Starting to look at colour theory, and decided to start with Betty Edwards (of Drawing on the Right side of the brain fame) book to start with. This starts with a couple of simple exercises: (a) Colour I like and Dislike; and (b) Colours of the seasons. Not exactly great art, but it was quite fun.
My reconsideration of this subject started with this article: https://weareoca.com/subject/textiles/what-is-drawing-2/
I first considered this when I saw the following lines in the course Aims: Continue reading “Reflection on “What is drawing?””
Whilst I was in Austria an opportunity arose to bid for a piece of “Public Art” sculptural work. They wanted a 1:5 design for a large piece. I proposed the delivery of a 4 section “log carving”. By that I mean deep relief sculptures created by carving into the log from the bark side. The design appears in a window within the log. I’ve done a number of smaller pieces in this style, which I was able to include photos of. I did, however, want to make sure the full idea of the design was clear. Continue reading “Drawing for Sculpture”
As part of a carving project I have been considering drapery, as well as for the drawing course. As well as the construction of drapery I’ve been examining the different styles and variation across time. The variation is significant, with the different styles seeming to go in long cycles across time. Continue reading “Drapery styles”
I’m working on the production of a Photomontage that places an English Festival in Austria. I have pastel drawings of WOMAD’s Siam tent and some flags. To that I’ve added a pastel sketch of some figures and inserted the whole into an Austrian Landscape. I’m not fully happy with the figures, but like the tent and general effect. Continue reading “Project 5.2: Photomontage so far”
During my research for Sculptor’s use of drawing I came across the implication that Henry Moore used the idea. This is implied, and to a degree shown, in this article:
“In 1937 and again in 1938 Moore famously photographed maquettes for two Reclining Figure sculptures very close to the lens, so as to make each diminutive object look enormous against the distant landscape … it is perhaps more likely that these photographs are not so much tests as they are declarations of triumph: they are demonstrations of his sense of the monumental. Rather like physically lifting objects from the ground and holding them close to himself, here Moore brings the maquette so close to the lens (and therefore the viewer) that its monumental scale is confirmed.” Rachel Wells, ‘Scale at Any Size: Henry Moore and Scaling Up’, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015, https://www.tate.org.uk/art/research-publications/henry-moore/rachel-wells-scale-at-any-size-henry-moore-and-scaling-up-r1151302, accessed 05 October 2017.