Exercise 1.4 Look at what you see - not what you imagine.

Exercise 1.4 Look at what you see – not what you imagine Using A4 or A3 paper, lay an image upside down and, using ink, watercolour, gouache or acrylic, make a 10-minute copy of your image. Do this again with another image. This time make a 20-minute copy.

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Why am I being asked to paint upside down?

Is it because I can break the image down into a series of shapes of colour and tone as I paint, thinking about my technique with less distraction?

Betty Edwards' Drawing on the right side of the brain' book recommends upside-down drawing. The right-hand side of your brain has a chance to 'flow' with the left brain still, as it were, whilst perceiving an upside-down image.

I found an article Painting Upside Down by Marc Dalessio that gave his experience of the process.

Look at what you see - not what you imagine.

Found image from a magazine clipping.

Most of my found images weren't really that different upside down. I opted for the figure of the girl sitting in the circular architecture. I had cut around her and stuck her over some leaf textures in my sketchbook.

My first attempt took 7 minutes.

Girl in the circle - A4 ink and gouache watercolour paper

I was quite shocked that it looked in proportion, as that had been quite difficult whilst painting. Looking at the shapes was easier for me than the correct way up. Is that normal?

The hanging leg seems to come forward, and the left calf's shadow works well for a 3D effect. The figure looks slumped and relaxed in the circular nook. The line of raw 'untouched area' running down the bent leg makes it believable too. In several areas I have achieved a dry brush technique and I like that. The little flick with the rigger brush, from the sandal, forms a pleasing little kiss or cross to finish/begin the scene. I like the slumped appearance and the intrigue and so I am thrilled with this faceless figure, my 'Girl in a circle.'

Second attempt - 10 minutes.

A4 Watercolour paper with gouache and ink mix.

I have used a Chinese mop brush and think this was a mistake because it was too thick. The hanging leg was clumsy and too dark tonally. I had attempted the facial features in this piece, although I had to dab them after application with a paper towel to remove excess fluid. This removal actually caused a ghostly face, which I quite like. The figure again was recognisable, and I really enjoyed the challenge.

This was definitely a process that I would use and develop further.

I know artists that 'turn' their canvas to give a different perspective - Willem De Kooning sprang to mind.

Third attempt 20 minutes.

A4 20 minute study of a found image (and close up of arm area) gouache and ink mix.

For this piece, I decided to take a screenshot of the magazine cutting (from my sketchbook).

I enlarged it to A4 size and then printed it out and pinned it up on the corkboard I have in my art room (spare bedroom).

Why?

I changed the colour monochrome to take away the distraction of colour and see if it assisted the process. A larger image might make me see the source differently and bring more detail. I have included a close up of the arm area as this shows the mark-making produced by dabbing kitchen roll on the fluid paint. I like these marks. I like them because they are irregular and unique.

When I evaluate the work, I see that I have indeed been able to ;

• Extract more detail without being as pressured by time.

• I have more pattern details and more precise shadow and a sense of light.

• My marks are less expressive and more 'placed.'

• The figure has more depth because the background is more muted.

What have I learnt?

Being out of my comfort zone brings unexpected but pleasing results. Time pressure/upside down painting is a great way to focus on the essence of an image, the shapes and forms of a piece. I feel that my work is better when I don't concentrate so much and use my gut or instinct to paint the forms. I like the expression and mark making in the first piece with the diffusion and bleeding of the fluid paint. I am understanding the media more and how I can manipulate the paint to make the marks that excite me.