Painting Resolves
Colour Mixing: Work-1
This painting was created off a series of exploration on colour theory. Colour based activities through Painting 1, Studio Exercise 2: Colour Mixing.
I utilized light sketching techniques with a projector prior to applying an underpainting followed by top colours. My objective was to focus on a single colour, specifically Prussian blue, as the base colour and develop a scale from that for my portrait. Subsequently, I employed its contrasting colour, cadmium orange, for the background base and final textured overlay. The subject of this piece was my partner, and I selected these two colours because they symbolize the excitement and peace he brings into my life—a truly dynamic balance.
Description
Signed on the Left-hand corner
Size: 550 x 650mm (21.6 x 25.5in)
Materials used:
Acrylic paint, Acrylic medium gel glass, Acrylic conditioner, Acryllic gloss varnish.
Subject:
My partner, Dean.
Abstraction with Masking Tape: Work-2
This painting was created off a series techniques revolving around the use of masking tape in Painting 5, Studio Exercise 1-2: Masking, Negative Space & Foreground.
For this piece, I employed the masking tape technique to create an abstract portrait by layering various portraits over areas that were masked off after painting. Other compositional techniques were utilized throughout the colour application; however, I particularly appreciated the use of masking tape to bring forth a pop art-styled abstraction. The initial concept was inspired by an album cover but evolved with each added layer, resulting in the notion that each mask we present to the world conceals numerous others that remain unseen. This raises the question: why should society dictate our appearance or identity when, fundamentally, we are all the same beneath the surface?
Signed on the bottom Left-hand corner
Size: 297 x 420 mm (11.7 x 16.5 in)
Materials used:
Acrylic paint, Acrylic Conditioner, Gloss Varnish.
280 Cotton Duck Canvas Sheet
Subject:
Inspired by an album cover, Collected female portraits, chosen for their expressions of emotion.
Skin Tone Composition: Work-3
This painting was part of a series exploring composition through Painting 4, Studio Exercise 3: Skin Tone- Light to Dark.
I employed light sketching techniques with a projector before applying a light grey underpainting to facilitate the subsequent skin tone layers. Initially using primary colours, I established a solid foundation, gradually refining the colours to achieve the desired effect. I identified areas requiring more yellow undertones, red, grey, and other hues to create an accurate base. For this activity, I selected this image to challenge myself in recognising various tonal values within an individual’s skin tones. Although the activity did not allow for blending, the techniques and tips on mixing skin colours proved effective in enhancing my learning experience
Signed on the bottom left-hand corner
Size: 297 x 420 mm ((11.7 x 16.5 in)
Materials used:
Acryllic paints in various colours.
180 GSM Cartridge Paper
Subject:
Randomly chosen – Portrait Subject
