‘Fluidity lends itself to layering, blurring, ambiguity and occlusion (where 2D decorated surfaces are dim by those decorated as nearer, i.e. are done to demeanour as yet they are behind).
Method: Choose dual objects to pull from.
1. Make discerning rough drawings in your sketchbook to examination with opposite interrelationships.
2. Use a glass media (such as ink) to take divided or overstate elements and so strengthen a new ‘super form’ on a best of those rough drawings.
3. Make a incomparable blueprint or array of drawings on a lax sheet. Use what we have discerned from your experiments to approach a creation of this drawing.
Because my work for assignments 3 and 5 was endangered with mystery (my investigate doubt for assignment 5 was privately about how to communicate a clarity of poser on Norber) we motionless that it would make clarity to lapse to it. Specifically we consider that a angel statues in stoke newington tomb on that these prints and drawings for assignment 3 were formed will make an glorious investigate for occlusion and hopefully, deepening of mystery. In fact when we demeanour during this work again we realize that occlusion is executive to it.
Here is a anxiety imitation and works we done for assignment 3, including collage, etching, collorgraph, mono print, and final blueprint regulating tracing, imitation send and pastel:
1. Take another demeanour during a monuments and do some sketches/take some-more photographs.
2. Develop some of a sketches into elementary collages as in a instance above, tip left, for Assignment 3, module Drawing 1. NB compensate sold courtesy to occlusion.
3. Enlarge a collages and make new drawings in sketchbook.
4. Work on a drawings with a glass center to enhance/change a shapes. It would be good to continue operative with enamel? Or presumably oil paint.
5. Choose a one that seems to have a many intensity – rise a incomparable work (this could turn a assignment for partial one of this module).
August 28th : first discerning sketches for step 1 above.
There is some minimal occlusion in any of a drawings above, and we would be meddlesome in building any of them.
In a blueprint subsequent we have played around a tiny some-more with a ‘objects’ so that there is some-more occlusion.
In terms of ‘nearness’ – a largest angel is in a forehead and occludes a other 3 monuments. The occluded angel on a right is subsequent in terms of perspective. . The mainstay (fourth object) is a furtherest away. Because there is some-more occlusion in this fifth blueprint we will work on it initial for theatre two.
Stage 2 – I suspicion that collage would be a useful approach to facilitate a attribute between objects, utterly in classification out a attribute between a 3 objects toward a bottom, center left. It’s also useful in terms of clarifying tonal relationships. we adore a colours in a imitation of a imitation below, where we have cut adult and pasted a objects closer together. For me a colours call for soothing pastels – though hey ho, glass center is a compulsory option, and if we were to go for pastels this would substantially outcome in a some-more picturesque blueprint than we unequivocally wish – a good for me to go a hold some-more epitome in building this image.
For a subsequent step of theatre two, we grown a collage further. we used paper we had prepared for assignment 3 of drawing1, (for a grown blueprint in a final theatre (The paper is embellished with domicile mixture paint – any piece has dual colours embellished over it and we done a outlines with my finger nails). Below we have also altered a colours in iPhoto. Even if we change a colours we don’t like a composition. we consider a angels are too alike. we need to leave this for tonight and have another think. Perhaps go behind to one of a other 4 sketches above.
Ah ha. we had a bit of an suspicion today. I’d suspicion of stability with enamels or domicile shimmer for this exercise, though in practice 1.1 we privately chose finish and domicile shimmer for their ‘hardness’. When we initial started operative on Norber for Drawing1, assignment 5, we was meditative about endurance. All my work for Drawing 1 was unequivocally endangered with time, though assignments dual and 3 (three was a work on a tomb that I’m returning to now) were about ephemerality. It creates some-more clarity therefore to use a many some-more unclouded media. Also a assignment brief starts with, ‘Fluidity lends itself to layering.’ My mind call is to use glazes. we don’t have many knowledge during all with glazes so it will be fun to try them out, and rather than oil glazes (which we have attempted a bit and loved), we will try regulating golden glass media with shine medium. we have a integrate of aged golden glass colours (NOTE – FLUID!) and will buy a integrate some-more I’d like to use – generally bronze. we have been researching a Golden glass colours today, as good as personification around with a photos again:
I am feeling some-more vehement about this plan now.
Today we sourced Golden Glaze acrylic center from Jacksons, as good as bought a integrate some-more glass acrylic paints. Luckily my daughter lives right subsequent doorway to a large Jacksons room in stoke newington and we go past a doorway many days. we also did another collage:
I don’t know that one we would cite to work on with glass media.
Today I’m meditative about some work we did on a blueprint march focused on architecture. we dug out a sketches. we consider these are useful for this plan for several reasons:
- they use glazes (oil paint and liquin)
- they start with photographs and renovate them. (And we am meditative of fixation my occluded angels on a detailed background).
- they use thread (something I’d like to incorporate into my drawings some-more often)
- I would report them as drawings not paintings (at slightest they incorporate both soppy and dry medium). The dry media includes uniball black, white and china pens, felt tip pen, white tip ex. The eminence between blueprint and portrayal competence good be arid, though we AM on a blueprint march not a portrayal march and if we am regulating glass center (as this partial of a march dictates) afterwards we wish to consider about since we would report my use of glass center as a blueprint rather than a painting.
Also during a time we didn’t write down a routine (this was before we started a OCA march and we didn’t keep this useful blog). So a good now to record what we CAN remember of a routine (I have a lousy memory), since we really want to come behind to it:
- Photo 1 – tip left. Use a black and white photo. Isolate a picture with white jelly pen. Colour a shapes with black, sepia and pinkish felt tip pen. The white is tip ex. Add yellow thread.
- Photo 2 – left middle. Same process. Photo of syria inebriated city found on internet. Bricks tip ex with sepia felt tip smeared over. Black chinese ink used for some of a lines.
- Photo 3. Start with imitation we took of hunker inside aged building in greenwich. Then pink, sepia, black felt tip as above. Then snippet second imitation of extraneous derelict East London building. Transfer usually by blueprint on tip with pencil. Go over tracing park with pencil, afterwards with white jelly pen. Glazes of oil paint thinned with liquin afterwards added. Smudge jelly coop for burst window.
- Photo 4. START with bluish oil paint glaze. snippet building as above on tip with pencil and afterwards black uniball biro. Other outlines done with china jelly pen, sepia felt tip and thread.
I have been divided for a few days and am now behind during work after a Aug holiday. Today we usually had time to do an examination with a Golden shine glass and Golden fluids. we also attempted a Handover copper colouring with a glaze, that works fine:
I am not terribly tender with a shine medium. It is described as gloss, though is indeed satin. It is ostensible to extend drying time, though a paint was still dry in 5 minutes. we positively consider that oil paint, thinned with liquin has a nicer finish, and is easier to request though brush outlines showing. Still, these 4 colours and a center cost a large £47 so we am dynamic to keep regulating for this project. NB. Bronze golden glass can be combined to other golden glass paints to give a bronze shine (i.e. not usually practical as glazes). NB again – we cite blue and immature over bronze and copper some-more than a other approach around.
This time we have used 4 new colours, starting with Alizarin flush on a left. we have combined to a shine center as before and afterwards combined one dump of bronze to a brew in a second left column, and so on across. we used somewhat reduction shine center in each, hence a colours are somewhat some-more ambiguous where practical thickly. we also scratched by a second covering of shine with my spike – giving engaging possibilities for ‘drawing’ into a paint, maybe with a nail, scalpel or flare (I don’t meant finger nail). This seems to work best when a shine is during a wettest.(the tip quarrel had roughly dusty when we attempted it). I’m commencement to consider we competence go for a red/pink/orange/gold chronicle above since we consider that comfortable colours sincerely tighten on a same colour spectrum competence work best – so leave out a blues/greens for now.
Today we began operative with glazes on a image. we consider that layering works good in propinquity to building poser and so we motionless not usually to covering adult a glazes, though also covering a paper. we began on tracing paper. Then we noted a paper in my sketchbook with pinkish incompetent biro, and a tiny orange nearby a left bottom. Then we mist glued a tracing paper to a page. The initial shine is violet,deep – all over a paper detached from withdrawal a tiny white here and there. The mistake was, we think, adhering a tracing paper to a page – there are many folds and creases. Unless of march one wants that effect. we don’t consider we did! The usually colours used here are violet, copper, crimson, and violet with a dump of bronze added.
Reflection – if use tracing paper, or improved still, washi paper for a final blueprint DON’T hang it down before it’s finished (unless we wish bumps). Make a pencil symbol turn a angel many fainter and use black incompetent biro to blueprint in a plynths since we couldn’t see where they overlapped. we like a background. we utterly like a colours though we consider a hold of bluish would inform it. Perhaps in a background. we competence add. we did supplement it , and we found we could massage it to smudge!
Below we had another go with a shine center and Golden glass acrylics on tip of a sketch of cogs. This is a bit wanton given that a whole thesis is time, though a usually an experiment. It needs a lot some-more layers. At a impulse a whole thing is too dark. The colours are chromium immature with a dump of bronze, payne’s grey and alizarin crimson. Think we will go over a credentials with white acrylic and shine center and lighten adult a blue angel:
NB Ordinary white acrylic does not work as a shine in a approach that Golden Fluid acrylic does. It is totally ambiguous even with a lot of shine medium. we have wiped many of it off. Scratch outlines done with nail. Instead of wasting a rest of a white center we combined a mark of payne’s grey Golden glass and used for a angel. Also wiped many of it off. I’ve left over a tip with uniball biro again and will do some-more shine layers..including bullion over a right palm side. Maybe somewhat stand in a final blueprint like below:
This is a final drawing:
nb. we rather like a tip left shadow, that doesn’t exist in existence and is `created by a twist on a paper – it is really tent like. we also like a white light turn a angels wings in a tiny imitation above – again this doesn’t exist in existence and is a thoughtfulness since taken during night though we could supplement it.NB. go turn wings with white uniball biro.
Learning from this exercise:
- Glazes are in fact glossy not satin as we initial thought. they get some-more glossy as we build layers.
- If regulating on a credentials need during slightest 4 layers to get clarity of poser – we have 3 above and we consider a cogs are too obvious, generally on a right and on a red angel (who has usually had dual layers of glaze).
- an choice would be to paint over a credentials with a covering of white acrylic, churned with shine and wiped off during a start, nonetheless if we use imitation send a picture will be reduction transparent anyway.
- I like operative with glazes – we like translucency and layers of shine are an glorious center for a thesis of ephemerality.
- scratching by a uppermost covering when soppy reveals a covering subsequent and adds hardness and pattern.
- it propinquity to a practice on occlusion – a initial blueprint is some-more successful than a second (as we knew it would be) – a occluded angel and a occluding angel are some-more scarcely a new ‘super form’, though we find a second blueprint some-more interesting.
- I like that we have remade a angels in a cemetery into a opposite form and combined a new narrative.
NEXT STEPS FOR THE ASSIGNMENT
I’d like to rise 3 drawings though am not certain that we have time for all three:
- This second blueprint from practice 1.4 on washi paper – substantially no bigger than A2 – since regulating imitation send to send a cogs. we would need to do some experiments on regulating glazes on tip of imitation send on washi first. And we consider we need to buy some washi paper and presumably some-more shimmer jelly for transfer. A suspicion – we could of march rise blueprint 1 on tip of a cogs. Perhaps that is some-more engaging than merely redoing no 2?
- The black and white blueprint from practice 1.3 – substantially on A1, stretched cartridge – do some experiments regulating black and white dry center for a credentials first. we don’t need to buy anything for this and could do immediately.
- Drawing no 13 from practice 1.1 regulating finish and white marker – on A1 stretched with refinish polish and gesso. we don’t feel we need do any prep for this – a already been done!
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