processaporductiondavidsmith

[processaporductiondavidsmith]

Project Statement. Process and Production.

My Process and Production project documents my commute to and from college at different sessions and times of day. I did this using landscape photography that I turned into colourful paintings as I have recently been enjoying landscape painting outside college. I was inspired to paint in this colour saturated style when I was inspired by the landscape paintings of Michael Spence, I also made paintings and collages depicting the locations from above, inspired by Toby Paterson.

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Final Images of the Final Outcome.

Below is the final piece Hung up in the studio with its name on a piece of tape below

Below is the progression of the painting process and some photo edits I made of the finished painting.

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Last development: painting of a Paisley Public square

This painting was done after finishing the below collage. The locations depicted in these works are right next to each other in the centre of Paisley.

This location is a square I pass by all the time on the Bus and on occasion walk through.

This is Dunn Square.

The finished painting over the weekend before assessment.

The black and white posca pens frame the grass areas and represent light and shadows of the ledges in the sunlight.

A more abstract depiction of the square and the raised area above it. The red represent the Sandstone wall at the top of the square, white and black abstract shapes are statues on top of plinths.

some of the grass areas has a flowerbed shaped in a paisley pattern. I painted Yellow shapes in these to add colour to the painting as because I could not make out detail on google maps, further abstracting the artwork.

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Last addition development collage. and other more spontaneous artworks toward the end.

I had the ides to do this when I got tired of the Critical Practice assessment and wanted to do something else. So I looked at my home town of Paisley and decided to make a collage of the bus stops on the high street next to the train station.

This is a collage using cut-outs I have not used yet, depicting the bus stops (White shapes are the shelter roofs) and the street, three trees are depicted with green paper layers to make the illusion of 3D

Below, the source image, Me looking on google maps on my laptop and phone.

Two spontaneous charcoal drawings.

The portrait above drawing is a sequel to the first charcoal drawing that depicted my bus stop. this one looks up the road in the direction of Paisley, and thus by extension, Glasgow and the rest of the world. The road I ride down to travel outside of my Paisley suburban home.

Before Spraying with fixative before I took it into college.

After spraying it. This drawing is an abstracted version of a landscape photo i took while in a car heading to Aberdeen, taking at un unknown part of the motorway when i saw a rainbow outside, the proportions of the chance photo worked out really well so i decided at the end of the unit to make a quick charcoal drawing depicting the rainbow, surrounding dark sky, and the dark field and bright grass in the middle and foreground.

Other painting from earlier in the module.

This painting was an attempt at painting this very nice photo of a gap in between my black curtains and the Royal Alexandra Hospital my room looks out to.

In this work I aimed to capture the colours rather than the composition, and since I was already using the blue and white paint one one of the landscapes.

The source photo is a work of art in of itself. I've noticed my old phone makes very nice low light photos with its outdated camera.

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Final Outcome part Five: Finely

The Finished Painting, photo taken with Natural and Room light. I could keep changing the trees forever but I decided to do this.

natural light only.

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Other Landscape painting

This was a more spontaneous seascape painting I started while taking a break from Critical Practice and the Final painting for this project.

A painting of a seascape in Aberdeenshire, it overlooks a small carpark at the "Torry Battery", an old WWII era fortification I have been to often as it is close and was fun as a child. Situated close to Aberdeen I have been there often for the good views of the North Sea, depicted in this quick painting.

Taken on my most recent visit a couple of years ago.

Acrylic and Posca pen.

At the end of the first day of painting it, i was disappointed with the dirt road, but the main focal point for me is the texture added to the water. this texture of dark blue lines on top lighter blue ground is a technique I learned from seascape paintings by Artist Kim Bohie, after I saw her beautiful tropical landscapes and seascapes at the Glasgow International Arts festival.

Below is one of her seascapes I used as visual inspiration for the water texture.

Finished painting:

Posca pen and white Liquitex Windmills and ships are up-scaled to highlight the Aberdeenshire seascape.

Source photo from years ago, I omitted the Cars and people as a creative choice, and because the other paintings I have done don't include them.

I can reflet back on this choice and say that the painting would look a lot brighter and more ,inviting with the cars and people painted in, even if they are just abstract approximations.

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Landscape Photo Edits: Synthwave wallpaper inspired images. I got the idea to make these when I was walking home from the Bus Stop while listening to Synthwave music as the sun was setting behind the trees. I have known about Synthwave for a while from seeing it online and listening to Sythwave music. I also like the aesthetic of Synthwave landscapes.

What is Synthwave Music?

Although it’s a common assumption for new fans to make, Synthwave is not a general or broad term for synthesizer music, and despite the genre’s retro stylings, does not include music from the ‘80s or other decades of the 20th century. Synthwave is a distinctly modern music genre begun in the mid 2000s as an homage to the pop culture sounds and imagery of the 1980s and early 1990s. Conceptually, this interest in the past manifests itself in two significant, and often interrelated, forms.

The first conceptual aspect of Synthwave is a romanticized vision of carefree summer days spent on the boardwalk, at the beach, or at the video arcade. This vision frequently orients itself on images of coastal US cities like Miami and Los Angeles, replete with palm trees and oceanside sunsets. The songwriting captures an idealized mental image of the ‘80s; it’s the musical manifestation of a vintage postcard that says “Come to L.A.” in pink letters above an image of a crowded beach with people on surfboards and roller skates.

The second core conceptual element of Synthwave involves the ‘80s ubiquitous love affair with science and technology. This aspect is expressed through synthwave producers’ interest in science fiction, computers, neon lights, and futuristic supercars. It also extends to ‘80s horror movies, which themselves frequently contained themes of science and technology.

Musically, Synthwave’s origins are tied to dance genres of the mid ‘00s, specifically house and nu disco. Early Synthwave artists put a retro-synth spin on these sounds while borrowing inspiration from ‘80s Euro disco, funk, and electro, as well as soundtracks for movies, television, and video games. Smaller elements like ‘80s jingles for television commercials, VHS production companies, and nightly news programs also played a role in the genre’s genesis.

Synthwave’s name can be misleading, as the music has very little in common with new wave, which is a rock-based genre that evolved out of punk acts of the ‘70s and flourished in Britain and North America in the ‘80s. Similarly, Synthwave is not a new or synonymous name for Synthpop, which is a much older and very different style of music. Generally speaking, there’s little overlap between the synthwave and synthpop genres.

Instead, synthwave is rooted much more deeply in European disco and electronic dance music. (ElectroZombies, June 2024).

This work is supporting work to my paintings.

Very saturated version of the above. I did his to see what would happen.

Original Image of sun set I saw while walking home.

Other unrelated edited landscapes. I made these while playing around with the same editing as the above photos.

One edited with saturated warm colours, the other photo is edited in the same way but with cold colours.

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Final outcome part four. 31st March

Painting Nears completion

Below: the painting getting close to completion. details of the buildings, road markings and lamppost are done. More blue added around the sun to make it stand out.

More detail is added to the trees and fences, tree branches are added. the silver paint I used for the lamppost reflects the light, highlighting its form as it frames the sun I added in.

photo taken while paint was wet and my light was on.

Below is a photo with natural light. better shows the colours and how bright the florescent Yellow paint is around non-florescent colours. I began using the florescent yellow paint in my creative Project paintings and decided to use them in this final piece.

Below: the painting at the end of the 31st of march. more tree detail is added along with three benches against the blue sky. the lamppost of framed and writing om the side of the white building identifies it as my local pub. Black posca pens are use to add more detail and straight lines

I will reflect and say I don't have much if any experience painting tress in detail, and that the tree in the middle ground and background of this painting can not be deciphered without seeing the source photo. I also added texture to the curb at the Bus Stop.

If I was able to do a final piece again I would find another image or take a new photo with the intent of it being the final piece composition. Or perhaps but a lot more thought into the application of smaller details. I did achieve my goal of creating a very vibrantly coloured abstracted landscape.

I will finish it during the holiday after London and the other trip im away on with family.

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Final Outcome part three: More painting.

The painting is starting to come together.

Street lamp is painted in sliver paint. buildings painted with details drawn onto them and the fence has its texture to tell the viewer it is a fence.

the Blue sky is added, the most enjoyable part f this painting was the sky as I am able to relax and paint the large area with one colour that put the rest of the composition together.

the trees are added, inspired by the dark areas of green in the previous works, I did the same here, but I feel I went to dark with the paint and the many layers of it that i added. I contaminated the yellow with it as well so I put Liquitex on top to re-paint it.

this gave my an brilliant idea for what to do next.

Adding the shape of a sun under the street lamp. I gave the Painting a focal point to focus on, as well as a area of yellow in the top half of the composition, using Liquitex on top the blue and silver, this was also inspired by the other Colourful landscapes I have made that include the sun as a focal point.

The addition of a yellow dot as a sun isn't because it is an easy and iconic way of portraying a sun, but was inspired not just be the paintings leading up to this piece, but by a painting I saw in the Modern Institute in 2024 during the Glasgow International festival. Korean artist Kim Bohie's "Beyond" exhibition, her first solo exhibition in Europe.

I instantly fell in love with her large-scale landscape paintings. they were very well detialed in showing the tropical island landscapes and seascapes of her Home island of Jegu.

she combines various Korean and Western painting traditions to produce her own distinct style. Her paintings are about looking and personal connection to place, similar to my paintings that depict landscapes I frequently travel through. Her work engages with ideas around closeness – spiritual and physical – and the way it affects our vision. Kim works across paper and canvas, utilising ink and acrylic mediums to achieve a range of effects. Her quiet, elegant paintings often depict mountains, oceans and gardens.

To me they had a calming atmosphere that I still feel when looking back at them now and then.

this if the photo i took of on of her untitled paintings. This is where i got my idea of a yellow sunset in a flat light blue background, only Bohies work is a lot better than mine with the details and size.

Above: "Beyond", 2024,

"Kim Bohie in the 1990s, having previously also worked across the genres of still life and portraiture. In the early 2000s, Kim set up her studio on the island of Jeju, which lies south of the Korean Peninsula, and its landscape became her main preoccupation – the ocean, the local floral, her own garden. Notably, there are never people in her quiet, elegant paintings. Her panoramic views and plant studies, depict moments of solitary contemplation. Each one shows a vivid encounter with nature; the golden disk of the moon at twilight framed by a beacon mound near Sanbangsan Mountain, sea water catching the sun in the heat of the day, the striking leaves of Washingtonia palms. The exhibition title situates these scenes – their emphasis on what lies beyond our individual bodies and consciousness and offers a consideration of the unity and order of the natural world". (The Modern Institute, 06/07/2024)

The sun is painted in and the rest of the painting is mostly tided up, now I need to add the blue around the sun and add texture to the trees and foreground grass patch, and fix the bin next to the streetlight.

All this work was done in a whole Sundays work.

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Final Outcome part two: Addition of first layers of paint, Foreground.

Starting early on Saturday morning, I planned on doing as much as I can on the Weekend before London and other Holidays Im away on with family. On Saturday morning I began adding paint.

Starting off with the foreground of the pavement I used light grey, white and green paint mixed together to make an earthly version of the concrete that reflects the source image and develops from my other Landscape paintings inspired by Michael Spence.

once satisfied I moved onto adding the Yellow, using Fluorescent yellow paint I added Bus Stop markings, and the yellow brickwork of a nearby wall and the cobles that separate the pavement from the start of a bridge to the right. I also wanted to use the yellow as the make the composition as vibrant as possible while sticking the source material.

Using the green from the pavement I also added grass in the foreground and middle ground.

After hours of adding layers of paint until satisfied with the colours. I moved onto adding the blue of the wet road, and the trees on the left. this tree would be an abstracted representation of a line of trees. with s light green as a base and darker greens to add detail, depth and shadow to the trees., left of them are more buildings that will be painted in flat areas of vibrant colour. because i always include my influence from Pop Art in my paintings.

I also added the red of a wooden fence, I chose red as it is a stereotypical fence colour and contrasts with the rest of the Artwork.

the middle ground has a lighter shade of pavement that I has a lot of fun with, constantly painting over what I had previously put in this section trying to correct hue and lightness, the right complements of white, grey and green mixed into each other to made a natural grey hue to occupy the middle of the painting.

while Doing that I added street markings and a white van off in the distance.

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Final Outcome part one: Drawing out composition

Final resolved piece for Process and Production. For the final outcome I want to make a final revolved piece of my series of Colour saturated landscape paintings inspired by American landcape artist Michael Spence Large canvas Landscape painting.

I close this image as it reminded me alot of my fravoutte Spence painting, Cedar Canyon Road, (n.d.)

Below: the source image used.

This Photo is taken from my own Point of View while wating for the bus on a sunny summer day. With the Bus Stop behind me, I stand and wait for my bus, looking down the road it comes down.

I decided to paint this as it is different from my other compositions, while still depicting the same Bus Stop, but from a different angle and in much different lighting conditions.

Drawing out the painting.

After several times of drawing, rubbing out and re-drawing every part of the composition I settled on one un proportioned composition and decided it was good to start adding paint.

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Richard Long inspired series of photos

After looking at Richard Longs

•Richard Long.

He is famous for his radical conceptual art and is a practitioner of “Land Art” . Most known for his seminal work “A line made by walking (1967). where he simple walked in a line though a field and took a photo.

"A line Made-By-Walking. (1967).

He makes artworks using outdoor materials, using landscapes as his source imagery and subject matter. These artworks trace his movements through space. He has broadened the idea of sculpture to be a part of performance and conceptual art. His work typically is made of earth, rock, mud, stone and other nature based materials. In exhibitions his work is typically displayed with the materials or through documentary photographs of his performances and experiences. Using his walks as art, Richard Long's excursions into nature and his minimally invasive marks on the landscape have broadened the definitions of sculpture to use the landscape itsef as the sculpture.

Records his projects using Maps, text and photos.

I have chosen these artists for their use of colour, landscape painting and materials used. I also saw that Spence and Longs depiction of outdoor environments related to my proposed use of landscapes that convey a sense of routine and familiarity.

These photos I have chosen depict "Desire Paths", these are trails in the grass and dirt made by people over a long period of time in order to take a short cut around a longer paved trial that's usually right bedside the path.

I did not create these and and only used them occasionally. but the made for some pretty good armature landscape photography.

this was the photo That inspired m series of desire path photos.

taken from the POV of my Bus stop on Lounsdale Road in paisley, it depict the paths me and someone else made through the frosted grass to get to the bus stop I use to get into paisley or into Glasgow via Paisley Gilmore Street train station. Directly from the path without going around it since this was made by walking through dew covered grass, it disappeared when i returned from college. I considered painting these photos, but i thought the paint will lose the detail of the original photos and break from Richard Longs use of photography. So these will remain as supplemental photography work to go with my series of colour saturated landscapes of these same locations.

Below: the same place from the same angle. but this time the path returns through some trails made by walking the=rough the overgrown grass. Taken some point during Covid, this photo highlights the degradation of public services during this time.

I use this bus stop all the time and have never seen the grass this overgrown. It was actually kind of nice

Below: situated next to the bus stop is a more permanent path. this one comes up from a public bike path (national Cycle Route 75), that goes under the bridge where the brown pipe is. going up a steep hillside up to the same bus stoop as the previous photo. this has always been here and is used often as a short cut around the long exit from the bike path further down the road. A clearly made path cuts through the trodden grass to the pavement, entering it just beside the bus stop.

This photo below was taken during one of my trips to and from SWG3 for placement, depicting a shortcut between two interconnecting paths, i would decide to paint this photo as it was different from the majority of my source material as it is not from at or around my local Bus Stop. Making a diffrence from the rest of my Photos.

Below is a path made only by me to get to my Bus Stop faster, the reason a path appears so frequently in the same place.

only visible in the frost covered grass, this small path is invisible unless you are already looking for it or know its there.

the blue bollards on the left mark where the entrance/exit to the Cycle path below is.

This is a path cut into a field I saw while visiting Jupitar Art land over the summer years ago.

Visually this is the most similar to Richard Longs work, it was nit me who trespassed into the field.

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my Process and Production wall with the main body of painting works, the colourful Michael Spence Inspired paintings of frequently transited landscapes. And Above them are a couple of Charcoal drawings i made when I had an idea but not the materials to paint. And since I've always enjoyed and been good at doing Landscapes with Charcoal.

These paintings are the most successful visually so I will be using this technique for the final outcome.

Image's used

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Two Toby Paterson inspired pieces that depict places I frequently travel through when I'm in Glasgow at least twice a week.

Top: originally a drawing to plan out a painting, I kept looking at it and realised i wont be able to fully replicate the proportions on a piece of acrylic paper or a canvas, so one night i settled on drawing into it using posca pens and coloured pens. this depicts the grass area outside the college that my Studio looks out to.

Bottom: mixed media collage of George square, with arrows that show witch direction i usually walk through it and were

this is relevant to this project as I only started to frequently travel through George Square when I started studying at City Of Glasgow College.

Photocopies, Coloured paper, black paper, posca pens, pencil.

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First Process and production charcoal drawing.

I wanted to change from the painting i have been doing, I wanted to paint this landscape of my bus stop, it was then I looked back at my folio of Charcoal landscapes, which I am very proud of, and decided i will do more for this unit.

i have found that i can make more detailed landscape compositions using charcoal than I can using paint, and in less time aswell.

end of first afternoon, composition and Bus Stop are drawn out, I avoided the trees.

Finished drawing. trees, road markings, sun light markings and other details added.

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All three of the Acylic colour saturated landscapes of places I frequent in daily commutes.

All are acrylic paint and posca pen on A3 Acrylic paper.

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"Path to SWG3" Landscape painting

last week I started on another colour saturated painting of a landscape I frequently passed through in January, the path from Patrick train Station to SWG3 to finish my Placement.

I took interest in a path I saw cut in the grass in between two paved paths, markings like these are called "Desire Paths", or "Social Trails".

they are left in the ground to make a short cut from a longer paved route that's usually right beside the path. These are made to make the most direct route between two points. its only recently that urban planners have began taking notice of them and including them in their own plans.

There are others closer to where I live that I may focus on in the future.

Done on A3 Acrylic paper and acrylic paint and POSCA pens.

After a full day of doing nothing but painting this was it. the grass and shy were mostly done but the block of student flats was the hardest part, I haven't painted buildings in a while.

Finiched painting, details such as the masts of the tall ship, posts on the path, lampposts and the Govan Partick Bridge in the distance are done at the end using a black POSCA pen.

Above is the source photo in line with Micheal spences painting, i left the grass without detail.