Refining and exploring styles

After going on the Oxford trip and gathering inspiration and ideas from what I have seen, I continued to keep working in the styles of my three artists Vytautas Kasiulis, Scott Naismith and Joseph M.W. Turner, in order to allow me to adapt these three styles together and create my own personal style overall.

The painting you see above is in mainly the style of Scott Naismith, created using acrylic paint, oil
paint, ink and hairspray on paper. My main focus for this painting was one of my photographs of a beach taken in Lithuania during the summer (Bellow)

And the main artist  images that inspired me were Naismith's  paintings 'Glen Spean Snow 2' and 'Scapa Distillery' (images bellow)

Above (On the left) Scott Naismith 'Glen Spean Snow 2' 30 x 60 cm, oil on linen (1) (On the right) Scott Naismith 'Scapa Distillery' 60 x 60 cm oil on canvas (2).

I chose these two paintings for inspiration because just like my own photograph, they show a gloomy and darker atmosphere. Also 'Glen Spean Snow 2' shows a great example of layering paint in only certain sections to make the work stand out more without there being too much media in one place. As you can see in my painting I tried out this method by layering thicker amounts of paint in the corners of the the painting rather than the whole surface, this creates a bigger variety of surface texture which gives depth to the whole image. There are some down sides to this as a thicker amount of paint does chip off more, I also applied some blue ink onto the painting because I liked the previous outcome of doing so from my previous experiment (image bellow) The blue ink does in fact make the whole image look more lively as something in particular is highlighted from the whole image, giving a starting point. However looking back I do not think that the ink is suitable for a sky background as it appears quite glossy and smooth and would be better for representing a flow of water, like a river, do to its organic free flow appearance and the intense blue colour.

(image of my previous art work)

Overall looking back at this painting, I think that applying layers of paint both at the top and the bottom of the page is too much, as it creates very sharp looking corners that it in a way frame the whole image making it visually appear less spacious, whereas a landscape painting should be very open and spacious. Hence in the future I will try to balance out the details in such way that the whole image does not look framed and overdone.

After completing one side of the painting on the other side of the page I intended to recreate the same image, but in more unrealistic colours (image bellow). I wanted the unclear picture to represent some form of memory of that place, where not all details are the same as the ones you would have looking at a photo.  For this image I used acrylic paint, coloured chalk, pen, hairspray, PVA glue, newspaper on paper. I tried to make this image look more like my previous experiment that I showed in the image above. Unlike the other painting I wanted the colours to be more subtle and less intense, yet still colourful. However the colours I chose were more unrealistic however overall this worker more effectively.  Initially I hoped that the oil paint colours from the first painting would show through to this side of the paper (as in a previous experiment second image bellow) however because I used turp substance to thin down the paint, the colour did not show through as I thought it would have, Hence I decided to just paint a background of my own. I also tried to layer paint, however this time in only used a singular colour (white acrylic paint) and only layered paint on one section of the painting, which in fact looked more effective than the previous image, I also went round some areas of the image with a pen and hairspray, as I wanted to brighten up the subtle looking image, and this proved to be effective. 

(Above are three stages of painting the second painting. )

(Above is my previous art work, which demonstrates the effect of oil paint showing through on the other side of the page)

After finishing both paintings, I had some oil paint remaining on a plastic wallet, hence I decided to utilise the paint. I folded the plastic wallet together to mix up the oil paint colours and then pressed the unfolded wallet onto my sketchbook to achieve the result bellow.

I also added some pen and hairspray to the image to bring out certain areas even more.

Overall compared to the two images I painted before,  I prefer this art work much more, mainly because it still in a certain way  highlights the colours of the beach, but presents the whole scenario in a creative and not a straight obvious way, which looks more expressive and beautiful.





The three images bellow are mainly colour and media application studies that I carried out in order to understand further methods of layering media and colour in such ways to create an effective base or background.

Although the initial inspiration for these images was my unrealistic painting version of the beach inspired by Naismith (image show previously) as these images have a lot of light purple, blue pink shades as well as white tones, just like the painting, it must be said that the experiments are meant to be more related to Turner's style.

 Main artist inspirations for these art work were;

Above (On the left) Joseph M.W. Turner 'Essays in Colour to Try his Palette' Watercolour on paper, 480 x 345 mm (3) (On the Right) Joseph M.W. Turner 'Moonlight' Watercolour on paper,   251 x 381 mm (4).

The reason why I chose these two pieces of art work is because Turner was also experimenting with them, in terms of colour palette and mark making of media (watercolour in this instance) I also liked the fact that the art work is subtle and neutral colours, as after some of my previous experiments I realised sometimes vivid and bright colours can be overwhelming.

For my first art work (image on the left) I used watercolour, coloured chalk, pen, hairspray white acrylic paint, tape and paper. To being with I created the background by applying a brighter watercolour base which I then made even more lively by adding bright colours of  coloured chalk (blue, purple, pink and yellow)

I then printed out an image of a landscape which I had previously edited online (images bellow) and then used the sellotape transfer technique (sticking tape over a printed image and then using a damp sponge remove the paper from the tape in order to end up with a translucent image) The new image I then stuck down to the page, and to finish of the whole art work I went over the bright background and the corners of the photograph with white acrylic paint to town down the intensity of the colours.

(Above, on the left is the original photograph that I have taken, and on the right is the edited version of the photograph, I used the website www.befunky.com to edit it)

For my other two artwork (image in the middle) I used pen, hairspray, acrylic paint, coloured chalk on paper. (image on the right) Mixture of acrylic paint on paper. Similarly as the first image on the left, for the other two, I gradually built up a background, by adding one type of coloured media, and then another one on top to see how overall all the colours would appear together, and what colours to choose so that they would compliment each other. Overall these three pages of experiments allowed me to understand that it may require time to gradually create a desired outcome, as built up of media is needed.


Further Techniques in Turners style and colour experiments in Kasiulis's style.

My next two pieces of art work are inspired both by a painting of Turner and one of my photographs.

Above (on the left) my photograph, taken in Vilnius, Lithuania (on the right) Joseph Mallord William Turner “Norham Castle – Sunrise”. Created using oil on canvas in 1835-1840.Support: 908 x 1219 mm,frame: 1060 x 1370 x 70 mm (5)

To begin with it all started off with me trying to recreate a section of “Norham Castle – Sunrise” using acrylic paint, paper and a damp sponge (image bellow) 

Because this piece of experiment turned out as I intended, later on I decided that I should try and clash this painting and my own photographs together for the purpose of style and technique. Hence I once again recreated sections of “Norham Castle – Sunrise” on a book page which I then ripped in large pieces and glued onto my sketchbook so that I would appear as collage. Then I one again repeated the technique of applying oil paint onto a plastic wallet and then folding it up to mix up the colours (in this instance I chose orange, red and white coloured oil paint as they are similar colours to the ones of the sky in my photograph) And then I pressed down the paint onto the page opposite which created the result you can see in the image bellow. 

I then decided that I should furthermore continue these experiments of colour and collage combined together and focus on my sunset photograph alone, and it's warm and harmonious colours. The experiments I carried out bellow are a mixture of previous techniques I have discovered from working in the style of my three artists. 

Media used; acrylic paint, enamel paint, oil paint, watercolour, PVA glue, canvas fabric, hairspray, pen, newspaper, black and brown paper, wallpaper on paper.

To begin with I think that choosing not to actually recreate the image but its colours was a good decision, as this allowed me to step out of my comfort zone and not be afraid to experiment and try to make something perfect or accurate. These two pages included the process, of applying black and white enamel paint onto newspaper, and after it dried I ripped it up and glued it down along pieces of wallpaper (which I coloured with water colour) and black and brown paper to create my background collage. I then went over some sections with a pen and sprayed hairspray over it. On the other side I painted the whole page with black acrylic paint, after it dried I once again pressed down oil paint onto the page, resulting in patches of colour (one thing I did notice is that I did not put enough oil paint onto the plastic wallet for there to be a bright enough colour on the paper).

For the little piece of canvas fabric I used orange, red, yellow and white oil paint I firstly applied the paint all over the fabric, and then I dipped a paintbrush into some turp substance and firmly pressed down the paintbrush and dragged it over the fabric to create lines that reveal different undertones of oil paint which I previously added. I really liked this technique as it makes a flat 2D surface more 3D as it creates light and depth. I originally got inspiration for this from another experiment I carried out in the style of Kasiulis (image bellow) I simply applied strokes of oil paint on a page (without mixing them or tinting them) I wanted to see how brighter colours can compliment and work with each other in a similar style as Kasiulis applied his paint.  Media I used; Oil paint, white enamel and tea stain on paper.

Above (on the left) Vytautas Kasiulis 'Mulen Ružas’ (Moulin Rouge) oil on canvas, 1980’s, taken in Vytautas Kasiulis Art Muesum, this painting is the best example of Kasiulis's technique of bright and intense colours. On the right is my experiment of combining bright colours in his style. 

To finish off my experiments in my first sketch book I took the whole collage and colour experiment even further, by combining all my work to create a very textured background.

Above you can see two images of the same two pages of my sketchbook, in the middle I glued down 4 pages of a A4 book, which allowed me to create lots of textured collages. Overall the media I used was; acrylic paint, coloured pencil, PVA,  paper, pen. On the 4 pages I glued down separate pieces of paper, I then went over them by making harsh marks with both pen and coloured pencil, I then covered the collaged with a thin layer of white acrylic paint to make all blend into one piece. For the main sketchbook background, I used acrylic paint and a damp sponge to create a blended and layered background, by dabbing the paint on gently with the sponge. I firstly applied darker various shades of colours which included dark green, dark purple and dark blue. When the colours were applied, together they did not compliment or blend together effectively, until I once again went over the colours with white acrylic paint, which evened out all the colours and made the unite. 

To conclude all of these experiments allowed me to strongly move forward in terms of understanding the most effective techniques that will help me to begin working outside by sketchbook on a larger scale. 

References;
(1) Scott Naismith 'Glen Spean Snow 2' http://scottnaismith.com/30-x-60cm-glen-spean-snow-2/
(2) Scott Naismith 'Scapa Distillery' http://scottnaismith.com/60cm-scapa-distillery/
(3) Joseph M.W. Turner 'Essays in Colour to Try his Palette' http://www.tate.org.uk/art/artworks/turner-essays-in-colour-to-try-his-palette-tw0475
(4) Joseph M.W. Turner 'Moonlight' http://www.tate.org.uk/art/artworks/turner-moonlight-d40138
(5) Joseph Mallord William Turner “Norham Castle – Sunrise” http://www.tate.org.uk/art/artworks/turner-norham-castle-sunrise-n01981

Oxford Trip

On the 1st of October 2014, I once again had an opportunity to visit three Museums in Oxford.

The first Museum I went to was the Oxford University Museum of Natural History as well as Pitt Rivers museum. Differently than the other two museums I went to later on, this one was mostly full of natural specimens, fossils, and other subjects. 

(Outside and inside the Museum)
Because my theme is abstract landscapes, I had to think about the sort of things I could be looking at that relate to my theme. However surprisingly there were surprising objects there that actually strongly relate to my artwork and inspirations.

Before visiting the Museum, quite a few times I have mentioned how bright colours are not seen as 'natural' or 'earthy' and look artificial, especially whenever my artists that I study (Scott Naismith and Vytautas Kasiulis) paint landscapes and other subjects in lively bright colours.

However I was quite wrong, in fact I discovered quite a few natural specimens that consist of beautiful, bright and sharp colours, that the earth has produced, so in fact my idea of a 'natural colour' is deceiving.
I noticed a lot of the beautiful colours are from materials that we don't necessarily see everyday or in typical surrounding we may be in. For example a lot of minerals, crystals and metals have very intense, clear and in depth colours. Here are some examples bellow:

Not only do these crystals present amazingly bright colours, they also have very unique textures and surfaces.

There were also colours of those who were once 'living' like small birds and fish that have bold and vibrant colours on their bodies;

However what fascinated me the most were minerals that fluoresce in the dark due to UV light creating very fluorescent and vivid colours. This surprised me because I was not aware at the time of this sort of minerals and the fact that they can glow. Meaning this once again proved my idea that organic object colours are mostly neutral and muted wrong.
Here is what they looked like bellow:

I believe these minerals match and relate with the my work and theme the most is because in the dark they don't show precise lines or details, they stand out through the powerful illuminating colours. Similarly with my theme, I am not trying to focus on landscape details, but the colours of the whole surrounding, which is exactly what the minerals in the photograph represent. I want to achieve the whole principle of viewer to questioning the actual subject matter they see in front of them but still be fascinated by the flow of colours presented. They also remind me of Vytautas Kasiulis's painting 'Loušas Elgeta' ('Lame Beggar') where Kasiulis uses a black oil paint background in order to make the colourful oil paint stand out more sharply.

(Above, Vytautas Kasiulis - 'Loušas Elgeta', oil on canvas, 1950's, Lithuanian Art Museum)

During the visit I also got a change to observe and in some instance feel different textures of old specimens of which some seemed misleading at first. For instance the two specimens bellow; the picture on the left side is of a mineral called 'Pyrite' which is a Iron Sulphide. It is 10,000,000 years old, It is known as fool's gold, because it has often been mistaken for gold due to its resemblance. In fact its appearance is delusive, when I first looked a Pyrite I thought its texture would be very metallic,and due to its texture the edges on the metal would be quite edgy and sharp. However I was wrong, in fact the texture of Pyrite was very smooth and the edges were worn down, hence the texture overall felt bumpy. Generally when looking at it doe to its shiny appearance, the Pyrite looks as if new, hence knowing that it is 10,000,000 is quite unbelievable.

Similarly the specimen on the right side appearance wise looks bumpy and quite rough, however the surface of it is quite smooth in texture. 

Here are some other interesting textures and surfaces I managed to find:

What I find interesting about the objects above, is the fact that the majority are of an organic source, and not man made, hence they are not in a perfect shape or form, which makes them unique. The fact It took these specimens thousands of years to develop, wear down and form into the way they look now, (which in many cases is probably very different as to what they looked like originally) reminds me of the work of Joseph William Mallord Turner. As from studying Turner I learnt he also often altered his paintings, making them completely different as to what they used to look like originally. He achieved this by painting over them, building a layer over another layer of paint on the canvas. Which in return for the long run has caused the paintings to crack and chip and wear down, just like the specimens above have due to the years of weather,and other factors. 

I also had time for a few observational drawings, I firstly looked at a skeleton of a dinosaur and tried to focus on its shapes using charcoal, as this choice of media seemed to be the best to represent what is now a fossil.

Here is what my sketches turned out as:

 It was quite hard to draw it in proportion and the right shape, however I tried making it more free flowing as it was a sketch hence there wasn't a lot of time to draw it. However because charcoal smudges, the two pictures above smudge the pages in front of them, creating very interesting marks of the same picture but more vague which I really like, due to its slight uncleanness of fine detail.

I also observed a crocodile as I found his skins texture very interesting, it had some resemblance to the way Scott Naismith layers his paint in small round patches. For these observations I used a variety of media such as pen, pencil, charcoal, however once again I though the charcoal was the most effective as it was the most convenient medial to use for a more free flowing style.

We then travelled to Oxford Modern Art gallery. At the time there was a Stuart Brisley 'State of Denmark' exhibition. Sturat Brisley is a British Artists, born in Surrey in 1933.

In particular I found two of his art pieces most relevant to my theme (images bellow). These two pieces of artwork are very textured and visibly layered with mixed media to create a very strong and rough feel for both the chair and the canvas. The only downside for this artwork in my perspective is the work seems a bit off putting because it looks like its been burnt and covered mud. However it is most likely what Brisley is trying to express with his work, some sort of damage or a example of neglect. Although saying that, I do like the fact that the artwork especially the canvas is very naturalistic, and does not have specific detailed drawings , but rather is full of textural detail.

(Above, on the left, Stuart Brisley 'Chair'  1996 - 2011 Wooden chair, paper mache, PVA, acrylic paint, hardwood parquet floor, tar. On the right, Stuart Brisley 'Royal Ordure' 1996, Mixed media on canvas 60"x48".)

Another similarity I have noticed is that 'Royal Ordure' looks quite similar to a painting by Niki de Saint Phalle called ''Shooting picture' which I viewed in the London Tate Museum (image bellow). This gives me and idea of considering trying to experiment with applying layered media all over the canvas, page or other type of media that I can use for the base of my artwork.

Another interesting thing I noticed in whilst in the Oxford Modern Art gallery, was the inside of the building as it looked a lot like and experiment I have created before. 

Here is what the ceiling looked like:

I like how the ceiling has patches with parts of the white paint cracked off or discoloured,its like the layers of paint built over years finally reveal what's always been underneath.

Bellow is an image of my work which I think looks a lot like the ceiling because of the colours and smudges of light paint, also the other side of the page has layered oil paint on it, and the page we see in the image bellow is just the paint showing thought from the other side, hence it fits the paint showing through concept and idea.

Lastly we went to the Oxford Ashmolean Museum, there I found a few paintings of landscape however, although the paintings are of landscape they do not carry out the same ideas and goals as I want for my artwork. Firstly the majority of the paintings I have seen there are very detailed with clear lines and subject matters, created using thin layers of oil paint on a canvas, using naturalistic tones and colours, also in size they were relatively small compared to other artist paintings I have seen before, and for a landscape painting a small canvas does not look effective, especially if an artist is trying to pass on the feeling of what it is like being in that moment, Whereas a large scale painting makes the viewer fell more like they are at the place of the painting. Whereas for me it is more interesting to examine work which shows passion for expressing colours of the atmosphere around the artists and texture that adds depth and 3D form to paintings. However I still think the oil paintings I have seen in the Ashmolean were helpful in order to allow for me to distinguish what type of artwork style is for me and suits my theme and ideas the most.

(On the left Pierre-Auguste Renoir 'Landscape with Trees' oil on canvas', on the right, James Abbott Mcneill Whistler 'The Shore, Pourville' oil on panel.)

More artist experiments

After carrying out experiments influenced by Scott Naismith, I decided to move on and try to understand Vytautas Kasiulis's style better. Kasiulis is indeed an artist who's style is very lively and expressive and personally harder to adapt to landscapes, however the knowledge of observing his paintings in his museum have helped during these experiments. 

My starting point was to observe one of his paintings called 'Šokis' (The Dance)  which I got an opportunity to view. For this drawing I wanted to understand how Kasiulis painted his characters and adapted them to the background. Hence I focused on the dancing man on on the left side of the painting, however instead of using paint I decided to try and use another media that Kasiulis often uses which is oil pastels. I chose oil pastels mostly because they are bright and make very clear and bold marks and lines on paper.

(Media used; brown paper, oil pastels, plain paper, acrylic paint, biro pen, hairspray)

I discovered that oil pastels are quite a good media to use to recreate Kasiulis's style, however not something I would particularly choose to use in landscape paintings. Once I finished observing the section of Kasiulis's painting, which I chose to draw on brown paper because it added tone and depth to the drawing, I decided to glue the brown piece of paper to my sketchbook on a white painted background, however it did seem to lack of detail and looked quite dull. Hence I decide to incorporate Scott Namiths style into this drawing, as previous studies had taught me that layering sections of the paper can make the page more lively and colourful. Once I layered the paint I also went round sections of the paint with a biro pen and hairspray, as I have done this technique on quite several of my other experiment and it turner out to effectively highlight and bring out sections of the artwork. 

(On the left Vytautas Kasiulis 'Šokis' (The Dance) oil on canvas, taken in Vytautas Kasiulis Art Muesum, on the right, Scott Naismith 'Red Burst' Oil on canvas, 30 x 30cm (1)

I proceeded to look at another painting by Kasiulis called 'Gatves scena' (Street scene) 

(Media used; acrylic paint and oil pastel on paper)

(Above Vytautas Kasiulis 'Gatves scena' (Street scene) 1950's, pastels on paper,  taken in Vytautas Kasiulis Art Museum)

I tried to work similarly as the artist would have worked, I stated off by painting my background with vertical brush strokes, making sure thick paintbrush lines are visible showing different tones. Once under base had dried I painted another layer of acrylic paint, but this time in a more turquoise colour than before and making the brush strokes horizontal this time, as Kasiulis also painted his paintings so that there would be a clear contrast between two layers of paint on the canvas. I then once again observed one section of his painting which I drew over the background using oil pastels. Although that was initially all I planed to draw and paint on this page, I felt that this painting was incomplete, hence I decided to cover it up partially with some white acrylic paint along with a few marks around the page of green acrylic paint. The end result is seen on the right side of the image above. I like the fact that the image I drew before still comes through the paint that I applied on top, however it is distorted and unclear, but even then I know there is something there. In a way it resembles memories, because I have viewed  'Gatves scena'  in Kasiulis museum, however months have passed and although I remember the painting it is vague and not as detailed in my memory as it would be from viewing it. 

Overall I think this painting has given my theme a deeper meaning. I am still focusing my theme on abstract landscapes, however I want to embrace them through feeling, colours and memories as of what I feel and remember every time I think of a specific place in my home country.

Bellow is another quick experiment I carried out in Kasiulis's style

I used the same paint as for the piece of work seen previously, all I wanted to achieve with this is to see how different tones of green mixed with other colours and media will appear on the acrylic paint. It is a tester to help identify the best media and technique.

Whilst experimenting in Kasiulis's style, I decided to go back to Joseph M.W. Turners style, and create a watercolour painting on paper using a panorama photograph I have taken in Vilnius, Lithuania. However I believe this painting has a lot of problems with it and has not got a good outcome as expected.

(On the left photograph of Vilnius panorama, taken by me, on the right Joseph Mallord William Turner ' A Conflagration, Lausanne' Watercolour on paper (3)

The main mistakes I made whilst painting this was the fact that I painted a landscape painting of a landscape photograph on a portrait page. Hence buildings, distances and proportions are not drawn or space out right making the painting look pressed together. Another downside is the fact that I decided to paint a modern city in an artist style who painted buildings of the time over 200 years ago, the painting may have turned out more effective if I would have painted in a style of a contemporary artist style, or painted parts of old town, where the buildings have been round for over a century. 

I also found it difficult to paint in watercolour as it became quite dirty as the colours started mixing together. 

For next time wherever with Turner's style I should try to focus on the actual lights and colours of the subject matter rather than buildings or any other precise details. 

I have also found a description which says Turner was 'known as 'the painter of light', because of his increasing interest in brilliant colours as the main constituent in his landscapes and seascapes.' Which in fact relates strongly to the concept of my theme of observing environment of a surrounding or landscape through colours and marks of different media. 

I also discovered Turner is classified as a English Romantic artist. Romanticism was an art, music and literature movement of the 18th and 19th century. Romanticism was considered and opposite to Neoclassicism (which was also a dominant European movement). Romanticism focused on nature being seen as a natural environment and focused on individuals their originality of imagination and experiments, it allowed organic development and emotion. Whereas Neoclassicism focused on human nature, precision, logic, rules, orders, traditions and imitation, which categorised as 'emotional restraint'. 

Since reading about this movement I have gained a better understanding of the type of artist Turner may have been and how he saw art. As Romantic's were not afraid to experiment and be creative, they had no specific rules as to subject mater or beauty as they expressed it in their own way. Which I think is quite inspiring to be more creative and free to express ideas and a personal style the way I want to. 

All three styles

Whenever I went through all the artist styles and processes in order to gain understanding and develop my own personal style, I decided to even further refine and combine the three artist styles and inspirations to create work that is more personal and independent.

Bellow is the process of my works development as I combined the styles together. I used watercolours, coloured chalk, ink, acrylic paint on paper.

Here is the second page in the same style. I used acrylic paint, coloured chalk, ink, a burner on paper.

Here are the artist paintings that I took inspiration from;

(On the left, Vytautas Kasiulis 'Mulen Ružas' (Moulin Rouge) oil on canvas, 1980's,  taken in Vytautas Kasiulis Art Museum, and on the right, Scott Naismith 'Diminuendo Shore'  oil and acrylic on canvas 40 x 40cm (2)

(Above Joseph Mallord William Turner 'Colour Beginning' c.1820, Watercolour on paper, Support: 335 x 423 mm (4)

For this painting I focused on a photograph I have taken from an air plane, I chose this photograph in particular because of the subtle and soft colours that the sky has created, It is interesting how there is mixture between cold colours such as light blue and the warmer colours such as peachy yellow and light pink, it can give off mixed emotions of the surrounding. 

(On the left image A, on the left image B)

To begin with both experiments that are pictured above have been created using the same type of process, there we only a few variables as to media used, but not significant difference. My main inspiration for creating the backgrounds was Joseph M. W. Turner's painting called 'Colour Beginning'. It is really subtle and simplistic however it gives of positive vibes and modesty which I liked as I didn't want the background to over power the details that I added later.
For my first attempt image B I began by applying light purple watercolour in the middle in the page, I applied it free hand allowing it to look messy and more free flow. Whereas for image A I didn't apply any watercolour as I wanted to see the difference. For image B I then applied colourful chalk onto the watercolour, I chose purple shades with  a bit of yellow and light pink, however purple was dominant, because coloured chalk was quite bright I applied a thin layer of white acrylic over it. For image A I also applied coloured chalk however I applied it straight onto plain paper, and I chose more yellowish tones with a hit of pink and purple, I also applied white acrylic paint. After completing the backgrounds of the sky I began to focus on brief detail from the phonograph which is  white clouds.  To create the clouds I took inspiration from Naismith's painting 'Diminuendo Shore' as to how he layers sections of the canvas, however I also looked at how Kasiulis has painted separated fine dots in the painting  'Mulen Ružas'. Hence I took into account how I compose and space out the patched of layered paint over the sheet, I applied both bigger and more textured patches as well as small less detailed ones in little clusters. To finish off I poured on some ink onto the page and let it drip off freely, this exposed and made the page stand out more. For image A I also used a burner to slightly burn the page and create a warm yellowish tones, I also added some burgundy patches of acrylic paint to add warmth. 

In result separately these pages may resemble the sky less, however one they are looked at together they compliment each other, as to image A having warmer tones and image B having colder ones, just like the sky does.

Overall these two experiments showed me a very unique way of recreating an image through colour, feelings and memory. It also supports my abstract landscape theme as it it is rich in indirect or clear details. I also like how these pages seem misleading to others, although I know it is paintings of a sky, a few people have said that they look like cherry blossom trees, which is interesting, as in a way it means my work shows different aspects of landscape in one image, yet leaving the viewer to question what they see.



References;

1) Scott Naismith 'Red Burst' http://scottnaismith.com/30cm-red-burst/
2) Scott Naismith 'Diminuendo Shore' http://scottnaismith.com/diminuendo-shore-40cm/
3) Joseph Mallord William Turner ' A Conflagration, Lausanne' http://www.william-turner.org/A-Conflagration,-Lausanne.html
4) Joseph Mallord William Turner 'Colour Beginning' http://www.tate.org.uk/art/artworks/turner-colour-beginning-d17180