Wednesday, 25 September 2013


In this term we are doing a further exploration into the relationship between music and art, we hope to discover what mood we can translate to our viewer through our choice of colour and application.
So we looked at images along with various pieces of music, some sad, some dramatic, and some light and still, and we reflected on our response to each image as we made group decisions of which painting we would associate with each image, the choices were on the whole unanimous, concluding that dark blue and neutral images correlated with music which was still and somber

Whereas dramatic music related to bright intense paintings with a lot going on as a generalisation

And lively music to visual expressions with vigorous line work of brush marks

Look at these images and see what your response is.
Next we had an exercise in choosing photocopied images of paintings associated with different music.
Then we did an exercise in recognising the intrinsic tonal value in pure colour, and colour diluted.
See below
Then we started working on a photograph I took on our Flatford Mill painting holiday, we made the colour choice to use only the top light light section of our value-colour wheel, but before that we had a look at the differenc a new colour bias had to the mood of the image.

The image below was for the less experienced in the group, as I had already de- saturated the photo in colour, and lightened it tonally so they only had to copy what was there in preperation for making their own colour choices from something less obvioius
We will continue these next week



  1. 1. Unconscious incompetence The individual does not understand or know how to do something and does not necessarily recognize the deficit. They may deny the usefulness of the skill. The individual must recognise their own incompetence, and the value of the new skill, before moving on to the next stage.[2] The length of time an individual spends in this stage depends on the strength of the stimulus to learn.[3]
  2. Conscious incompetence Though the individual does not understand or know how to do something, he or she does recognize the deficit, as well as the value of a new skill in addressing the deficit. The making of mistakes can be integral to the learning process at this stage.[4]
  3. Conscious competence The individual understands or knows how to do something. However, demonstrating the skill or knowledge requires concentration. It may be broken down into steps, and there is heavy conscious involvement in executing the new skill.[3]
  4. Unconscious competence The individual has had so much practice with a skill that it has become "second nature" and can be performed easily. As a result, the skill can be performed while executing another task. The individual may be able to teach it to others, depending upon how and when it was learned.
The quote above was explored as the route we will journey on as absolute beginners, and how we will progress.

We began by looking at the choices we need to make as artists in being able to represent what it is we are looking at, and how we feel about that subject, and how to translate that feeling to our viewers.
We looked at different tonal values in colour, and explored different colour groupings.
Our aim for this lesson was to get to grips with basic watercolour techniques, and to be able to distinguish light and dark tonal values in colour and to be able to represent them in watercolour, so we started with a tonal grade from light to dark, it started with a clear wash, and through pigment to water ratio differences we painted consecutively darker circles of tone to end in the darkest, with the aim of building glazing layers up to build the picture below

Next week we will add consecutively darker glazes to this image, in layers to consolidate our understanding of painting flat washes and pigment to water ratio.

Because there needs to be drying time between glazes

We worked on the-colour value ( tone ) relationship exercise below, using the intrinsic tonal value,
 ( lightness or darkness ) of each colour in our palette, we also watered down some colours to make them lighter tonally so that the colours appeared lighter at the top and darker at the bottom.
To help us to see the tonal vales of the colours we looked through the camera on the black and white setting.

Towards the end of the class we practiced doing washes of very pale colours wet in wet without over mixing on the paper.
We will continue on the theme of colour and mixing next week.
Also, our visit to the Botanic garden in Cambridge will be on the 23rd October 2013.


This is class reference for Impington drawing and mixed media, 
Sawston and Cambourne drawing and watercolour.
We looked at images which were tonally light and tonally dark in colour and black and white,

Then we did a tonal grade of 10 boxes ranging from light to dark in pencil, and used this as a guide to gauge the tonal range of the cone ball and cube exercise below.
We scaled up the the image to make our drawing larger, but proportionally accurate using a scaling grid.
Because of the use of diagonal lines, the grid can be enlarged or decreased in size.
The grid is used as scaffolding to locate the position and proportions of the objects, however, some people can draw this accurately by eye and may not need to use a grid like this.
We made the scaling grid by placing the photo near the bottom left of our drawing paper, we then drew lines extending from the bottom and left edges of the photo, then, before lifting it up we drew a diagonal line from bottom left and top right corner and beyond onto our drawing paper.
Having done this, we removed our photo from the paper, and joined up the bottom and left lines to meet each other on the bottom left corner, and using a set square, joined up the right and top lines to meet with the diagonal on any point on that line depending on how big we wanted our picture to be.
See grid above, the shorthand of this is to draw the union jack based on the proportions of your photo.
See above.

Below are some examples of learners accurately drawing proportions and tonal ranges.


 The 2 still life's I brought in were to demonstrate groupings of objects with tonal ranges at extreme ends of the tonal scale.
Look at the absolute whites, especially on the white vase, and ask yourself what tone the vase is if it isn't as white as the highlights.

Next week, drawing and watercolours are going to complete their tonal drawings using watercolour.
And Impington are going to use charcoal, which I will supply