RP-Department of Art and Design

Permanent URI for this collection

https://repository.ku.ac.ke/handle/123456789/1378

Browse

Browsing RP-Department of Art and Design by Subject "Background"

Now showing 1 - 3 of 3
  • Thumbnail Image
    Item
    ‘Foundations of Landscape Painting’ – Colour Application, Textural Effects and Development of Holistic Composition. Analysis of Selected Landscape Paintings by Second Year Students at Kenyatta University, Nairobi, Kenya
    (East African Nature and Science Organization, 2022-07) Wango, Kamau
    Landscape painting is a popular undertaking among students, particularly those taking formative painting units, some of whom have never used prescribed media such as watercolours, oils or acrylics; and others who have not been exposed to painting at the university level. In one of the second-year painting units where students study colour and its application, they are required to paint landscapes in watercolours and either acrylics or oils. Landscape painting gives them the opportunity to study and apply colour on paper or canvas since landscapes and other outdoor painting studies provide them with a very useful reference resource in terms of colour, colour tones, the transient effect of light and shadows as well as the natural environment that presents colours in their true natural setting. Landscape painting is perhaps one of the most profound opportunities for students to get acquainted with natural colours and their interrelationships before venturing into any other genre of painting where they actively apply colours and their properties for other purposes of expression. Apart from interaction with colour, landscape painting offers the students an added opportunity to delve into other aspects of pictorial composition. Landscapes as a reference resource provide a natural setting that showcases clear placement of many aspects of a pictorial composition that the students can relate with. These include the formal elements such as colour itself, line, shape, texture, value as well as masses and spaces. They are also able to apply the principles of art and design such as balance, harmony, centre of interest, perspective and rhythm. In this study, second year painting students studying colour were exposed to landscape painting for the first time as they studied colour and its application. The basic projection was that they were not expected to produce outstanding work. They were, however, taken through the basic tenets of landscape painting including pictorial composition, application of elements and principles of art as well as the essence of observation. They were expected to work outdoors but were also allowed to use referent photographs in circumstances where they found them useful. They also worked independently and were allowed to select their medium from either watercolours, acrylics or oils. This paper examines how students responded to their task and how they approached the skill of observation, interpreted the application of colour and its qualities and dealt with pictorial composition. This is important because as it turned out, the students were very sensitive to how their landscapes ‘appeared’ and their ability to showcase what they observed. Ultimately, they were eager to determine whether their paintings were appealing to their classmates and by extension, to the viewers. Even though they were painting landscapes for the first time and some were handling some media for the first time, before embarking on their work, their attention was drawn from the onset to the use of textural effects, colour tones, perspective and details of the foreground, the fading background, nature of the sky and the effect of the transient light and shadows. They were encouraged to work outdoors as much as possible and finalize their work in their rooms. Beyond this, the students were given their space to work, with only the necessary comments that aimed at helping them retain their focus on certain pertinent points. This paper selects and features sample landscape paintings that underscore how a cross section of the students dealt with the formulation of landscape painting and the extent to which they were successful.
  • Thumbnail Image
    Item
    ‘Foundations of Still-Life Painting’ – Colour Application, Textural Effects and Development of Holistic Composition. Analysis of Selected Still-Life Paintings by Second Year Students at Kenyatta University, Nairobi, Kenya
    (East African Nature and Science Organization, 2023) Wango, Kamau
    Still-life painting as a formative painting unit is important in enabling students to interact with elements of art in the arrangement of specific static objects that form a precise composition. This arrangement of objects in composition is essential in helping students to comprehend the concept of composition in creative work. Since they are dealing with arranged, static objects as opposed to flowing figures and other fluid or gestural forms that suggest movement as would be the case in regular painted pictorial compositions, a still-life composition provides an opportunity to apply the principles of art in a concise way. This in turn underscores the compositional essence of each element as it relates to any principle, the interrelation of which formulates the composition itself. It is envisaged that the execution of a good still-live composition shall assist students to apply the same compositional tenets in regular paintings. For instance, students are henceforth aware of the application of comparative proportions, the use of textural effects, illumination, shadows, balance, and placement of objects on the picture plane, as well as colour contrasts, harmony, and tones. This paper examines how students engage with still-life painting, arrangement of objects and the wider notion of composition. Since this unit provides the first opportunity for this engagement, the paper specifically seeks to determine the extent to which students internalize and subsequently apply, through visual depiction, the interrelationships between objects, their proportions, the use of perspective to create depth, textural effects, application of colours and colour tones, shadows, the effect of light and its sources, drapery, compositional base as well as the usefulness of backgrounds. In order to attract their interest, sustain their attention and enhance their creativity, the students were allowed to choose, assemble, and arrange their own objects in creating their still-life compositions. Unlike the traditional approach where students draw or paint a similar set of objects arranged before them, this alternative approach of painting objects of their choice eliminated the possibility of unnecessary comparison of work at this stage and instead provided the students with the opportunity to paint objects that actually fascinated them and spurred their imagination. Students’ attention was drawn to the visual difference between a regular, painted pictorial composition and a still-life composition. A regular pictorial composition comprises of undulating features that show movement or is expressive of a phenomenon be it the study of nature and the environment or an aspect of personal expression or social commentary. A still-life composition is static and shows only interrelationships between objects. Students were free to use watercolours, oils or acrylics and their respective materials and tools. The researcher then selected paintings that best demonstrated this internalization and suggested indicators of artistic skill at this formative level.
  • Thumbnail Image
    Item
    Painting in Oils’ – Refinement of Skill and Personal Style through the Study of Birds. Analysis of the Work of Zephania Lukamba, Kenyatta University, Nairobi, Kenya
    (EANSO, 2023) Wango, Kamau
    The gradual acquisition and constant refinement of artistic skills in whatever genre of art are important for the ultimate development of personal styles that enable artists and students alike to fully engage in their artistic endeavours. The development of personal style in painting is particularly important in this regard and it is inextricably intertwined with the development of the prerequisite painting skill. It can be argued that there are two critical stages in the holistic development of personal skill in painting; there is the stage of acquisition of skill and the subsequent stage of refinement of skill. The stage of acquisition of artistic skill is perceived to be the period where skill is gained, attained, and consolidated including the time spent in formal art school. Consolidation of skill includes the harnessing and organizing of underlying or embedded artistic talent. The stage of refinement of artistic skill is perceived to be the period where acquired artistic skill enters the realm of refinement. Although these stages obviously tend to overlap, there is a point where one ‘feels’ by virtue of acknowledgeable work that he or she has acquired the prerequisite or commensurate skill to be able to perform specific artistic tasks and that that prerequisite skill only needs to be subsequently refined over time. The wider concept of the development of personal style itself lacks such demarcation of time and definition since it is always evolving and adapting to new challenges, innovations and environments and is, therefore, seen to be lifelong rather than time specific. In examining the featured oil paintings, this paper seeks to explore the concept of refinement of skill and determine whether or not there occurs significant visual refinement of skill within a time period of four continuous years, the time frame within which the paintings were created. The artist, who is a Masters student at Kenyatta University, undertook the paintings of birds as a matter of personal artistic interest over the said period of time and did not have prior knowledge of an impending specific study of his work in this regard. Subsequently, the level of skill, technique and personal style as displayed in the paintings were both spontaneous and authentic. In the initial review of the paintings and other prior work by the artist, the study determined that the artists had attained the level of skill necessary to be classified as having surpassed the stage of ‘acquisition’ of artistic skill and was, therefore, no longer seeking to acquire painting skills for purposes of undertaking his work. Subsequently, the focus of the study shifted to the realm of refinement. The number of paintings featured (34), painted randomly over time, that is, without any prior reference to or inclination towards the visual interest of the study, was determined to be sufficient to extract the desired outcome. In addition, the paintings were created as a matter of the artist’s sustained personal interest in the study of various types of birds; their colours, shapes, forms, textures, and environment. Although the artist engaged in other types of paintings within the same time frame, the study, however, selected the artist’s own sustained interest in the subject of birds as a matter of consistency of subject matter and its renditions.