UPM Pt 4 Exercise 4.1 & 4.2

Make a circular viewfinder. You can either:

• Take a photograph of something inside your house and place the viewfinder on top of the image. OR

• Make a card viewfinder that you can hold up to an area you want to paint in your house and work from this. Make a series of five circular paintings using thinned-down paint. You could use watercolour, gouache, acrylic or turps-diluted oil paint for this. 


Now take photographs of your paintings and leave them to dry for Exercise 4.4.

My inspiration has been the unknown ‘in’ of the house. This has been heavily influenced by both Helen Frankenthaler use of paint and Gaston Bachelard’s chapter in The Poetics of Space. Sketchbook work formalised the lines and explored the spaces, with the colours experimented and copied outside the book onto the round papers to finish the exercise.

The thin quality I was looking for in these needed to show the unpredictability of paint to help replicate Frankenthaler’s technic which allows for error in its abstraction, so watercolour was my preferred paint.

this wasn’t possible for all the pictures as I chose to paint on large pizza bases from Sainsbury’s which have a sheen the watercolour paint couldn’t tack onto, for this picture I used acrylic ink, which wet on wet DSC07297DSC07287can have the same qualities, all be it with more permanence. I did complete a thin oil sketch, mostly because there is going to be a second part to this process, so seeing what happens after that may make the picture more satisfactory as its certainly not finished as it is.


It is however more reminiscent of the image of the crocodile at Mottisfont.

Make a series of three circular pencil drawings, using coloured pencils, of a scene in your house. Choose from the list above, or something different. Any size, any surface.

Pencil crayon is a medium I know I can achieve a photo realistic finish with, however, the last review with my tutor led to a request to observe my pictures in process and do less, I can understand this, as a result trying to stop and not overwork has been my watchword for this part of the course.


These 4 tondos represent 2 different pencil crayons with different qualities, Derwent Inktense and Faber Castell Polychromos, the Derwents are an aquerelle that become bolder upon wetting and the Polychromos as a waxy crayon you can blend with spirits need to be pressed hard into the paper to get a strong effect.

I can’t say I’ve gotten on with the Inktense before this exercise, but actually, for the less complete finish I’ve achieved, the bolder colours work better. I’m just not sure I see pencil crayons as my final piece option, especially not in a painting course…



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