20 April 2017
My tutor made specific comments in the feedback for assignment 3, remarking that at times there was a dissonance between the use of colour and the work. She suggested that I consider using a palette from within the image or working with a more neutral/monochrome palette to start with, and that I review and reflect upon my use of colour in the course.
In response, when I looked at my sketchbook again in context, it became obvious to me which colour sketches worked well and which did not, and I thought the best way of presenting this information would be to go through each in a blog post and explain why, with lessons learnt for the future.
Which colour sketches didn’t work:
Page 53: The punched cushion
I used colour because I wanted to emphasise the negative space more prominently and I wanted to emphasise the “window-like” properties of the sample. In the event the lemon yellow and bright turquoise seem like an affront to the eyes – the contrast in hue is large and it seems out of place in this context.
Page 54. Observational drawings of Part 3, project 2, sample 6
A thumbnail of the sample is shown below:
The next image is an extract from my sketchbook:
In the top drawing, I have used a muted shade of charcoal to make a mostly tonal drawing to reflect the shapes and shadows of the sculpture. This is soothing to the eye.
In the drawing on the bottom right, I wanted to get away from the focus on contoured surfaces and the reason for the colour was to focus on the outline of the holes made by the balloons and to clearly differentiate from he positive and negative spaces. Looking at the image, I can appreciate that this bears no reference to the sample, and appears somewhat misplaced. My intention had been to abstract the image from a 3D sculpture and project it onto a 2D surface. In hindsight this would have been better achieved with a monochrome or harmonious palette which did not distract from the imagery.
Pages 55-59. Observational drawings Part 3, project 2, samples 2a) and 2b)
A thumbnail of one of the samples is shown below:
The first sketches I have included are in charcoal, so that I can contrast their success with the later coloured analogies. I am pleased with these sketches because they provide detailed and expressive representations of the surface of the sample, and areas of depth and shadow.
In contrast, the sketches made in water-soluble crayon above are also tonal, but lack the range of the charcoal analogies. The purpose of changing the colour was to abstract them away from the original sample, but the three colours neither relate to each other, nor to the sample, so once again there is a feeling of displacement or disjointedness.
In this final analogy I made a collage but cutting out the outline shapes from magazine pages. After sticking them into my sketchbook, I decided that they did not show up well against the white background, and for this reason I decided to outline them using orange water-soluble crayon. The aim was to create a shadow effect, but they are orange, it does not have the desired effect. In hindsight, I should have made a note to explain this is my sketchbook.
Back inside cover – Part 3, project 1, sample 72
In this colour sketch, I was trying to give myself an ideas of what the natural cork background and red coloured latex sample would look like. If I am honest, I don’t like these two colours together, but I did not have time to rework the sample in a new colour scheme. This was sample 72 (recommended number for this exercise was 9)! I had just made too many and had I concentrated more on fewer samples, I would have had sufficient time to think careful and rework my results, if needed.
Page 26. Lattice
This is a bold colour combination with a strong contrast of saturation. It is both vibrant and an affront on the senses and is emphasised by the pattern. I am undecided as to whether it is pleasant or not and I have concluded that this would depend upon the situation in which it is used (i.e the size of the piece and the overall colour scheme in which it is placed).
Which colour sketches worked:
Front inside cover: based on Part 1, project 1, sample 48
Although this outline drawing has been abstracted and bears little resemblance to the sample, the shapes are interesting and the colour scheme (which draws on the paintings of KAWS) is bold helps to differentiate the shapes. It suggests a kaleidoscope, maybe graffiti or street art.
Compared with the pencil outline (see above – sketchbook page 50), the contrast helps to draw me into the image and invites me to decipher the shapes.
Page 6-7. Doodles
These shapes were inspired by linocut marks, packaging and the paintings of Van Gogh. The colours add to the textural quality of the image, suggesting that some shapes are more prominent, and suggesting depth and perspective.
Page 10. Relief texture rubbing
This colour scheme works because it focuses on the complementary colours of violet and yellow. Together with blue-violet it from a harmonious triad, as described by Itten (Itten, 1961, 72-73).
Page 26. Lattice
This is the same analogy as that on page 25, but using a harmonious colour scheme with a soft transition of hue across the background and an increasing construct of saturation from bottom left to top right. I feel that this scheme is restful and I am more convinced of it’s success than the colour scheme on page 25.
Page 46. The squashed object
In the bottom right I have adapted Barbara Cotterell’s “Flourpots” piece by using a different shaped “container”, and by emphasising the outside instead of the inside by applying her colour scheme o the exterior surfaces. This colour scheme has a bold contrast in hue and gives the impression of being taken from a paintbox. I think that the contrast works well in this instance and helps define and differentiate each of the elements.
Page 51-52. Development from a drawing based on Part 1, project 1, sample 48.
This is an harmonious colour scheme of autumnal colours ranging from yellow, to green to brown, to russet to pink. It works because the colours form a transition from similar hues and overlapping the stencils helps the eye to blend them together,
In the sketchbook for Part 3, I made a conscious effort to try and abstract away from the samples by using colour. It is obvious that this was often not successful.
The colour schemes which didn’t work tended which I chose without consideration of the context nor the feelings that I wanted to engender. They were more often bold and strongly contrasting.
Harmonious, complementary or related colours tended to work well and enhanced rather than retracted from my visual message.
Itten, J (1961) Itten: The elements of colour. New York. John Wiley and Sons.