week one

Pen and Ink

Brief

​Using a dip pen, fine-liner, brush, and "improvised" brush, explore and experiment with these four "classic" methods of applying ink to a flat surface over the course of the next few days. Additionally, examine examine methods like stippling, cross-hatching, using pure black and pattern, and creating a localised tone.
​
Practise drawing two different objects:
1) A straightforward still life with a bottle, books, plates, and cups
2) You (portraits of ourself)

Finally, using the abilities we have acquired, to create
3) just one sketch of a room in your home

Research

Looking into artists who were mentioned in the briefing I have found that I particularly liked the works of which I will use as influence for my own work. 

Books for research

After the lecture I went to library in order to take out books which I believed would be helpful. 
I particularly found the book 'Radio times' as it was very informative in many of the artists I have chosen.

Helpful videos

Edward Gorey and pIERRE le tan

Edward Gorey was an artist I was already familiar with for his 'The Gashlycrumb Tinies', the morbid alphabet book. His style is simplistic in shape but telling in his shading (using crosshatching and the thickness in his linework). He makes empty white space work with his style and incorporates it into the story.  

Bob Sherrifs and lucinda rogers

I decided to include these two artists together because I love how both of them use the thickness of lone to make their work dramatic. 

​Robin jacques

I love Robin Jacques' use of making folds in the clothing without using typically lines but instead a bundle of small of lines and dots.

Franklin Booth

Whilst looking into ink I have found another artist that I love because of how much variety his line work includes and how it all adds up to the amazing finishing result. 

other artists/pieces

first inkworks

Before I attempt the techniques of the artists I find interesting I wanted to see what I natural do when using/drawing in inks, using fine liners and dip pens. 

Patterns 

I first wanted to see how I create patterns before I looking into how professional artists create theirs, to see how I could improve.

Improved brush

For my improved bushes I decided to sharpen a stick that I found on my journey to Uni and use a sponge. I found that the stuck created very jagged and uneven strokes but did help with creating local tone. 
Scribble and layering
Process

inspired by Bob Sherrifs and lucinda rogers
Process
Compare
With using a stick it was difficult to get it tidy so I decided to just make it messy and see how it turned out and anyway I mainly wanted to use how Rogers emphasises the perspective with the thickness of the lines.

Inspired by Edward Gorey and pIERRE le tan

Compare
Pierre La Tan's hatching technique is one of my favourites of my project, I love how you can create form and depth just by the thickness of the hatching but still be in control of the light and shadows. 
Portrait one - Inspired by Pierre Le Tan
Comparing
I do like this portrait for how the hatchings for the face creates shadows easy to understand but I did have an issue with trying to capture my curly hair and found that I need to practice more. 

Inspired by franklin booth

Portrait two
Process
Comparing
Out of all of the artists I chose to research Franklin Booth is my favourite, his diversity in this lines and textures is beautiful because of this I wanted to practice using many of his techniques in my own work. This portrait was inspired by one of his own, capturing the curly hair was particularly affective with his technique. I need to improve up ton the lines for the face, ensuring that it bends with the form of the face.   
Portrait three
Compare
I decided to do this portrait as quick as possible, focusing more on the face than the hair, using another one of Booth's for the 'shading'. 
Bedroom
Process
Comparing
I did attempt to recreate the fabric lines for the quilt but wasn't happy with how light it appeared in contrast the the pale mattress, so I decided to go over and darken the lines. It did create an effective rumpled affect.
I used another of his to texture the cupboards and chair, wood textures for the edges or 'poles' and simple lines to create depth and perceptive. 

Mixture of styles

Overall

Overall, ink is a medium I enjoy but have found a further interest in practicing the different techniques of other artists such as Pierre Le Tan and Franklin Booth. 

Improvement from feedback

week two

animal improvisations (3d)

​This week's assignment was to construct a menagerie of three-dimensional animals out of a variety of strange materials. They should concentrate on capturing the "essence" of the animal, regardless of size.

Nelly the sausage dog
For my first animal I wanted to attempt to recreate my own dachshund called Nelly. I wanted to keep them rough and un painted in order to keep a more handmade feel to them  

Arthur the curled up kitty
The next was of my Siamese cat Arthur, since he's always sleeping I wanted to capture him in his cosy curl up. 

big stretch the stretching cat
This was just an idea that popped into my head when I saw a roll of bin bags and decided I could turn it into a stretching cat.

cryptid the unidentified species
This unidentifiable 'creature' is created from stuff that I had around my desk at my accommodation, from empty noodle tubs to lip gloss tubs she's truly a mystery.
Nobody truly understands why she looks to guilty.

asteroid the brachiosaurus 
Prompted by wanted to create a more imposing model I decided to not do another basic animal and instead made a brachiosaurus out of packaging paper and cardboard I had lounging around. 

Overall

This weeks project has been very fun, simply allowing my mind to decide what I do next and seeing the outcomes. I've always enjoyed 3d art such as model making and papier Mache. 

stars in their plasticine eyes - Chuck berry

We were given a celebrity to recreate out of plasticine, I was given American Rock'n'roll musician Chuck Berry. 

week three

paint

brief

Selecting four painters from the lecture, two using watercolour and the other two using acrylic (gouache), and producing a body of work—still lives and self-portraits, was this week's assignment. 

artists - acrylic (Gouache)

J.C. LEYENDECKER

Leyendecker's work is beautiful. What I wish to accomplish is capurting the vibrant colours and the fluidity Leyendecker displays through his works by using the many lines to create movement.

John Singer Sargent

Artists - watercolour

aRTHUR melville

ambrose mcevoy

My work

watercolour

For watercolour I decided to primarily focus on Ambrose McEvoy because I love his wild nature with a brush, how his pieces seem to focus more on the shapes and shadows (light) of the figures.
I wanted to at first practise to be more 'messy' with the brush, not so much focusing on the lines but how the colours work with the light and shadows, I believe I have accomplished this with the fruit and the first plant pot.
Progress
Portrait one
Progress
For my first watercolour portrait I wanted to keep the colours pale and achieve an almost 'fantastical' feel, focusing more on the shade of the hair and the complementary colours used (red and green).
Portrait two
Progress
For my second attempt I wanted to to do the complete opposite to the first portrait, harsher and more solid colours to create an almost chaotic but moody atmosphere, inspired by one of McEvoy's pieces, the background is a mix of wet watercolours` and drying watercolour and the harsher contrasting of shades.
Portrait three - heavily influenced
For the final watercolour portrait I wanted to attempt to copy one of his own and try to change it into a self-portrait in order to see how McEvoy portrays the lights and shadows.

gouache

Instead of using acrylic or oil paint like many of my classmates, I decided to attempt my hand at gouache, first starting by lokking into how acrylic techniques could be translated for gouache, I found it's an amazing medium for capturing bright colours and is basically perfect for the works of J.C. Leyendecker. I at first wanted to practice with the medium as a whole, creating basic paintings of a teacup, kettle and crushed can. Followed by more intricate painting of an orange soda and a potted plant (inspired by the style of Leyendecker).
Progress
Portrait one 
Progress
For the first gouache portrait I was really just trying to get my head around how the skin could be painted in gouache, trying to emulate the detailing  Leyendeckers includes onto the skin (that being the Suttle lines to give his pieces more direction) 
Portrait two
Progress
For the second portrait I wanted to focus on the skin and simply make the hair a solid colour. 
I have overall found that I prefer to use gouache when it come to still life than portraits but enjoy watercolour as a whole. I do believe that the gouache creates more vivid colours for solid objects than the watercolour but the gouache results in a more tidy piece.
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