Blending acrylic paint - needs paint, paper and paint brush
Techniques used: painting 2 or more colours into each other in small strokes to create a blended effect.
Health and Safety: I painted away from others work and painted so that the thin wooden end of the brush was turned away from me
I decided I should use blending in my poster
Tuesday 26 June 2012
Monday 25 June 2012
artist for poster thing
Richard Hamilton (1922-2011)
Works with collage, using existing works for his own
He seems to take his ideas for his work from the world around him - much of his work is a social comment
His work is inspirational because he was one of the first of his kind. Pop Art (the art form he used) was very new at the time he started using it. That and the social context
The picture uses images from other places, put together to make a room. The room has been arranged show both a comfortable room, but also a highly consumerist room.
The whole picture is a feature, but the people stand out most because a) they are black-and-white while the rest of room is colour. The artist has made a spiral effect to the picture so the eye moves around like that
Ideas from his work:
collage
colour, mixed with black-and-white
constraints: not use too much - make everything thing important.
Works with collage, using existing works for his own
He seems to take his ideas for his work from the world around him - much of his work is a social comment
His work is inspirational because he was one of the first of his kind. Pop Art (the art form he used) was very new at the time he started using it. That and the social context
The whole picture is a feature, but the people stand out most because a) they are black-and-white while the rest of room is colour. The artist has made a spiral effect to the picture so the eye moves around like that
Ideas from his work:
collage
colour, mixed with black-and-white
constraints: not use too much - make everything thing important.
Evaluation of Self-Portrait
The materials I used for the final piece were water colour pencils, paints, and oil pastels with a stencil. I should probably have used poster paints or a proper stencil brush for the paints and left the pastels.My working methods were similar to throwing things together to see how they worked, but with more planning.
The only Health and Safety issues were with the stencil as the knife kept slipping. Aside from making it, the stencil would have been easy to use had I used the right equiptment.
For the most part, my equiptment and materials were just paints and brush, but I also used glitter and glue, oil pastels, water colour pastels and colour pencils. Only the glitter was noticably difficult to use - it took a while for the glue to dry and keep the glitter attched, but still comes off. Also, it has not added to my research in any way. so there was very little point in using it, unlike the rest of the head studies.
I experimented with stencil (as mentioned above) and pastels and paint. I combined these in my final piece, where there is the main drawing of me in my room, with the stencil running in lines up and down the piece. It gives a strange 3D/2D look to the picture, and suggests there are several sides to me from the use of colour. I didn’t just make every stencil a different colour, I also changed the colours in the picture as well - for example, my hair is dark brown, but in the picture it is light blue; and my top is blue, but I changed it to red. This, again, may suggest there is another side to me, or a reflection of the way I think | am seen by others, or possibly how I would like to be seen. These are accentuated by the range of textures and media used. The right hand side of the picture is left messy because I am often messy.
I have used the principle of thirds, but the main image of me is right in the center. The stenciled pictures in lines add a sort of rhythm
The only Health and Safety issues were with the stencil as the knife kept slipping. Aside from making it, the stencil would have been easy to use had I used the right equiptment.
For the most part, my equiptment and materials were just paints and brush, but I also used glitter and glue, oil pastels, water colour pastels and colour pencils. Only the glitter was noticably difficult to use - it took a while for the glue to dry and keep the glitter attched, but still comes off. Also, it has not added to my research in any way. so there was very little point in using it, unlike the rest of the head studies.
I experimented with stencil (as mentioned above) and pastels and paint. I combined these in my final piece, where there is the main drawing of me in my room, with the stencil running in lines up and down the piece. It gives a strange 3D/2D look to the picture, and suggests there are several sides to me from the use of colour. I didn’t just make every stencil a different colour, I also changed the colours in the picture as well - for example, my hair is dark brown, but in the picture it is light blue; and my top is blue, but I changed it to red. This, again, may suggest there is another side to me, or a reflection of the way I think | am seen by others, or possibly how I would like to be seen. These are accentuated by the range of textures and media used. The right hand side of the picture is left messy because I am often messy.
I have used the principle of thirds, but the main image of me is right in the center. The stenciled pictures in lines add a sort of rhythm
Dark Room
The contact sheet (dark photos, and didnt have the light bright enough/on long enough)
test photo - where the photo is exposed for 2, 4, 6 and 8 seconds
final image, went for 4 seconds as that exposure had the best image quality
Friday 22 June 2012
essay hist. art and photography
Art and photography are intimately intertwined. Photography is, for the most part, a branch of art. Using the same techniques and styles to create a beautiful, meaningful picture, or just get the message across.
However, art in the traditional sense has also been irreversibly changed to accommodate this new medium. While for many centuries pencil, paint and stone were some of the few mediums available to capture the world and events as accurately as possible, Photography was suddenly able to do this much faster and more accurately than anything before it - however carefully drawn. This meant that artists were much less necessary for deliberately capturing an image, they were therefore more able to express themselves in which ever way they saw fit. This extra freedom led to the copious art movements of the late 19th century and much of the 20th.
Before the camera, battles had to be drawn after the event, coronations, weddings (if drawn at all), children, anything moving, had to be drawn from memory or imagination, and so were often flawed. Portraits would take several days, and the subject would have to sit very still for hours on end, meaning many portraits often looked rather stiff. Paintings and sculptures, however, could be changed, photographs were often stuck in the form they was taken in, difficult to edit, and always black-and-white. There was, it seemed, still room for art in commercial works.
The changes seen in art became gradually more radical, from the Impressionists onwards. The changes ranged from incessantly busy pieces, to 'minimalist' pieces of art by the 1960's. The industrial revolution had an equally impressive impact on art as photography - though there is a good chance that it was the combination of the two that made the changes so fast paced.
While the whole world had been trudging along working as best it could with nature, heavy industry was making everything faster, better, stronger than many traditional methods and pushing the little guy out. It led to the widespread rise of cities, and the shrinkage of rural communities. Many people were often brought up in wildly different surroundings to their forefathers, and that included many artists. Some found greater solace in open spaces, others wanted to fill them. This meant that some artists became more fascinated, however less 'in touch' with the countryside when they visited it, while others couldn't successfully accustom themselves to the quietness and peace, and the lack of people.
The advent of the Box camera - a camera that had 100 exposures in it, and once all used, would be sent back to the factory, where the film was developed and returned to the owner - also meant that, as well as making the camera more a accessible to a wider audience, it again helped to make artists redundant.
Photography, coupled with the continually advancing world pushed against
art for capturing things; art became a source, not for depicting what
was happening as accurately as possible, but purely for depicting what
the artist saw, how they saw it - such as Picasso and his painting
'Guernica'. Instead of showing everything as it was, his jagged, Cubist
style showed more pain and suffering than the traditional art styles. In
short, art became art for arts self.
Cubism opened the door for more experimental works, such as Surrealism and Dadaism. Both new styles found photography a helpful element, where they could take a photograph and then draw from it, instead of from memory and getting the details they wanted to include in the pieces wrong.
Photography was a fairly quick (if not yet easy) way to remember the world around the artist. capturing things of interest and storing the information safely. Unlike memory, the images remained accurate in a way the memory cant. It thus made accuracy easier for the detailed, life-like drawings of some artists, and, through tearing, folding, moving, easy to distort the image (whether to make an abstract image, or a simply more interesting one).
This easy to tear, distort etc image helped artists such as Dubliner Francis Bacon who torn images up to make new images. Taking several photographs of the subject and then taking a Cubist approach, trying to show as much of the subject as possible in the one image, tearing the photographs up and placing them together in a new and, to him at least, exiting order, or folding them to make a new image. Photography made it easier for this artist to abandon the traditions and restraints of traditional art and the reality of what he could see.
Photography also changed advertising, often being easier to make prints from, and, during the 1950s, the source of many prints designed to sell drinks, food, soaps and other domestic or luxury items and appliances. In old non-fiction books, there were often adverts for related items throughout, with a mixture of photographic and drawn prints; which over the next few decades became more and more photo based, leading to pop art (art based on old advertising styles) becoming an actual art movement, spawning Andy Warhol and Roy Lichtenstien.
However, art in the traditional sense has also been irreversibly changed to accommodate this new medium. While for many centuries pencil, paint and stone were some of the few mediums available to capture the world and events as accurately as possible, Photography was suddenly able to do this much faster and more accurately than anything before it - however carefully drawn. This meant that artists were much less necessary for deliberately capturing an image, they were therefore more able to express themselves in which ever way they saw fit. This extra freedom led to the copious art movements of the late 19th century and much of the 20th.
Before the camera, battles had to be drawn after the event, coronations, weddings (if drawn at all), children, anything moving, had to be drawn from memory or imagination, and so were often flawed. Portraits would take several days, and the subject would have to sit very still for hours on end, meaning many portraits often looked rather stiff. Paintings and sculptures, however, could be changed, photographs were often stuck in the form they was taken in, difficult to edit, and always black-and-white. There was, it seemed, still room for art in commercial works.
The changes seen in art became gradually more radical, from the Impressionists onwards. The changes ranged from incessantly busy pieces, to 'minimalist' pieces of art by the 1960's. The industrial revolution had an equally impressive impact on art as photography - though there is a good chance that it was the combination of the two that made the changes so fast paced.
While the whole world had been trudging along working as best it could with nature, heavy industry was making everything faster, better, stronger than many traditional methods and pushing the little guy out. It led to the widespread rise of cities, and the shrinkage of rural communities. Many people were often brought up in wildly different surroundings to their forefathers, and that included many artists. Some found greater solace in open spaces, others wanted to fill them. This meant that some artists became more fascinated, however less 'in touch' with the countryside when they visited it, while others couldn't successfully accustom themselves to the quietness and peace, and the lack of people.
The advent of the Box camera - a camera that had 100 exposures in it, and once all used, would be sent back to the factory, where the film was developed and returned to the owner - also meant that, as well as making the camera more a accessible to a wider audience, it again helped to make artists redundant.
Cubism opened the door for more experimental works, such as Surrealism and Dadaism. Both new styles found photography a helpful element, where they could take a photograph and then draw from it, instead of from memory and getting the details they wanted to include in the pieces wrong.
Photography was a fairly quick (if not yet easy) way to remember the world around the artist. capturing things of interest and storing the information safely. Unlike memory, the images remained accurate in a way the memory cant. It thus made accuracy easier for the detailed, life-like drawings of some artists, and, through tearing, folding, moving, easy to distort the image (whether to make an abstract image, or a simply more interesting one).
Photography also changed advertising, often being easier to make prints from, and, during the 1950s, the source of many prints designed to sell drinks, food, soaps and other domestic or luxury items and appliances. In old non-fiction books, there were often adverts for related items throughout, with a mixture of photographic and drawn prints; which over the next few decades became more and more photo based, leading to pop art (art based on old advertising styles) becoming an actual art movement, spawning Andy Warhol and Roy Lichtenstien.
evaluation for masks project
The aim of the project was to show the model, while also hiding her at the same time. Initially I wanted to make the whole picture green - using a green background, face/body paint and green clothes, but this wasn't practical, so I went with my second idea. The second idea was for the model to wear masks, either one mask, or several. I eventually decided for her to wear 3 masks, and 3 dresses with them. This was to show formal, evening and fun styles that the model could wear.
Over all I think that the look of the photos reflect what I was trying to suggest. The images came out very yellow - entirely unintentional - but a tone which worked well with the images, reducing the almost creepy quality of the images - especially the skeleton ones.
I like the layout I used for the photos, with the outer photos looking inwards, almost as angels and devils, towards the 'coupling' of the skeleton and the model.
The final photos could, perhaps, have been improved by making the yellow tone more even between all the photographs. The photos generally stiff, like the model is a little uncomfortable of I have little skill for what I was doing.
Over all I think that the look of the photos reflect what I was trying to suggest. The images came out very yellow - entirely unintentional - but a tone which worked well with the images, reducing the almost creepy quality of the images - especially the skeleton ones.
I like the layout I used for the photos, with the outer photos looking inwards, almost as angels and devils, towards the 'coupling' of the skeleton and the model.
The final photos could, perhaps, have been improved by making the yellow tone more even between all the photographs. The photos generally stiff, like the model is a little uncomfortable of I have little skill for what I was doing.
Ian Judd
Ian Judd (sculptor)
Reading the description of what is wanted by the company/person offering work. After thinking of some initial ideas, He looks at ways he could put them together or expand them - if making a sculpture of a train - for example - he will look at train books and visit railway stations (especially if a steam train). He has his own style - which generally is obvious in much of his work, but he is not afraid to work in a different style or exactly to employer specifications. He works mostly in metal concrete and stone - often making maquettes out of polystyrene and wax, any gates are a bit more difficult to make a maquette for and hundreds of diagrams will be drawn up before settling on a final piece. he does much of his casting himself, so he can also advise contractors/employers on what sorts of materials would be best to use and how - for example a gate he's working on at the moment he has been asked about making the gate by casting it with cast iron - which he says is too weak and would cost much more than the methods he would like to use.
For his own work, he makes a figure relating to an idea he has had using wax or clay and continually reworks it till he feels that it suits his personal brief. Once made his maquette, he will either make another version, using again, clay or wax, but also carved polystyrene to make a mould from - and make a mould and statue from that using plaster, cement, or a metal - or he will carve the figure into stone.
Artist is family member : http://studiosculpture.eu/stone.htm
Reading the description of what is wanted by the company/person offering work. After thinking of some initial ideas, He looks at ways he could put them together or expand them - if making a sculpture of a train - for example - he will look at train books and visit railway stations (especially if a steam train). He has his own style - which generally is obvious in much of his work, but he is not afraid to work in a different style or exactly to employer specifications. He works mostly in metal concrete and stone - often making maquettes out of polystyrene and wax, any gates are a bit more difficult to make a maquette for and hundreds of diagrams will be drawn up before settling on a final piece. he does much of his casting himself, so he can also advise contractors/employers on what sorts of materials would be best to use and how - for example a gate he's working on at the moment he has been asked about making the gate by casting it with cast iron - which he says is too weak and would cost much more than the methods he would like to use.
For his own work, he makes a figure relating to an idea he has had using wax or clay and continually reworks it till he feels that it suits his personal brief. Once made his maquette, he will either make another version, using again, clay or wax, but also carved polystyrene to make a mould from - and make a mould and statue from that using plaster, cement, or a metal - or he will carve the figure into stone.
Artist is family member : http://studiosculpture.eu/stone.htm
Scanography Lumen Prints Stereograms
Scanography: putting things on a scanner and scanning them
Lumen Prints: putting things on a piece of photographic paper that doesnt need developer - Steve has
Stereograms: tricking the mind into thinking it is looking at 3D images. (lost)
Lumen Prints: putting things on a piece of photographic paper that doesnt need developer - Steve has
Stereograms: tricking the mind into thinking it is looking at 3D images. (lost)
Thursday 21 June 2012
Artist interview
Ian Judd - sculptor:
Reading the description of what is wanted by the company/person offering work. After thinking of some initial ideas, He looks at ways he could put them together or expand them - if making a sculpture of a train - for example - he will look at train books and visit railway stations (especially if a steam train). He has his own style - which generally is obvious in much of his work, but he is not afraid to work in a different style or exactly to employer specifications. He works mostly in metal concrete and stone - often making maquettes out of polystyrene and wax, any gates are a bit more difficult to make a maquette for and hundreds of diagrams will be drawn up before settling on a final piece. he does much of his casting himself, so he can also advise contractors/employers on what sorts of materials would be best to use and how - for example a gate he's working on at the moment he has been asked about making the gate by casting it with cast iron - which he says is too weak and would cost much more than the methods he would like to use.
For his own work, he makes a figure relating to an idea he has had using wax or clay and continually reworks it till he feels that it suits his personal brief. Once made his maquette, he will either make another version, using again, clay or wax, but also carved polystyrene to make a mould from - and make a mould and statue from that using plaster, cement, or a metal - or he will carve the figure into stone
Arist is a family member : http://studiosculpture.eu/stone.htm
Reading the description of what is wanted by the company/person offering work. After thinking of some initial ideas, He looks at ways he could put them together or expand them - if making a sculpture of a train - for example - he will look at train books and visit railway stations (especially if a steam train). He has his own style - which generally is obvious in much of his work, but he is not afraid to work in a different style or exactly to employer specifications. He works mostly in metal concrete and stone - often making maquettes out of polystyrene and wax, any gates are a bit more difficult to make a maquette for and hundreds of diagrams will be drawn up before settling on a final piece. he does much of his casting himself, so he can also advise contractors/employers on what sorts of materials would be best to use and how - for example a gate he's working on at the moment he has been asked about making the gate by casting it with cast iron - which he says is too weak and would cost much more than the methods he would like to use.
For his own work, he makes a figure relating to an idea he has had using wax or clay and continually reworks it till he feels that it suits his personal brief. Once made his maquette, he will either make another version, using again, clay or wax, but also carved polystyrene to make a mould from - and make a mould and statue from that using plaster, cement, or a metal - or he will carve the figure into stone
Arist is a family member : http://studiosculpture.eu/stone.htm
Wednesday 20 June 2012
essay hist.art
Neo-Classical Art was a revival, in the mid 1700's, of Classical Art from 500BC Greece onwards, combined with new philosophical thinking. It was a backlash against the Rococo and Baroque art styles before it. They were both extravagant styles that artists decided to move away from. This was due to, David and Ingres wanting to depict recent heros of the French revolution to the Greek heros, such as Heracles and Theseus, also seen in Renaissance art work.
The Romantic movement was simply a reaction to the disillusionment of the Enlightenment period. It emphasised emotions and imagination, using 'classic' fairy tales and myths as the basis for much of their work. A central idea to Romanticism is the originality of the artist, making them the main feature, rather than the model
Realism was the accurate objective description of the ordinary, or real, world, and was especially evident in painting. Realism artists tried not to imitate artistic achievements already achieved, but show an accurate depiction of nature and
contemporary life the artist saw around them. "The artificiality of both the
Classicism and Romanticism in the academic art was unanimously rejected,
and necessity to introduce contemporary to art found strong support."
The Impressionist art is a style in which the artist captures the image of
an object as someone would see it if they just caught a glimpse of it, they are slightly blurred. Their
pictures are outdoor scenes, they tend to be bright and
vibrant. The artists liked to capture the images with colors, rather than detail.
Post Impressionism actually started before the end of the Impressionist era. The term 'Post-Impressionism' was coined by a Mr. Roger Fry as he prepared
for an exhibition at the Grafton Gallery in London in 1910; he called the exhibition "Manet and the Post-Impressionists", a clever marketing campaign to pair a 'brand' name with European artists whose work was not so well known, if at all, in
England. The exhibition included "Vincent van Gogh,
Paul Cézanne, Paul Gauguin, George Seurat, André Derain, Maurice de
Vlaminck and Othon Friesz, plus the sculptor Aristide Maillol.
Post-Impressionists pushed the ideas of the Impressionists into new
directions, their modernist journey from the past into the future."
In Expressionism the artist attempts to depict the subjective emotions and responses that events or objects give him. He does this by distorting, exaggerating, the image and using primitivism, and fantasy, and "through the
vivid, jarring, violent, or dynamic application of formal elements".
Fauvism (les fauves-wild
beasts)rejected the softer pallette and style of the Impressionists and Post-Impressionists and used pure colour in large doses, with broader brushstrokes and more vibrant ones. The style first appeared in 1905, shocking the public (hence the name). The style can widely be considered to have influanced later artists
"Cubism
was possibly the most revolutionary style of modern
art; developed by Pablo Picasso and Georges Braque, it was
the first form of abstract art. Evolving at the beginning
of the 20th century, it was greatly influanced by the changing world around it. The world as a whole had experianced more technological advances (phone, car, etc) in 40 years than it had in well over 400. Picasso and Braque felt that art needed a new style to reflect all this change, and both had a mutual interest in Cézannes later work
Dada artworks presented a paradox; they sought
to demystify artwork but remain
cryptic, letting the viewer interpret the work in a variety of
ways. Some Dadaists , like Cubists, portrayed figures and scenes
representationally so as to analyse the form and movement of them. Others (such asKurt Schwitters) used abstraction to "express the
metaphysical essence of their subject matter." Both forms picked up on incidents of life and showed them in a new and interesting manner. "Tristan Tzara
especially fought the assumption that Dada was a statement; yet Tzara
and his fellow artists became increasingly agitated by politics and
sought to incite a similar fury in Dada audiences."
Surrealist Art aimed to make the conscious less over-powering in art and to experiment with peoples perseption of reality or physical objects. There were several ways of presenting the idea, through collage, like Max Ernst, 'automatic art' - drawing without using conscious control - and more traditional painting and drawing.
Abstract Expressionism was the idea that everyone had a right to freedom of expression, and that art can, and should, be a medium for this. Styles varied greatly, from Jackson Pollock (for example) creating large, fairly uncontrolled pieces, to Mark Rothko, who made more subdued, broody art. However, they both shared the same opinion of the idea of freedom of expression; that is should be free.
The term 'Pop Art' was coined, in Britain, during the 1950s. It referred a number of artists who ha d taken an interest in images of "mass media,
advertising, comics and consumer products". It was influenced art pieces in
Eduardo Paolozzi's 1953 exhibition Parallel between Art and Life, and by American artists like Robert Rauschenberg; British artists like the Independent Group - Alison and Peter Smithson, Richard Hmailton, Edourdo Paolozzi, Nigel Henderson, Lawrence Alloway and John Hale - aimed to broaden taste to more popular, less academic art. Hamilton helped to organise the
'Man, Machine, and Motion' exhibition in 1955, and 'This is Tomorrow'
with the still famous image Just What is it that makes today's home so different, so appealing?
(1956). Pop Art coincided with youth and pop music of the 1950s and '60s, and became very much a part of the
image of fashionable, 'swinging' London
Minimal art
emerged in late 1950's America. The
term was lifted from an essay about modern art by art
philosopher Richard Wollheim in 1965. . Minimal Art was first established in paintings, and then sculpture, where it had a much greater
impact.
Minimal art sculptures were often made from industrial materials, such as aluminium, concrete, glass, steel, wood, plastic or stone. The artist’s personal signature was from the work as many of the sculptures were made industrially.
Minimal art sculptures were often made from industrial materials, such as aluminium, concrete, glass, steel, wood, plastic or stone. The artist’s personal signature was from the work as many of the sculptures were made industrially.
Monday 18 June 2012
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