georginaharrisart

Piet Mondrian Revisited

I looked at Mondrian when I first started painting the woods nearly a year ago (post here). His method of working still inspires my practice. He spent his life working on abstract paintings and also painting trees. There was no linear transition from trees to abstraction, but a constant relationship between the two parts of…… Continue reading Piet Mondrian Revisited

Oils vs acrylics

Oil paints on right. Acrylics on left. Underpainting is 50/50 Gesso and acrylic paint, one layer. I did both of these paintings right after being outside sketching in the woods. So these paintings are memory paintings. I did the oil painting first, and with the acrylic painting I tried to keep the brushstrokes and colour…… Continue reading Oils vs acrylics

Digital Structures

After drawing some structures in the woods in a sketchbook, I was still struggling with using the three point perspective to get the shapes I wanted. So I decided to do some more practices digitally – where I could extend the drawing off the edges of the photograph, and figure out the method more. This…… Continue reading Digital Structures

Artist Visual Mindmap

For this term I want to pick up from the work I did January – June 2018 last year. I left that project knowing that I wanted to return and now feels like the time to do that! The work of Richard Smith especially interests me. I like the sculptural qualities of his work.

Comparing photo reference paintings with sketch reference paintings

Left: painting from series of sketches. Right: painting from one photograph. There is definitely a visual difference between the paintings I have done from sketches, and the paintings done from photographs. Paintings from photographs I think look far more confident in brushwork, colour palette and paint application. But I think the paintings done from sketches…… Continue reading Comparing photo reference paintings with sketch reference paintings

Finished duvet painting

I took what I had learnt from the test painting to complete this painting. The finished painting What Works Two shades of white – blue tone and ochre tone Adds subtle dimension and light to the piece. I applied white without any Liquin so it was a much thick application than my tester or previous paintings.…… Continue reading Finished duvet painting

Test painting for larger piece

I decided to do a small test piece before doing a larger painting of a person lying under the duvet. I wanted to see how I could translate this pattern onto the painting, and doing this test allows me to make improvements before working on a big scale. So I used very similar technique to…… Continue reading Test painting for larger piece

Finishing another experiment

I am pretty happy with the outcome of this painting! I have learnt so much from the process and it shows real potential. I applied what I learnt from the shadow test paintings towards the end of the painting, which really helped complete the piece. What works The duvetI chose to add pattern to the…… Continue reading Finishing another experiment

Experiment finally finished

This painting took me weeks to finish. This is due to the lack of reference images (- no photographs and quite vague sketches) so I had to make choices based on instinct and habit and intention, instead of following what was there in real life. I took lots of time between painting sessions to give…… Continue reading Experiment finally finished

Painting shadows in rooms

For the first experiment, I used a process that I thought made sense for the scene:Underpainting with darker lines for edges of walls etc in thinned oil paint. Then apply colour to everything and shadows. Then add shadow colour (cadmium red + french ultramarine + burnt umber), thinned slightly with Liquin and buffed in with…… Continue reading Painting shadows in rooms