This was a painting that I had looked to undertake for some time. The photograph was taken a few years back but had remained an image that I knew that I would try to paint. The subject itself, the caravan, has now gone as it completely deteriorated therefor my photographs and this painting is probably the only record of its existence.

The photograph

For the painting I wanted to capture the sombre atmosphere which adds to the bleak nature of the image. I do wonder about the history of this caravan. Given where it is located I suspect that it was once used as temporary dwelling for farm labourer(s) perhaps brought in to assist the harvest. It is hard to imagine it looking all pristine and new. Over the the years as it got older I guess that its importance and usage dwindled until it was used as a storage facility and then ultimately abandoned and left to disintegrate. It is with these thoughts in mind that I set about completing the painting.

This is a photograph taken approximately halfway through the work.

I wasn’t too concerned about getting an exact likeness of the caravan and decided to leave out the damage to the roof as I felt it would look wrong. I also looked to soften the vegetation and landscape to create an atmospheric scene.

The finished painting achieves my goals although I am tempted to add more detail to the vegetation in front of the caravan but have resisted from doing so. Whilst I am content with the result I feel that the composition is safe and the painting doesn’t excite.

The painting is below.

Following the Part Five Formative feedback review the paintings has been reworked to try to introduce more drama and mystery into the work. A darker more foreboding painting has resulted from the rework.

Below are the eight paintings that as at 3rd November are under consideration as my assessment piece3s.

Landscapes

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Close ups

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My target is to complete a further four paintings, two for each category before making a final decision.

This painting was completed after completing Part Five and before the review meeting. I had planned two paintings, numbers 19 & 20, which I didn’t complete in numerical order. Therefore painting 20 appears before painting 19 in this blog.

The painting is part of the series of close ups of abandoned machinery which I have found. As with the previous paintings in this series I used a photograph as the guide. The subject is the same as Painting 17 ‘Radicon’ but taken from a different angle. For this particular painting I chose to depart from the colour palette of the photograph and be a little more creative with the colours that I used.

The approach I undertook to tackling the painting was that which I have used for previous. Starting with blocking in the main colours and tones and defining the basic shapes I gradually build up the detail by working, predominantly, from dark to light.

The work in progress.

This work is a good addition to the series which now consists of three finished pieces. What I particularly like about this painting the contrast between the darkest and lightest areas and how these are balance by the mid tones with their vibrant colours.

These two paintings were created as my Assignment pieces for Part Five ‘Working with words’. My aim was that they would also be a part of my portfolio of works that I have been building up for my Parallel Project. I have written more extensively about both paintings in the Part Five Assignment section. They are posted here so as they don’t get forgotten about when I come to consider which paintings I will submit for Assessment.

Following Part Five Formative feedback review this painting was reworked. The aim of the rework was to lighten the horizon so as to improve the aerial perspective. Additionally the fence post and the signage was reworked to improve definition and tonal variations. The overall impact is to bring the post and signs forward and to push the background backwards.

Of the four quick studies that I made I felt that the most successful and therefore, deserving of further exploration was, the one with an old barn set against a brooding sky. I had called it ‘Storm at Dusk’

I set about a larger study. The work went through my normal process of building up a painting. Slowly I feel that I am developing a technique which is helping to inform my own personal style.

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After some final painting I reached the point where I thought that the painting was completed.

There are some key differences in the quick study in comparison to the larger work. In some ways I prefer the quick study as the painting has a brooding quality which is not captured in the larger painting. This is mainly due to the impact that the sky has on the overall look. In addition the over arching tone is darker and more subdued. The larger painting is more accomplished in its execution, the brickwork, roof and larger tree / bush are more refined. I feel that the larger painting benefits from its photograph and being reduced to a photographic image.

In summary it does fit well into my increasing portfolio of paintings for my Parallel project.

Final re-work. I kept looking at the painting and became increasingly disappointed with it. there was something that didn’t work which detracted from the whole. It was the hint of light coming through the open barn door that didn’t fit. It is in the photograph that I used for reference but looks out of place in the painting. I made the decision to remove it. The resultant painting is reproduced below.

Despite this being one of the least successful paintings that I produced towards my Parallel project I decided to rework it. The aerial perspective was improved and the reflected light on the top of straw bails was toned down. The sky was also darkened.

Part of the ongoing work for my Parallel project was to explore four compositions to see how well I could interpret them. I had selected four photographs from my portfolio.

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All had a landscape orientation. Using the same palette of colours for each painting I made four quick studies taking between 30 minutes to an hour on each painting.

Painting 1

Painting 2

Painting 3

Painting 4

The four paintings are all satisfactory but two in particular I prefer. These are paintings number 1 & 2. Both have an atmosphere about them. This is particularly true for painting 2 where the brooding landscape evokes the coming rain storm. The building itself is rather undefined giving it a ominous aspect. It leaves the imagination to fill in what is not depicted. Painting 1 has a foreboding look to it. The entrance is open but it is not welcoming. The inclusion of the signage makes it obvious what the building is, but rather than an invitation it acts as a warning. Paintings 3 & 4, although having a similar look and feel to the paintings 1 & 2, do not have an additional element to them. It is the mood and atmosphere that I am attempting to bring into my work. It is partly evident in Painting 4 but lacking in Painting 3. Painting 3 also has perspective issues which could be resolved. In summary a useful exercise. I expect that I will use Paintings 1 & 2 as the basis for larger works.

A short post on the re-work that was performed on a painting that was completed during Part Four and re-worked during Part Five.

The painting in question is called ‘COGS’. In its pre-reworked state it was commented that the section to the right of the cogs was confusing. It distracted from the composition. Taking these comments on board I decided to tone this section down, making it recede into the background. In addition to this I would work over the whole painting in aqua oils to improve the definition.

The before and after states are shown below and then below that the re-worked painting. It will now be included in my potential paintings for submission.

This painting was discussed during the Part Five Formative feedback session. It was felt that the composition was problematical due to the L shape and the large dark area. After considering and dismissing whether to add further detail to the dark section an alternative approach seemed to be to change the orientation of the painting. I feel that this improves how the painting is perceived. It will be considered as part of my Assessment choices but I expect that it will not make the cut.

A sketch that I had completed at the start of my work on my Parallel project received positive feedback during the feedback session for Part Four. It was a composition that I had intended to take forward into a larger study and this is the result.

The sketch that I referred to is replicated below.

For this painting I took a series of photographs as the work progressed.

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Working initially in acrylic I sketched out the composition and then gradually built up the painting using Aqua oils. My aim was to try to get a subdued look with subtle highlights. I reached a point where I considered that I had reached an end point and stopped working on the painting.

I lived with paintings for a few days. There were a few aspects that I felt needed to be improved upon. The first was the wall in the view through the barn. It detracted from the sense of depth. It hovered in the middle distance interrupting the eyes travel into the distance. At the same time the partly fallen length of wood needed to be reduced in length. Lastly to roof of the barn lacked definition. The improvements were made and the re-worked painting is shown below.

The painting makes a worthy addition to the portfolio of paintings that I am gradually building up for my Parallel project. Whether it gets included in the final submission will be decided later.

Post script: Interestingly and much to my surprise renovation work has recently started on this old barn. It is already starting to look very different. When completed I will take some photographs and perhaps make a painting.

A reworking of the painting was performed following review at the Formative feedback session for Part Five. The landscape viewed through the Barn was toned down to enhance the aerial perspective and give the painting more depth. Finally, 26/11/2020 I added some highlights on the roof and gave the painting a title ‘The grass is greener’.

The painting below was completed shortly after the feedback review session for Part Four. The inspiration for the painting came from a photograph taken of part of discarded farm machinery. I manipulated the photograph by zooming in until I had a composition that I felt was interesting. I was attracted to how the paint had faded and deteriorated over time. It had been weathered had lost its lustre and become dulled.

A couple of quick sketches to check the composition.

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Using a support of a sheet from a canvas pad the starting point was to cover the support in acrylic paint applied in a gestural manner. This was then adjusted by picking out the tonal areas, dark and light and gradually allowing the form to emerge. This was done with both acrylics and aqua oils.

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More detail was added, the tonal qualities were emphasised until I felt that I had a painting that expressed what I had seen in the original image. It is not explicit as to what it is. It has an anthropological look in that it suggests human form. The fluid lines convey a solid form on which the dull reflected light is emphasised by the deep shadows.

This painting was reworked to introduce a stronger colour and also to promote the tonal variations.

Following comments received during Feedback session I have made further adjustments and reworked the painting. The main observation was that the bottom of the building and the shadow on the grass could be toned down further. This should add further contrast and drama to the overall composition. This I have carried out and additionally I also toned down the colour of the wood on the building. The result is that the building sits more comfortably in the landscape, it appears cooler and calmer. Subtle changes that I hadn’t noticed. The acceptance of valued criticism set against the resistance to make changes to finished pieces is something that I have come to accept. One of my challenges is to be able to better critique my work.

The before and after is shown below and after that the reworked painting on its own.

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A last rework of this painting was performed following it being reviewed at Formative feedback for Part 5. The faded yellow field was overpainted with green to give a more harmonious feel to the composition.