)
Brief
The following exercises will explore your personal associations with colour, utilizing tone and saturation as a tool to manipulate the possible sensations evoked by colour.
What is a Tone>Hue>Shade>Tint>Value???
What does saturation refer to? Saturation is the strength of the pigment in the colour, usually thinning the colour to vary the strength e.g. watercolours - the intensity of the colour varies with the amount of water you use on the brush.
What is Tone and Why is it important in Painting?
Tone refers to how dark or light the colour is and using white or black to soften or deepen the tone gives the value of colours.
Value and Shade are also referring to tone.
"On an instrument, you start from one tone. In painting you start from several. Thus you begin with black and divide up to white ..." - Paul Gauguin
Tone varies from the bright white of a light source through shades of gray to the deepest black shadows. How we perceive the tone of an object depends on its actual surface lightness or darkness, color and texture, the background and lighting.Helen South (About.com)
More good advice from About.com:
Read more about Colour Tones here:
Learning to see a Tone or Value in a Painting
What about the meaning or psychology of colour:
EXERCISE 1
Requirements:
• 4 x small primed support (primed paper/card or acrylic paper is fine).
• Variety of colours (oils or acrylics).
• Water or turpentine and mediums.
• Brushes.
Paint each colour onto a small support. Look at the colour you have painted and write down the personal associations or sensations you relate to each of the five different colours.
not the best example of my swatches - will have some better photos up soon!
- colour theory basics
- Color Basics (from worqx.com)
Color is the perceptual characteristic of light described by a color name. Specifically, color is light, and light is composed of many colors—those we see are the colors of the visual spectrum: red, orange, yellow, green, blue, and violet. Objects absorb certain wavelengths and reflect others back to the viewer. We perceive these wavelengths as color.
A color is described in three ways: by its name, how pure or desaturated it is, and its value or lightness. Although pink, crimson, and brick are all variations of the color red, each hue is distinct and differentiated by its chroma, saturation, intensity, and value.
Chroma, intensity, saturation and luminance/value are inter-related terms and have to do with the description of a color.
Chroma: How pure a hue is in relation to gray
Saturation: The degree of purity of a hue.
Intensity: The brightness or dullness of a hue. One may lower the intensity by adding white or black.
Luminance / Value: A measure of the amount of light reflected from a hue. Those hues with a high content of white have a higher luminance or value.
Shade and tint are terms that refer to a variation of a hue.
Shade: A hue produced by the addition of black.
Tint: A hue produced by the addition of white.
...starting to collect my thoughts on colour associations:
RED: represents fire, passion, heat, excitement, increased energy and confidence...and of course Love :o)
Advertising associated with Red: Red Cross, Coca Cola, Red Bull (energy drink)
PURPLE (and PINK): is related to the Heart Chakra and represents peace, devotion, harmony and balance, pure love and protection, comfort, royalty, mystery and magic. Purple is made by mixing equal amounts of red and blue, a combination of warm and cool, and is a very balanced colour to use.
Word associations: soft, velvet, smooth
The most famous association with purple and the heart is the award known as the 'Purple Heart' given to soldiers in recognition of merit, and dates back to the early days of the American Revoloution.
you can read about the history of the purple heart here: www.purpleheart.com
Advertising associated with Purple: mainly chocolate! Cadbury's Dairy Milk,
and Kraft's Milka chocolate.
ORANGE: can relate to the Swadisthana Chakra and is made up of red and yellow - the fire and the sun, representing energy and power and FRESH!
Advertising associated with Orange: Orange juice
GREEN: relates to the Nabhi Chakra and denotes peace, satisfaction, contentment and generosity.
Advertising associated with Green: Eco products, energy saving products.
more on the philosophy of colour and their meanings
EXERCISE 2
Requirements:
• 4 x A4 primed support (primed paper/card or acrylic paper is fine).
• Variety of colours (oils or acrylics).
• Water or turpentine and mediums.
• Brushes.
You will now have four supports painted a different colour. For this exercise you will need to create studies that incorporate each selected colour and:
1. another colour that is the SAME tone;
2. the same colour but at different tonal values;
3. and alter the saturation of the original colour.
More info on Colour from Jeremy Sutton and Tim ONeill - Digital Paint Magazine Blog
ACTIVITIES:
Week 7 Online Blackboard Activity
What associations did you have to different colours? [SEE ABOVE]
In the VSW14 discussion board, discuss areas of interest regarding colour philosophy and associations for different cultures and areas in society.
EMOTIONS AND FEELINGS ASSOCIATED WITH COLORS
Warm Colors
Warm colors “pull forward” more than cool colors.
In this way, a dark version of a warm color will appear
to be the same brightness as a mathematically lighter
version of a cool color. Red
Energy, Power, Passion, Love
- Orange
- Happiness, Enthusiasm, Attraction, Success
- Yellow
- Cheerfulness, Stimulation, Attention-seeking,
Cool Colors
Cool colors “push backward” or recede more than warm colors. In this way, a light version of a cool color will appear to be the same brightness as a mathematically darker version of a warm color.
- Refreshing, fresh, prestige, cooling, calming,
- Blue
- reliable, trustworthy, dependable, restful
- Purple
- spirituality, ceremony, mystery, transformation, royalty
Green
Color Neutrals
Color neutrals have a less emotional impact and are therefore considered for more objective presentation. However, used well, color neutrals can have their implications. “Pure” black and “pure” white are our ideal “bright” and “dark” colors on the spectrum, respectively.
- Sexy, mystery, submission, danger
- White
- Purity, innocent, refreshing, neutral, sterility
Black
Record your online activity in your visual diary.
Project 4 Tone
Learn about Tone by creating a grey scale
Read more about Tone here: http://painting.about.com/od/colourtheory/ss/ColorClassTones_2.htm
21 April 2011
09 April 2011
08 April 2011
Artist Research Project 3
Peter Doig
images: Google Images
image: Google images
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Jasper Johns Fool's House 1962 |
image: http://www.google.com.au
DAVID GREGSON: A DESIRE TO RELATE
David Gregson: A Desire to Relate is a stunning survey exhibition
about the art and life of the late Western Australian painter,
David Gregson (1934 - 2002).
Image: 'Fish Dance II' Courtesy of J. and J. Gregson
ART ON THE MOVE
"Gregson's highly expressive technical skills, deep understanding of colour and enduring ability to relate to the world through the act of painting and the art of living will all be revealed to exhibition visitors. The artworks have also been selected to illustrate the range and depth of this artist's talent across many genres, including landscape, still life and portraiture"
Catherine Czerw, Exhibition Curator
David Gregson (1934 - 2002).
ART ON THE MOVE
"Gregson's highly expressive technical skills, deep understanding of colour and enduring ability to relate to the world through the act of painting and the art of living will all be revealed to exhibition visitors. The artworks have also been selected to illustrate the range and depth of this artist's talent across many genres, including landscape, still life and portraiture"
Catherine Czerw, Exhibition Curator
05 April 2011
Finding a purpose and a theme...
Time is zooming along and panic is chasing me, but i am just keeping one step ahead (of the panic at least).
this is an attempt to brainstorm, reflect and come up with a solution - just need to put a few words down so i can come back to it, but i will write more about i t over here susi-b-thought-folio
this is an attempt to brainstorm, reflect and come up with a solution - just need to put a few words down so i can come back to it, but i will write more about i t over here susi-b-thought-folio
02 April 2011
OMG!!! FYI - it's official English!!!
OMG!!! it's official! OMG a common saying on the net for "Oh My God", Oh My Goodness", or "Oh My Gosh!" is finally accepted as an English abbreviation. It's grown out of the SMS instant messaging and social media speak on twitter and facebook and landed itself in the Oxford English Dictionary! Apparently it has been around long enough to warrant inclusion, but are they jumping the gun here? LOL! Has it really been around for that long? FYI there is an OMG facts website , an OMG news site, and several facebook and twitter sites as well, but none of them can claim to know the exact origin of the usage - but generally it's known as 'internet slang' and has been made popular in the 2000's.
Look it up in the OED! (Oxford English Dictionary) and you'll find it has been around for quite a while! The first quotation for OMG is from a personal letter from 1917, according to the dictionary.
The respected British dictionary Oxford English Dictionary is updated annually with new words that are added to the English language. In this year’s update a few more words from the technology world has been added to the dictionary (OED, 2011).
The latest words added in the March edition of the dictionary are as follows:
But, LOL even had a pre-tech life, starting in 1960, when the letters where short for ‘little old lady’. And in 2009, the word “unfriend” was selected as word of the year. Unfriend is the verb used for deleting a friend on Facebook. (OED, 2011)
Look it up in the OED! (Oxford English Dictionary) and you'll find it has been around for quite a while! The first quotation for OMG is from a personal letter from 1917, according to the dictionary.
The respected British dictionary Oxford English Dictionary is updated annually with new words that are added to the English language. In this year’s update a few more words from the technology world has been added to the dictionary (OED, 2011).
The latest words added in the March edition of the dictionary are as follows:
My interpretation of LOL had always been 'Lots of Love' until i discovered much later on facebook that it was about laughing :o)!
- OMG [OMG int. (and n.) and adj.]: ‘Oh my God’ (or sometimes ‘gosh’, ‘goodness’, etc.)
They join other entries of this sort: IMHO (‘in my humble opinion’) [IMHO at I n./1], TMI (‘too much information’) [TMI at T n.], and BFF (‘best friends forever’) [BFF at B n.], among others.
- LOL [LOL int. and n./2]: ‘laughing out loud’—are strongly associated with the language of electronic communications (email, texting, social networks, blogs, and so on).
But, LOL even had a pre-tech life, starting in 1960, when the letters where short for ‘little old lady’. And in 2009, the word “unfriend” was selected as word of the year. Unfriend is the verb used for deleting a friend on Facebook. (OED, 2011)
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| I wonder how long it will take for WTF?! References: OED, Oxford English Dictionary, 2011. Retrieved from http://www.oed.com images: Google images LOL Susi B :o) |
31 March 2011
Blogging
Week 5 and already half gone!
This week we have to read about early bloggers like Rebecca Blood (weblogs: a history and perspective)
and Jill Walker Rettberg
who wrote one of the first books about Blogging
This week we have to read about early bloggers like Rebecca Blood (weblogs: a history and perspective)
and Jill Walker Rettberg
who wrote one of the first books about Blogging
image: http://www.polity.co.uk
B inspired &
Get Blogging!
B inspired &
Get Blogging!
27 March 2011
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