Saturday, 30 November 2013
'Shore at Egmond ann Zee' by Jacob Van Ruisdael (above) and 'Weymouth Bay with Jordan Hill' by John Constable (below) . In both cases I did a 30 minute drawing followed by a ten minute one, concentrating on mark-making, finding shapes and simplifying.
Wednesday, 27 November 2013
Illuminated Trail at Kew was magical. With light and sound effects (interactive at times!) there were highlighted individual trees; lanterns around the lake; a Fibonacci fire circle that was other-worldly and ended up at the Palm House with spectacular light show and the amazing lotus in the Lily House Also had a slide down an old fashioned helter-skelter - probably just as well they ran out of mulled wine...
Looking forward to revisiting with friends in a few weeks time.
Saturday, 23 November 2013
Last night at the National Gallery, drawing from paintings by Turner and Monet, trying to capture the light and atmosphere of luscious colour and paint was far more to my taste despite the frustrations of working in pencil and rubber.
Tuesday, 19 November 2013
My attempt - Joining the Dots
Turkey Tolson TJUPURRULA Straightening spears at Ilyingaungau
For someone who likes to work loosely, I actually enjoyed following the patterns and lines of 'Agony in the Garden' by Andrea Mantegna more than trying to copy Rubens work. Maybe it's the medium (still not sure what I think of pencil!), more probably because I was tired after a busy week but I definately ran out of steam and accuracy!
'Water, Water' exhibition and to stock up on threads at 'Lady Sew and Sew's' warehouse.
Tuesday, 12 November 2013
last weeks session at the National Gallery was to find 3 drawings with a sense of space which we then discussed at the start of the lesson. A fellow student brought in a copy of this sketch by Charles Martin - I love how it's not drawn with the same level of detail all over - at first glance you can't tell immediately what it is but that the shapes are pleasing. I brought in a drawing of trees by Hockney with it's textbook perspective but what we were all intrigued by was the economy of '8 lines, Porthmear' by Wilhelmina Barnes-Graham, a favourite of mine - the overlapping lines, the gaps between, the aerial perspective.
Then to room 29 and analysis and drawing of works by Rubens, more of a challenge to work out what's going on, leave out the detail and simplify in 2 different approaches.
Friday, 8 November 2013
composition, form, tone) pointed out before spending an hour drawing a painting of our choice. This time , after starting as before looking at the sketches of Frank Auerbach in the cafe, we went to gallery 23 and choosing a portrait by Rembrandt, we did as Auerbach did, making several studies (10 minute sketches-yes really!) of the same painting, looking at form, tone etc. And it really did make you look, making different mistakes each time but gradually coming to a greater understanding.
So quantity rather than quality -the results are definately not as polished as those I produced last year ( some of which are about to feature in this book thanks to being seen on this blog) but they have a liveliness about them I like and the quality of seeing is perhaps greater?
Friday, 1 November 2013
Back from a few days in Puglia, Italy on textile course with Dorothy Caldwell at Masseria della Zingera - everything I'd hoped for and more. The ink on my fingers has just about gone....
The first day explored making marks on paper with ink from fingerprints to different styles of pen to (my favourite) attaching brushes/sponges to broomsticks and working on large pieces of paper out in the olive groves.
Then there was hammering nails through layers of paper to pick up marks from graphite, burning holes with incense sticks and smoke marks from candles . These I wasn't initially struck by ( got a hole burnt in my pinny) but they grew on me when combined with other pages. I was exhausted, especially after all that hammering so it was just as well that the second day was spent stitching
'daily art' earlier in the year.