Resolved Drawing number 1
Royal Hotel Queanbeyan 1927. 2025. Graphite Pencil on 200gsm paper. 21cm x 29.5cm.
In resolved work number one, I used observational methods learnt in week one drawing, which involved placing objects in space onto a two-dimensional surface using relative positional measurements and lines. I have captured a three-dimensional image on a two-dimensional surface for my resolved work. I used the lessons I learned in two-point perspective. I enjoyed this mathematical approach to my drawing; I practised four buildings using this approach, some of which were simple thirty-second sketches using the formula, resulting in a more detailed sketch. I enjoyed the process and the result. The Royal Hotel Queanbeyan 1927. I believe I got the perspectives correct and included many details and shading, which I learned in the interior exercise scene. I included two vanishing points. I used these measurements to ensure the hotel’s rendition was as accurate as possible. I used an old photo as my reference, taken on 21/6/1927. I love this building; it is so beautiful and authentic to the style of the early 20th century. I also loved the old style of car. This mathematical approach to perspective really appealed to my style of ultrarealism.
Resolved Drawing Number 2
View from my Front Porch. 2025. Water-soluble Ink on 200 gsm Paper. 21cm x 29.5cm.
I used all the skills I learned in week three. The view from my front porch included natural and manmade elements. As a realistic artist, I allowed myself to use a looser style than usual, and I enjoyed painting plein air. It was also my first time using Ink with a paintbrush. I loved this medium when diluted; it acted like watercolour, being able to get different tones, but then added extra detail at the end. I used an ink pen. The flowing ink created depth and shadow. Using these two techniques, I was able to create an atmospheric drawing. I carefully observed the lines and tonal contrast. I also used negative space in the sky, manipulating the ink to create a natural atmospheric effect. I find the final result visually appealing. It was the first time I had painted in plein air, which felt uncomfortable with people walking past, but I loved the result.
Resolved Drawing Number 3
Old Bloke. 2025. Coloured pencils on Black Card. 24cm x 33cm.
I used a reference from Karen Hull’s book, Realistic Portraits in Coloured Pencil, by Karen Hull,2019, Quarto Publishing Group USA Inc., to draw this portrait of a bearded old man. I used my ultra-realism style to produce this drawing. It took nearly 30 hours to complete, but I think I have captured the essence of the old guy. I left his beard and hair pretty loose, but the detail in the face is impeccable, producing a three-dimensional image on a two-dimensional surface. I especially loved drawing eyes, making them rounded and shiny. I used C’aran D’Ache luminance, Pablo, Faber, and Castell Polychromos coloured pencils. These pencils blend beautifully as I built up the layers. I started with an underdrawing using neutral colours and then gradually built up layers until I was happy with the overall effect. I find that side view or three-quarter poses in a portrait work best as it can be tricky to get the eyes absolutely perfect. I had fun building up the layers. I had fun building up the layers of his moustache. I was fascinated when I really concentrated on his skin, revealing a life lived with his deep wrinkles and cracked skin. I chose a black card as a support as I wanted to showcase the varying colours of his skin. Polychromos has a good selection of grey pencils in both warm and cool tones, which I found very useful for blending with other colours to get the shadows.
Resolved Painting Number 1
Guilding the Lily. 2025. Metallic Watercolour Paints on 200gsm paper. 21cm x 29.5cm.
For my resolved work based on these exercises, I wanted to concentrate on tones. I painted a still life, focusing on colour, shades, tones and hues. I decided to paint a still life as the focus. I painted white calla lilies. When you contemplate the colour white, it is easy just to dismiss it and say yes, it’s a white flower, white, but in nature, nothing is just white. It has hues of blue, grey, yellow and even green. Other colours are reflected in the white petals. For example, the yellow stamen makes a golden glow inside its petals and the green stems also reflect the shades of green. I painted the background in harmonious colours so it did not detract from the flower, which I wanted to be the primary focus. I enjoyed completing this photo, which I will give to my mum for her birthday. I did not use a reference painting; I painted from a still life. I have captured enough realism with a painterly feel (abstract element). I think I manipulated this watercolour well to create an interesting but not intrusive background using wet-in-wet, but finalising the detailing of the flower with wet-on-dry. I used 200 gsm paper, so it buckled. I usually use 300 gsm. I know I can iron the back of the painting and put it into a frame, and it will not be noticeable, but I will be more careful in the future.
Resolved Painting Number 2
Mother’s Day. 2025. Cotman Watercolour Paints on 300gsm Cotton paper. 21cm x 29.5cm.
For my resolved work based on these exercises, I wanted to concentrate on tones. I painted a still life, focusing on colour, shades, tones and hues. I decided to paint a still life as the focus. I painted white calla lilies. When you contemplate the colour white, it is easy to dismiss it and say yes, it’s a white flower, white, but in nature, nothing is just white. It has hues of blue, grey, yellow and even green. Other colours are reflected in the white petals. For example, the yellow stamen makes a golden glow inside its petals and the green stems also reflect the shades of green. I painted the background in harmonious colours, so it did not detract from the flower, which I wanted to be the primary focus. I enjoyed completing this photo, which I will give to my mum for her birthday. I did not use a reference painting; I painted from a still life. I think I have captured enough realism with a painterly feel (abstract element), I think I manipulated this watercolour well in creating an interesting but not intrusive background using wet in wet but finalising the detailing of the flowers with wet on dry.
Resolved Painting Number 3
Four Heads are better than two? 2025. Acrylic Paint on Canvas. 29.7cm x 42cm
For this finished work, I used the elements from week five and six painting exercises, particularly inverting and using bold colours in ways that go against convention and you don’t expect. I drew four portraits overlapping in the centre, creating multiple geometric shapes which I coloured randomly using five bright colours. I then used a flesh colour from the colour mixing exercise. To reflect the chaos of the centre, I introduced some colour into the top part of the heads. I realised that adding realistic elements to abstract art can confuse the brain, and it sees a realistic painting even though it has disordered elements, creating a cognitive dissonance, where your eyes move from recognising the abstract element whilst also identifying the realistic illusion simultaneously. I think this is why effective abstract art can leave the viewer with an uncomfortable feeling, like the feature of the face with harsh, sharp edges instead of blending to achieve a realistic effect. The painting portrays 4 heads of the same figure, and they are all shouting at one another, and their language is a jumbled mess of colours gradually taking over their faces. They are not listening to each other but just trying to drown out the opinions of the other three guys. I don’t think I have quite finished this painting. I could add more detail and put some question marks around the heads. I hope the viewer feels some emotion when observing this work, as I have many online articles to try to find a way to enjoy abstract art.
