Material Differences

Material Differences

A2, Strathmore Greyscale paper with promarkers and prismalcolor pencils

This is the final image I took to completion for my interior study. Getting the perspectives was harder than expected. the gradients were very subtle and so easily missed. It took several attempts to sketch what I saw before I was truly happy with it. Although the image seems simple, there was a lot more discipline of technique needed than first expected. Due to the size of the paper and the large negative areas, using just pencil was not enough so I used promarker pens as a basic base and built upon that with shade, and tone to add full definition to this piece. I chose greyscale paper as I liked the idea of the muted tones of the cream ways and the carpet. I wanted the chest of drawers and the green mattress to really stand out. I believe I was able to achieve this. What I really like is the feel that the vibrant blue and green from outside the window is reflected upon these two items in the room and ties the whole drawing together connecting the outside with the inside.

What I really found difficult was the covers and curtains. I was very aware that I need more practise at depicting fabric and material. I will continue to take this practise through for the rest of the course, as when the fabric does not flow right the whole picture looks a little disjointed and wrong. Although the grayscale paper helped with the muted tones of the walls. I found it difficult to bring the vibrant colours forward as it took more work to do so.

Overall I am happy with this piece. At first glance I thought I would not need to use much colour but found upon further study that there was so much more gradient of tone in the shadows and really enjoyed discovering how to then show this in my own drawing.

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Interior Artist Bibliography

Interior Artist Bibliography

Figure 1 Sands, E. (1910-1) The Chintz Couch [Oil paint on board] 46.5×38.5cm. Tate Modern. At: http://www.tate.org.uk/art/artworks/sands-the-chintz-couch-n03845 (accessed: 16/4/17)

Figure 2 Ratcliffe, W. (1918) Attic Room [Oil Paint on Plywood] 51×50.8cm. Tate Modern. At: http://www.tate.org.uk/art/artworks/ratcliffe-attic-room-t03167 (accessed: 16/4/17)

Figure 3 Hockney, D.  Blue Terrace [Oil on Canvas] Tate Modern. At: http://www.tate.org.uk/whats-on/tate-britain/course/david-hockney/drawing-hockney (accessed: 16/4/17)

Figure 4 Hopper, E (1952) Morning Sun [Paint on Canvas] At: http://uk.phaidon.com/agenda/art/articles/2013/february/11/edward-hopper-comes-to-the-silver-screen/ (accessed: 16/4/17)

Figure 5 Freeman, J. (2016) Studio Interior #1 [Print making] At: https://www.axisweb.org/p/johnfreeman/ (accessed: 16/4/17)

Research Point – Domestic Interiors

Research Point – Domestic Interiors

When first given this exercise to research domestic interior artists, I thought it would be quite difficult to find many artists or images – but I discovered that it was quite the opposite. I found of an abundance of artists and images, I struggled to limit what it was I wanted to share. Here are a few images and thoughts as to why I chose them.

Figure 1: Sands, E (1910-1) The Chintz Couch, [Oil on wood] Tate Modern

Ethel Sands was known as a very gracious hostess, this she got from her parents. The image above shows a lavish couch with pictures on the wall framing the scene. The muted blue tones of the paint helps the vase of white lilies pop. At first glance I thought the painting was a mixture of blues and yellows but upon further study of this image I found out it was the background of the wood showing through. This minimalist approach was inspiring to show that you don’t have to fill the whole canvas to make an impact. I love how with the small band of white across the couch implies that there is a small opening in the closed curtains to the left.

Figure 2, Ratcliffe, W 1918. Attic Room [Oil painting on plywood] Tate Modern

William Ratcliffe was well know for painting interiors of his and family’s homes. The image above is the attic room he was staying in whilst visiting his brother. Before he became a painter he worked for a wallpaper design company. this knowledge and technique is shown through the continuity of the wallpaper and the reflection in the patterned rug. The dusky light shining through the window looks like it could be early morning and is giving a dusky rose tone to the entire room. This painting was done in 1918 which was post war. The minimalist style reflects this time as the war was ending and people often didn’t have much to in the way of lavish possessions. The room consists of purely the essentials. This is also shown through the fact that Ratcliffe only has he boots on show and no other clothes flung over the chair. To me this implies that Ratcliffe is a very, organised neat person.

Figure 3 Hockney, D  [paint on canvas] Tate Modern

David Hockney’s simplicity in his child like painting is alluring. His use of colour is exciting, the small flex of yellow imply the weather is warm and bright, but the blue of the terrace gives the appeal that it’s cool away from the hot sun. The overflow of giant leaves trying to onto the terrace adds to the shade appeal.

Figure 4 Hopper, E (1952) Morning Sun [Oil on Canvas]

I really like this picture of Edward Hopper’s Morning Sun, especially as most of my interior sketches are simple. The woman in the pink slip seems to be looking far off into the distance as though longing for something beyond the run of the mill life that the building out the window reflects. It was looking at this painting that I decided I wanted to try and get a section of window in my composition giving the partial view of what was outside.

Figure 5 Freeman, J 2016 Studio Interior #1. Woodcut Print

John Freeman is an artist, graphic designer. I really enjoyed this abstract design of his art studio from all the different angles. I really want to try and experiment with more abstract images. I really appreciate the technique and the disciple of the print work design and how with the different perspectives the compositions makes it look like an abstract guide to his studio. Despite it being abstract you can still get a feel of the layout of the room and how it feels to Freeman.

Composition – An Interior

Composition – An Interior

This portrait, birds eye view of the baby cot and drawers was a little too difficult for comfort as I was having to stand on top of the doll house and I don’t think I would be able to have done that for too long to maintain this perspective for the final piece.

Sitting on the floor gave me a more agreeable position. I really like the shadow under the cot and I still have a partial view out the window. With regarding to the portrait view I believe that there was too much floor visible and it distracts from the composition of the objects.

I decided to sit down on my other daughters bed opposite the cot. This posed the most comfortable position and I believe the most interesting composition. It gave me the shadow under the cot i wanted, the partial view out the window and both the drawers and cot continue of the screen.

At this point I decided to experiment with promarkers – but they bled through the sketchbook so I decided to try them on bleedproof marker paper.

A3 Bleedproof marker paper and Promarker greyscale.

I decided to try a monochrome, base and then inject the colour into the window however do to the simple layout of the composition I decided to add colour to take this whole image through to resolution.

Quick Sketches around the House

Quick Sketches around the House

This first exercise took me a while as I noticed that despite the simplicity of drawing the lines, getting angles and perspective took a little longer than expected. I have many pages in my sketchbook dedicated to interior sketches, but this is just a few in there.

Due to having autistic children, we have had to keep our house quite simple and uncluttered so finding a room with tonal and colour contrast was a little difficult to find. I did decide on the last sketch to take through to completion as I have been studying Edward Hopper and the slight view outside the window with the simplicity of the room seemed very appealing for this piece.

Monochrome

Monochrome

When deciding on the colour that I was going to use for a Monochrome study I really struggled as I didn’t want to do a generic red or blue toned piece of work. I realised I had a lot of green kitchen utensils so decided that I was going to use the colour green.

This was the still life that I decided and the composition also. I stood up as I liked the viewpoint as if the viewer was the one in the kitchen preparing the fruit salad.

I have experimented with a couple of mediums – however when I knew what my still life was going to be I had always decided it was going to be oil pastel. I will hopefully go back at a later date to add other mediums to this page.

A3 Final Piece – material: Oil pastels

I knew that the medium I wanted to use for the monochrome study was oil pastels. I had enjoyed using them so far and believed that they could give me the smooth reflective surface of the spherical fruit. I really enjoyed using the oil pastels, however I really struggled with the composition. I noticed that as I was drawing the cut fruit was starting to turn brown – which created a little challenge as the colour I had chosen was green. To counter act this I chose 3 tonal colours to help the greens, blend and connect together, these were: white, grey and yellow.

There were some limitations to the oil pastels as I felt I was not getting as smooth result as I had wished. I’m still really happy with the texture and almost paint like quality to all the different layers of green that added up and created my final piece.

Due to the quick changing nature of the fruit I had to work quicker than expected to I really enjoyed the challenge to catch the essence of what I was seeing before it was gone. I’m very pleased with the overall outcome of this still life and would potentially do more monochrome pieces.

Experiment with Mixed Media

Experiment with Mixed Media

I have done a lot of practise with the ‘conventional’ methods of drawing in the last few exercises so I decided to dive straight into my sketchbook with ‘non-conventional’ drawing mediums.

On this page I have created ink washes with tissue paper and water – I really like the texture of the screwed up paper and decided to use this as a base colour to for my mixed media. I also melted wax crayons with a hairdryer. I really like the texture of the melted wax – however the uncontrollable nature of the hair dryer did create quite a mess so If I were to use this method I would have to practise the control more.

I decided to use childrens toys for my mixed media study as I thought the bright bold colours would be a great study for all the different medias I was wanting to use.

This was my toy still life. I loved the contrast in colours, however I feel they all compliment each other well. I used rose pink cotton material as a backdrop to bring it all together.

Once I was happy with the composition I began with the tissue paper dye was. This created a very pale base colour and as you can see by the above photo the toy elephant is a lighter shade of blue. I was nervous that the whole piece would looked washed out therefore I decided to make the elephant red.

I used normal pencil crayon for the elephant. The previous tonal exercise was very useful here as I changed the colour completely I was able to convert the colour ratio much easier as I was able to focus on the tone. I have used a promarker in areas of the bumbo that had completely been missed by the tissue paper. As I was really happy with the cracked texture of the dye wash I didn’t want to over power this with the biro pen that I later used to add shadow and general shaping. I melted wax crayon for the material backdrop. At this point I noticed that rather than focusing on the detail of my still life I was giving and overall impression of what I saw. I enjoyed this freedom and experimentation, however It was starting to look messing and uncoordinated.

Final Piece: mixed media study

I started by using oil pastels to tidy the backdrop. I then wanted to maintain the impressionistic feel of the drawing my adding random polka dots without focusing or worrying too much about precision. I used white gel pen for the polka dots and highlights in other places such as the lego blocks in the bottom corner. I also used tissue paper and oil pastels on top to finish them off. The doll bed was wooden so I wanted to give this texture by using chalk pastel pencils on it.

This was a very experimental piece for me. The thing I knew for certain I wanted to do was the blue dye wash for the baby seat. The results of this then set the tone for the rest of the drawing, which is very new for me as I like to have a plan of what I am doing before I start. This helped me loosen up and try different things to figure out what works and what doesn’t. Overall I am happy with this piece.