Chapter 2 Designing with shapes and layers

There are three sections in this chapter related to water and sky:

1. Making a collection of papers
2. Identifying simple shapes and patterns
3. Design development using papers with shapes and patterns

This evolved from first selecting about 8 images from photographs showing different colours in water and sky alongside different aspects of water and sky.  I worked first through section 1, then went to section 2 followed by section 3.

The document above is from my notebook.  Each photo image was labelled having selected 1,2 or 3 linked images and then papers were made all A4 size using mark techniques used in chapter 1 appropriate to each image.  On the sheet are those papers including techniques used.  In order to coordinate the work rather than showing each section separately I decided to blog all three sections together for each of these images.  The next sheet are notes for the design development stage showing the sequences of tearing or cutting to make the final sheets.  I also tried to find background coloured papers appropriate on to which the cut shapes were stuck with prittstick.  I tended to use A5 (half sheets) sometimes resulting in a new A4 sheet when combined.

Photo image 1 Pebbles next to the shore
Papers

 

 Shapes & patterns

Design development
I decided to tear the shapes as I felt this was more appropriate for the wash on a shoreline.

 

 

Note the subtle effect from one sheet overlaying the strong pebbles on the second sheet.  An additional cutting of the patterned papers add another layer forming another watery image.

 



Photo image 2  Rich blue seas

 

Papers

 

Here should also be included a piece of sgraffito, but I forgot to photograph or scan it before cutting it up.  It can be seen in design development stage.

 

Shapes and patterns

 Design development

 

In these two pieces I've combined the sgraffito piece with the frottage, cutting the pieces for more emphasise on the waves.  The one above shows the two layered shapes placed together the one below staggering columns to emphasise the waves even more.

Photo image 3 Reflections

Papers

 Shapes and patterns

Design development

 

I played around with some of the patterns using the Windows 10 picture package

 

.

 

 

Photo image 5 Brown river or canal water

 

Papers 

 

Shape and pattern 

Design development

 

It does not show very well but the last piece is cut and staggered on aluminium foil giving a glittery effect of a watery sun on the brown waters 

 

Photo image 5 Waterfalls on brown/green river

 

Papers

 

 

Shape and pattern

Design development

 

I also tried another cut and design which I felt didn't work too well (see below).  I liked the top one but not the bottom

 

 

 

 

Photo image 6 Grey seas, skies and waterfalls

 

Papers

 

 

There is no shape and patterns or design development for this, however Photo image 8 relates well to the clouds effect

 

Photo image 7 Ripples in a pond

 

Papers

Shape and pattern

Design development

 

 

 

 

I played around with some of the patterns using the Windows 10 picture package giving reflected images on the first and repeated like images on the second.  I was particularly surprised by 'inversion' resulting in the blue and purple effects on black (complementary colours).

 

 

 



Photo image 8 Grey clouds and sea

Papers - see those for Photo image 6

Shape and patterns

 

Design development

 

These images have come out brown rather than grey, which may be because the brown table reflected with the camera when taking the picture.  The pieces were different tones of grey! not sepia!

 

Here are another couple of shapes that might be of use another time:

 

 

 

I tried to explore different shapes and patterns and using different design development.  Although most were related to water I might like to develop clouds and skies more in the future, especially skies that are not just blue, white or grey.

 

 

Chapter 1 Drawing methods

In this chapter I selected photographs that showed different colour and texture in water and sky.

1.  The different drawing techniques use:

• Different drawing implements
• Layering effects using different implements

2.  Sgrafitto
3.  Frottage
4.  Resist methods
5.  Ink and bleach marks including discharge
6.  Use of transparent surfaces

I used a number of photographs, selecting a few here which reflect the different techniques, colour and textures.
The first section particularly shows drawing techniques alongside the photograph with see also reference to Sections 2 to 6.  For this blog, having already started on Chapter 2, the choice also relates to those photos selected for Chapter 2.
The first section is then followed by each technique Sections 2 to 6, not accompanied by the photo.
The samples are in a notebook and Health & Safety was applied through out.

1.  The different drawing techniques use:

• Different drawing implements
• Layering effects using different implements

The different drawing implements include:  Pencils, fine line pens, sepia artist pen.
These are also used in the layering effects alongside chalk and oil pastels, wax crayons, water soluble Inktense pencils, watercolour pencils, coloured felt tips, gel pens
Sample 1

 Sample 2

 Sample 3

 Sample 4

 Sample 4 and 5

Sample 5

Sample 6 is of sea and cloud very grey in colour which were difficult to scan, used pencil and further work is in Chapter 2
Sample 7 is the lower picture of these two

Sample 8 as in Chapter 2 No drawings of these made whilst working on Chapter 1

 

2.  Sgrafitto

 

Reference is made from photo page to any specific samples

These samples used chalk pastels with fixative using technique in Ian Simpson, 'Encyclopaedia of drawing techniques' page 53. 

 

You can also use oil pastels with a layer of acrylic paint which saved time as you do not need to use fixative. Acylic pint takes less time to dry.  I followed a technique used in Usborne book of art skills pages 86-87.

 

Here is a sample using black paper background

 

 

 

3.  Frottage

 

Reference is made from photo page to any specific samples

These samples use different drawing implements and a selection of rubbing surfaces including:  shaped cardboard grid, rush mug mat, Karantha stamp of waves, sequin waste, string and wallpaper stuck to card blocks, stretched plastic net over card, different sized corrugated card, cork mat, sponge cloth, and spikey stamp, on black or white A4 paper

 

 

Rather like the effect of colour and texture on black paper.

 

4.  Resist methods

 

Reference is made from photo page to any specific samples.

 

In these samples I used white wax crayons, but could also use oil pastels, oil paint sticks or wax candles.

The marks were then coated with ink using different coloured inks from Winsor and Newton. These were very subtle coloured inks but still show where the wax crayons resisted the ink layer.  Using white crayon allows white features to be highlighted.

 



 

 

 

5.  Ink and bleach marks including discharge

 

Reference is made from photo page to any specific samples.

Here are mostly discharge samples using inks as the background then drawing with bleach using cotton buds, wooden skewers, cocktail sticks, and edges of cut cash cards.

When using other design requirements in later chapters I will use inks to draw on top of ink washes and with bleach drawings.  Ink drawings as yet are only found on the photo pages.

Different inks have different resistances. I found the Newton & Windsor and Quink ink the most effective whereas Stephens ink was very resistant to discharge using bleach.  I had a page similar to Page 2 shown below where the ink remained a solid wash.

I particularly like the bleach on ink using skewer and cash card it gives a sparkly effect like light on water on the bottom sample of page 1.

 

 

 

6.  Use of transparent surfaces

 

Reference is made from photo page to any specific samples.

I collected together a wide range of transparent materials: hard plastic packaging, cellophane packets, greaseproof paper,

plastic wallets,  different sized bubble wrap, cling film, plastic bags fine and thicker plastic, using different colouring techniques on them.

 

Using emulsion paint and clay paint with paint brushes.  The emulsion paint on cellophane gave a bubbly more resistant finish, whereas the other finishes on other plastics were more solid streaked as with the brush.  An unexpected result gives a reflected streak where paint from it stuck to another surface (third down) which could be used when depicting the sun or moon on water.

 

 

Using blue acrylic paint applied using sponge on shaped stencil on plastic wallet, gave a wonderfully watery wave effect.  This was interspersed with a white equivalent, the shapes overlapping one another.

 

Bubble wrap was painted with acrylic paints.

The second sample was lightly pressed with an iron between baking parchment to protect the iron, giving a slightly flattened but alternative textured effect.

 

 

Heat on sandwich

a.  of paint, threads and sequins like bubbles and ripples under water

b.  of paint threads and bits of fabric and glass beads

c.  small shavings of wax crayons with threads and bits of fabric

 

Like the way the plastic crinkles and seals the contents, and the way the crayons melted along creases.

It was amazing how quickly the heat effected the surfaces.  Sometimes dissolving the plastic away leaving added texture.

Too much heat can over do the fusing, so it is probably best to start with a lower heat and then go higher for whatever effect is required.  Unfortunately some of the glass beads were not trapped loosing some with gaps in the plastic.

Like the translucent and transparent effects useful for layering or using on their own as a surface.

 

I also liked (not shown here) painting between cling film using emulsion or acrylic paints.  The surfaces sealed together and were then left to dry.  Very quick ways of making layers to use on their own or over others.

 

Fascinated by the wide range of effects using colour and texture in this chapter and it should be interesting using and combining to get the effect required. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Module 6 Creative Conservation Introduction

This is a brief introduction.
This is Module 6 where I look at the colours of sea and sky, exploring different drawing techniques.
There will be mixes of colour and texture translated into fabric and stitch to produce a wall hanging related to conservation on the topic of pollution.

I am collecting colour photographs including not only the sea but rivers and other water features and different skies.
I have taken new photographs and explored my collection to pick out different waters and skies from North Wales and elsewhere in the world from holidays.  As yet I have not defined them into a collection from different times of the day or seasons, but tried to gather those using different colours and textures in the surfaces and different weather conditions.

I am also starting to look at different painters and photographers who use water and sky as their inspiration. 
So far I've found a super book by Katharine Lochnan, 'Turner Whistler Monet'  which has a chapter 'The poetics of pollution' which highlights how pollution in London and elsewhere inspired their work.  Many fabulous illustrations.
Also, I went to a water colour demonstration by Frank Green a Liverpudlian who paints buildings before demolition, but he also captures weather, water and sky in several of his watercolour paintings around Liverpool.  The example in the demonstration was of Penmaenmawr seashore with amazing storm clouds, early morning, which I managed to photograph near by, later on the same day (second photo).

Here is just one or two photographs showing contrasts in weather, colour and texture.
Picture 4 was at Farncombe at the end of a busy Summer School day!

Concluding items for Module 5

Here are scans of the sheets:
Evaluation of completed work

Authenticity of work

Chapter 13 Artists

I have scanned the information related to four artists, which should be self explanatory