Started to draw a rock on a wooden base with shadows as dip pen practice. This approach was suggested as an alternative to fineliner by my tutor. In some ways it was being successful, as the mark making is generating an interesting approach. It was also, however, being very time consuming and wouldn’t have produced a good final image.
When considering the idea of portraying multiple viewpoints in an image the concepts of Picasso and cubism come to mind first. I’ve looked at this previously, and still find the images almost incomprehensible in so many ways. That is not to say I don’t find them interesting, and sometimes I can even go so far as liking them. There is a more subtle version of the concept in Cezanne’s work. The featured image is “Still Life with Apples and Oranges, 1895-1900” where different parts of the image seem to be painted from different angles. Without this observation the image is distorted and the shadows inconsistent. The articles linked to above consider the possibility further, and in “Learning to Look at Paintings” by Mary Acton. Continue reading “Research Point: Multiple viewpoints”
When considering the idea of artists using negative space then the first thought is images and objects that make an image from the negative as well as positive space. The following image from Tang Yau Hoong is a good example;
I particularly like this image because of both the subject matter and the way the image has been built up. The bird gives an impression of the freedom of the leap, I assume a “leap of faith”. The trees at the top add to the concept further, proving a feel for the freedom being sought. Continue reading “Research Point: Negative Space”
Sharpened 4B mechanical pencil in a white sketchbook, and using a putty rubber. It was interesting that whilst doing the second sketch I got the expected attention to the drawing process. What was less expected is that during the time I was sketching I collected about 5 other people around me who started doing the same.
I wondered why the part has been given the name, and whether it is intended to have a special artistic connotation. I started with a disctionary definition:
a. a close association with or detailed knowledge or deep understanding of a place, subject, period of history, etc.:
an intimacy with Japan.
b. an act or expression serving as a token of familiarity, affection, or the like:
to allow the intimacy of using first names.
c. the quality of being comfortable, warm, or familiar:
the intimacy of the room.
Despite my tutor’s comment that my book work is ahead of my own work I’ve been re-reading the course notes, and have realised that an area I need to consider in more detail is composition. As such I went off on the research trail again. This time I have a different focus: “How do I produce a good composition?” In particular, of course, this means an initial focus of still life compositions. I believe, however, that most of the “rules” of composition are more generic than this. Continue reading “Composition of Still Life”