[12] Landscape #5

On Thursday, I organised some boards to be delivered through the fine art technician. But, they hadn’t arrived yet and we don’t know when they will arrive. So, I have been filling some left over pre-primed boards with new ideas and landscapes which will hopefully help me when it comes to completing my larger boards when they arrive. Although these paintings haven’t come from a collage, I have used my new skills in the process of making a collage which then directed a painting free-hand. Making collages has forced me to be more expressive when painting, and not be so up-tight which was my issue before. Collage forces experimentation and has made me stop creating static images replaced with the colourful and the expressed.


‘Untitled’ oil paint, oil bar and oil pastel on board


I find that the above landscape has quite a likeness in style and colour to Paul Nash. Here I have kept the composition quite simple but experimented with medium and textures. Using thicker oil paints to created textured tree-like linear formations. Also, playing around with oil pastels and oil bars to create new mark making techniques and give the foreground a feeling associated with close-up foliage. I realised when painting this piece I could create static clouds, as when driving in a car the clouds don’t move quickly like the environment just outside the window. This theory is known as a parallax;

Parallax is a displacement or difference in the apparent position of an object viewed along two different lines of sight, and is measured by the angle or semi-angle of inclination between those two lines. The term is derived from the Greek word παράλλαξις (parallaxis), meaning “alternation”. Due to foreshortening, nearby objects have a larger parallax than more distant objects when observed from different positions, so parallax can be used to determine distances.



In this landscape, I have tested out the use of the palette knife in regard to the texture of the trees located on the left-hand side. I have also used the mark-making technique; ‘dotting’. I find this technique has a nice outcome when completed, it makes the shape in which the dots and splodges fill textured and could be seen as trees or sheep on a far away hill in the distance. This creates a more abstracted view of the landscape and something to ponder and question. Similar to the other painting, the clouds have been represented as static in reference again to the theory of parallax.

[37] Keith Tyson


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18 years old, first year fine art student in Cardiff :)

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