My Written Reflection Part Five

I have really enjoyed Part Five of the Course because I had a sense of things coming together for me.  I found my drawing improving with this being a major challenge for me at the beginning of the Course.  I understood how to drill down on a theme and focus on a few elements and the ideas kept coming and still are coming.  Importantly I found I had more organisation and structure to my work.  I think the analysis at the end of Part 4 on “A Structured Approach to Reflective Thinking” leaning heavily on the work of Cottrell(2011,p211)help me to approach Part Five in a more cohesive way.

The model I presented of critical reflection encouraged me to do a “Review of Formative Feedback”(blogpost March 30, 2017) for assignments 1, 2 and 3, for example the question I posed to myself in terms of Assignment One Feedback “Have I looked hard at other practioner’s work and fed that into my own practice? provided me with a prompt as I commenced Part 5 to ensure I documented my Research of other Practioner’s who I was drawn to (e.g. Dorothy Caldwell, Bobby Britnell).  The reminder to draw in a range of mediums, to draw without looking on large A2 paper all were highlighted to me.  I also did an update of the book “Steal like an Artist”.  The review of the feedback from Assignment Two also encouraged me to include more photographs from my sketchbook,and to use to water soluble crayons and other materials.  I took on board the feedback from Assignment Four also and revisited Debbie Lyddon’s Book and provided more in-depth analysis.

In terms of my Model which is a continuous loop Model I followed along on the Acting and Experience by research gathering and documenting this, by preparing a portfolio of work.  I reflected on my previous creative experience in Assignments 1,2,3 and 4 and my current experience.  I tried to integrate my reflections with ideas and approaches by other artists and I think I achieved this at least to be influenced by Caldwell, Britnell, Blake and Streefkerk in Part 5. Review and Assessment I will comment further below and finally evaluating in terms of my development.

Overall for Part 5 I have had a shift in my thinking about my textile work.  For the first time I feel a deeper relationship to my subject matter to what I am doing and how I am doing it in some way it feels part of me.  It is not just a selection of techniques it is more than that.  I have also come to value the use of the sketchbook (I have to confess I was trained by a master US quilter to work intuitively with no sketchbook)as my place to sort out ideas and experiment I still have work to do though.  I think I better managed my time in Part 5 but there is still room for improvement.  I understand so much better now what I need to do than when I started the course.

The course in general has provided so much to me in way of my textile work.  I feel so enriched by the experience.  I now approach my work from a deeper mindset.  This has had a very positive effect on my other textile work outside of this course.  I plan to enrol in the Mixed Media in Textiles Course next.  I will enter Exhibitions also (I have done this already) but be more experimental and less risk adverse with my approach.  The course has stimulated me to think of textiles far more broadly and I look forward to expanding in this context further.

 

 

Assign 5 Part 5 Review against Assessment Criteria

Demonstration of technical and visual skills – materials, techniques, observational skills, visual awareness, design and compositional skill (40%)

I think I have followed the requirements of the Projects and Assignment and enjoyed the experience.  I have built on the work in previous Parts of the course in the undertaking of these works. I pushed the use of different materials in my work and to test their usability e.g. the Art Tissue paper.

Quality of Outcomes- content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas (20%)

I think my outcomes are satisfactory.  I realise that there was a lot of freedom to interpret what was required in Part 5 and Assignment 5 and I hope I have followed a reasonable path,

 

Demonstration of Creativity – imagination, experimentation, invention, development of a personal voice (20%)

I have used some sketching to study my yarn approaches and in looking at my Tropical Tourist items.  I have used a variety of sizes including A2.  I have used a variety of materials e.g. crayons, wire

My approach to 5.3 to create experimental materials and printing to form the basis of my textile collection and my yarn development 5.2 I think showed my willingness to be  experimental.  Creating the six samples for my Textile Collection really felt like I am starting to develop my personal voice, how I really felt and related to the subject matter and my own way of interpreting the subject.

Context – Research, reflection, critical thinking (20%)

I have documented the Artists I have researched in Part 5 who have influenced my work and commented in My Written Reflection blogpost of the impact of these Artists.  I have established several Pinterest pages on these Artists and others.

I have approached my work in terms of my Model of Reflection as discussed in my blogpost My Written Reflection blog post of 30 May 2017.

Assignment Five – A textile collection

In Assignment 5 I need to work to create a collection of at least six samples which do not have to be final but rather an opportunity to improve upon my experimental samples.  The samples should be a minimum of 30cm by 30cm.  I have interpreted this to mean that if something is rectangular than the total area must be in the vicinity of this measurement.

I have decided to confine my colour choices to orange/yellow/ochre/rust/ generally with black and white.

SAMPLE ONE

I wanted to take the mono printing approach further but to change the substrate I used in 5.3 experimental pieces as a further challenge to myself and to reflect in this first sample the delicate nature of the bougainvillaea flowers so I chose Art Tissue Paper as my substrate – it is very fine but strong and can be stitched into.

first I mono printed using the gelliplate and textile ink I drew with the back of a paint brush into the textile ink to depict the thorny nature of the plant.  I then back printed in black textile ink the same thorny branches of the plant.

Next I painted my gelliplate with black textile ink and used a makeup wedge type sponge to remove paint to depict the bougainvillaea petals using once again the art tissue paper.  This approach had the advantage of ensuring some paint was left to show interest in the actual petal and the papery type effect of using art tissue paper.  I attached a section of the black and white petals mono print to white felt using bondaweb and then decided to adhere to my background ‘fabric’ which had also been attached with bondaweb to white felt.  I decided to stitch the ‘petal piece’ to the background fabric using a primitive type stitch which in some way reflected the thorns on the plant.  I was not happy with this piece as the petals dominated the work.  So I mono printed some more paper fabric using a curvy type mark and auditioned it to the background piece see the series of photographs below I was not happy with any of these approaches.  Next I thought more about my subject and decided I should depict further the thorny branches in a mono printed piece in combination.  This did not work for me either it just looked like three pieces of fabric appliquéd on.  So in the final piece I used the thorns in the vertical and horizontal and attached to the felt and then stitched using the same primitive straight stitch as I had used in the petals.  I left some overhang at the bottom also.

 

SAMPLE ONE – FINAL PIECE size 37cm by 35cm

IMG_8758SAMPLE TWO size 21cm by 51cm

I have once again chosen the Art Tissue Paper to mono print the petals of the bougainvillaea using black and white textile ink and my makeup sponge wedge for the petals.  The gelliplate is a fixed size so I had to do more than one print to gain enough paper fabric to work with.  I decided to use some of my procion hand dyed fabric (I dye fabric using low immersion technique and several dye colours so as to obtain interesting colour variations)which I freehand cut and appliquéd to several mono printed petals,  I then machine outlined these petals using a number 50 weight machine cotton thread in orange.  I used a haphazard type zigzag to sew around the edges to secure the paper fabric to white felt(which had been bondawebed).  This piece captures the fragility of the bougainvillea petals and the colour.

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SAMPLE THREE size 38cm by 38cm

In Part 5 Project 2 I undertook a series of pieces based on my chosen artist Georgia O’Keefe and in doing this influenced by her painting of “Sunflower” 1935 I carved a stamp using easy cut rubber and printed on newspaper.  For Sample Three I have again taken this stamp and using variations in colour from yellow to deeper orange I have stamped the sunflower on canvas that I have covered in gesso (like my experimental pieces in 5.3 experimental pieces 2.  I decided to go back to using eyelets like I have used in Part 4 yarns and in Part 5 yarns and place a similar colour eyelet in the middle of some of the stamped pieces.  I did not want to do more work on this piece but mounted it on white felt.  I think it has lots of movement and interest without adding even more embellishment.  I think I am a minimalist at heart!

IMG_8761SAMPLE FOUR -size 28cm by 38cm

This piece is designed to reflect the earth the bougainvillea grows in and the colours of the petals.  I have mono printed with the gelliplate on canvas which has been gessoed using textile ink. I have rubbed earth (influence of Dorothy Caldwell – in my Research) from my garden into the bottom of the piece.

Why?  My thoughts are I seem to be driven by the Part One exercise – Tropical Tourist and my further work in Part 5.  I think that hose ‘talk’ to me I can relate to place where I live, my country, my State and colours and climate, to the peoples of this land – the Aboriginal peoples of my childhood – the colours of the earth and the contrasts of the bright hibiscus and bougainvillea, the bright greens, the yellow greens, – the sunlight – the blue of the sky.  Our land and ancient peoples in Australia have a deep history.  This has inspired me to want to do more earth dyeing and natural dyeing (my research piece on Sally Blake’s work with eucalyptus) and to research more on the basket and dilly bag making of the Aboriginal peoples.  To consider free form weaving using these colours.

I have added some hand stitch to the colour squares and at the top and bottom I am still wondering if I should continue the stitching all over the piece I am not sure.  Also whether to couch a red ochre thread in a loop I am not sure.  Maybe the simplicity is enough.

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SAMPLE FIVE  size 36cm by 41cm

This piece is based on my photo in 5.2.3 yarns with the hibiscus flower which was past its flowering.  I made the background using a piece of white linen and then printed directly onto the fabric using textile ink with a roller and underneath textures e.g. corrugated cardboard.  I tea dyed some cotton with a herbal hibiscus and another flower teabag and some ordinary teabag this showed the decay that was starting to occur with the hibiscus flower petals.  I free cut an dappliquéd the petal shapes onto the linen deliberately enhancing the size of the actual petals by about 100 percent.  I considered how to add more depth to the piece and decided to attach by machine narrow textured ribbon in solid black.  I then machine outlined the hibiscus petals using grey thread.  I was not convinced the grey thread was standing out enough so added some more machine stitching using black thread.  I attached the linen to white felt and machine stitched around the edges in black.  I am still mulling over this piece I am not sure I have placed the appliqué shapes in the right order – should the biggest petal  be in the righthand corner or should it have been place in the bottom left hand etc.

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SAMPLE SIX – size 31 by 36 cm

You will recognise the extension of the sample I made in Part 5.3.2 experimental using canvas with white gesso.  I again attempted to mono print using the bougainvillea petals and two layers and this time I achieved more contrast in the colours than in my sample.  I wanted a rugged piece of background fabric because I wanted to use the wire yarn I had made in Part 5.2.4 of the bougainvillea leaves.  I needed a fabric that would support the wire yarn.  I pondered how to attach the yarn and tried staples (that did not work) and then thread.  Using several strands of thread I could attach my yarn to the canvas.  I am happy with this piece because I met my challenge to myself to use some experimental yarn as a design element in a fabric piece.

IMG_8770Here is a photo of all the pieces up on my design wall (really just polystyrene and some thin batting!).

IMG_8746I will write my Written Reflection to Part Five in a following blogpost.

Part 5 Project 3 Experimenting and Taking Risks

In this Project I am focusing on experimentation with methods and materials.

I have decided to focus on the materials and base for my future work. I worked through my approach using my sketchbook.  This is my first page where I am documenting my initial thoughts and linkages.

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I am drawn to the bougainvillea which is in my Part 1 Tropical Tourist living collage. I found the delicate flowers and then the very sharp thorns a contradiction.  I drew a pencil sketch of the plant as I was considering my options for experimentation.IMG_8753

In my sketchbook I then made a list of options for the background materials I could consider which were experimental see my photograph of the sketchbook page below.  I also used the design elements framework to brainstorm ideas.  I considered some of my source materials such as my drawings, mark making, photographs, rubbings and my yarns.IMG_8754

In my sketchbook I made a colour collage to encourage me to think about what colours I might use in the Project. This is shown below.  I also questioned myself about what threads I might use and embellishments and most importantly what I thought the emphasis might be.  As I have indicated earlier in ATV I tend to think and think and think about a piece of textile work but do not document I consider the types of issues I have documented in my sketchbook but have not written down.  Encouraged by my Tutor I am training myself to approach my work this new way documenting in my sketchbook.IMG_8755

I next considered my possible design tools and approaches and these are documented below.IMG_8757Having undertaken this documented approach and due consideration to my experimental work I next decided to make the samples based on my experimentation being the materials and mark making for the background work for Assignment 5 with the restricted colour palette informed by my colour collage work in my sketchbook.

 

I have put my samples into my sketchbook some are bigger than the sketchbook but that is alright.

Experiment 1  Rubbing on my procion dyed fabric using the skin of the pineapple used in the Photograph Collage of the revised Tropical Tourist (photographs in Part 5)IMG_8702

Experiments 2 a, 2b, 2c – are made on canvas which I have painted with gesso

2a – mono printing – gelliplate printing with bougainvillea petals  using textile inks using a second layer of printing

2b – is back printing using textile inks on the gelliplate of bougainvillea thorns

2c – is black and white texture using direct printing with textile ink with a rack from the dishwasher underneath

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I like the roughness of the gessoed canvas and the texture it creates on the prints.

For Experiments 3 I used kona cotton to which I applied white gesso.

Experiment 3.1 – the same type of experiment as Experiment 2.1 with the mono printing using a gelliplate and textile ink with two layers.  The result was much denser and smoother with more solid colour

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Experiment 3.2 uses the direct printing method with textile ink using roller brush and wire dishwasher rack to make marks.

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Experiment 3.3 I used cut out paper petals larger than the real bougainvillea petals and did a light print over with textile ink on the gelliplate.

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Experiment 3.4 I depicted the bougainvillea thorns using back printing using a skewer and textile ink on the gelliplate the same as for the canvas piece 2.b  I particularly like back printing as a technique because it leaves background noise on the surface which gives it a painterly effect.

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Experiment 4 Next I printed directly onto COTTON fabric.

Experiment 4.1 shows the back printing using a skewer done directly onto the cotton fabric (i.e. NO gesso) it comes up really well too.  Still using the gelliplate and the textile ink as in Experiment 2b and 3.4.  Similar results so it depends how much say hand stitching one might want to do or it it was to go into a textile piece with other dyed cotton fabric for example.

 

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Experiment 4.2 once again the real bougainvillaea petals mono printed using the gelliplate with textile ink.  Has lots of potential for hand stitch, art quilts or just quilts.IMG_8710

 

Experiment 5 – cotton fabric with direct free printing and mark making using cardboard edges.  I drew the bougainvillea petals and the stalk using intense block colour and then added water.  I don’t like this effect it looks basic and I much prefer the layering of textile ink or appliqué fabric.IMG_8711

Experiment 6 – Inktense blocks on cotton with water added.  I gave the inktense blocks another go using mark making and liked this better as a background fabric which could be cut up and repositioned to create more interest.E

Experiment 7 –

7.1 – Canvas with white gesso applied.  I then painted textile ink in a grid onto the surface.  This makes a bold statement.

7.2 – I took pellon (or what we call pellon in Australia) and dyed it with procion dye. It is soft and would be particularly good using needle felting or an embellisher machine

Experiment 8 – cotton fabric with back printing using a gelliplate and the back of a paintbrush. Was really just looking at how a lighter colour would look with the back printing.  It is subtle but may be good for a background fabric.IMG_8750I think that my Experimental textile samples will be very helpful for my approach to Assignment Five.

Part 5 Project 2, 2.4 Develop yarn and linear concepts

I enjoyed exploring yarn development and design in Part four and in Part Five I have to employ these approaches to develop yarns and linear concepts also working on my textile concepts.  I need to develop at least six to eight yarn concepts.

I first drew some ideas in my Sketchbook influenced by the colour and nature of my hibiscus and frangipani flowers in my Tropical Tourist composition.  I was looking to use approaches that were different or built on my yarn work in Part 4.

yarn sketchbook pageI decided to paint paper with watercolour paint to form part of my paper yarn collection.    Next red acrylic paint was used on decovil and also on bondaweb this reflects the colour of my frangipani and some hibiscus and also my Georgia O’Keefe theme of red as discussed earlier.

Paint and bondawebI cut the copy paper I had painted with orange and red watercolour paint into sizes around one quarter inch wide.

Yarn 1I then finger twisted the paper using my index finger and my thumb to make uneven type twists.

These paper twists were plaited.  I like the organic nature of the twisting and the possibilities for development into three dimensional and two dimensional work.

Yarn 2I also used the twisted paper yarn to make round flower like shapes on a background of two strips of the painted paper.

Yarn 3Here is a photograph of the pieces and my colour inspiration a hibiscus flower which has finished flowering.  I love the texture of the hibiscus flower petals it is crepe like.  I was happy with the way my coloured paper yarns reflect the colour and texture to some degree of the spent hibiscus flower.

Yarn 5The next piece uses the bondaweb which I painted with the red acrylic paint and then using an iron adhered to white cotton.  I then created a frangipani stamp quickly using adhesive foam and stamped several petals onto of the adhered bondaweb.  I sewed the piece together using a machine embroidery stitch for extra texture.  This technique has endless possibilities but maybe not so much as a yarn.

Bondaweb 1My next piece uses the painted decovil which is a synthetic cardboard like adhesive on one side fabric.  I stamped the frangipani using yellow acrylic paint and then placed eyelets in the middle of each frangipani.  I was encouraged by my Tutor in Part 4 to take the eyelet designs further.  This worked alright but the frangipani was a little pale. Using the decovil means that the edges will not unravel and this could be used as a trim or bookmark.

yarn 6

My last piece was made of wire and this was inspired by the green base of the hibiscus flower shown above.

yarn7 wireI used gardeners wire to make this one and think this could be useful as a yarn.

Project 2 Building A Response 2.3 Develop textile concepts

Using my new drawings from Project 1 as a source of inspiration, develop a series of textile concepts, using papers and other surfaces to develop material ideas, textures and structures and begin to explore ideas of material manipulation in conjunction with the possibilities of stitch. Look back at Part 2.  Develop 10 to 15 textile concepts.

To tackle this Project I have undertaken a series of paper pieces based on my Project 1 drawings and my chosen Artist Georgia O’Keeffe.

My first series of work I started in a sketchbook but made a discovery that the 110gsm paper was too thin so I cut the pages I had completed out and sewed them in by machine to a new sketchbook which is 185 gsm arches hot pressed paper.

The first pieces are based on my chosen artist Georgia O’Keeffe.  I have placed some prints of Georgia’s work in my sketchbook but will not reproduce the actual photo here for copyright reasons.

My first piece is based on Georgia’s “Sunflower” 1935.

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I hand carved my stamp using easy cut rubber and printed on a vintage New Zealand  newspaper and this was then given a wash of diluted procion red dye.

I liked Georgia O’Keeffe’s drawings in her book “Some Memories of Drawings” and decided to do a drawing on tracing paper of her No12 Special Drawing (1916) a copy of which is in my Sketchbook.

IMG_8690As noted I certainly did not achieve the same movement as Georgia but undertaking the study improved my observation skills.  Georgia used charcoal I used graphite pencil.  Taking my drawing further I decided to make a foam stamp of the main outlines and to print the positive and negative using one of Georgia’s favourite colours ‘red’.

I then used the stamp again using acrylic paint and then did a wash of bright red procion dye over the top.  My learning was that of course the stamp is reversed something to remember next time!

IMG_8693I kept going and sprayed the paper backing from the foam stencil with Tumble Dye and again used positive and negative.

The second series of pieces is based on my work on Project One (Part 5) the theme being Tropical Tourist.

My first piece is based on the hibiscus flower.  I painted tissutex paper with orange/red watercolour paint and scrunched up.  After this paper dried I unwrapped and stamped with another hand carved ezy carve stamp I made based on the hibiscus flower. I was basically looking at a monochromatic colour approach.  I chose the scrunched paper because hibiscus flowers get crinkly as they age.

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I took a tracing of the top of my drawing of the pineapple and made a stencil.  I used light moulding paste through the stencil.  When dried I painted with watercolour and some dye.  I was trying to achieve the thick strong lines of the pineapple leaf.  I think I achieved this texture.

IMG_8698I was a little over all the colour so I created a small simple piece using washi tape and a pen outline of leaves similar to tropical leaves.  I think this would work for wallpaper.

IMG_8699I returned to the colour for the next piece which was my attempt to recreate the texture of the pineapple skin (Project 1 Part 5 drawing) which is really rough.  I used light molding paste again which is not heavy on the sketchbook page and a colour wash.  I am not so happy with this it has texture and shape but I am not sure it conveys much meaning.

IMG_8700The last piece I did was to capture the actual bougainvillea flower petals within florist cellophane.  I put a piece of linen thread in too to see how it went.  I used a hot iron with the cellophane between two pieces of baking paper.  I was happy with the result it achieved my aim of depicting the flower petals as light and floaty.

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Part 5 Project 2 Inspired by artist

Part 5 Project 2.2 Inspired by an artist /designer

For this part of Project 2 I need to find at least one artist or designer whose work, way of working, application of techniques, handling of materials or use of colour I find particularly inspiring. I need to carry out some research to learn more about the aspects of their work that I find interesting and use this to build a small research file, to include visual and written information and reflection.  I need to reflect on what I can learn from this artist/designer to influence my approach to my own work or way of working.

The first artist I have selected is Georgia O’Keeffe who can be regarded as the first woman modernist painter in USA.  She was born in 1887 in a somewhat affluent family.  Georgia grew up in the midwest of USA and studied art and music as a young girl.  The study of art at that time was to copy work from books.  She was very bright and gifted at Art.  Georgia studies at the Art Institute of Chicago and then the Art Students League School in New York.  Georgia pays her first visit to the ‘291’ Gallery run by Alfred Stieglitz in 1908 to see a still life drawings by Rodin. She later takes classes in 1914-16 with Arthur Dow(a foremost advocate of art and art education) in New York.  Dow was about encouraging his students to go by elements of composition (including looking at line, texture and colour).  This exposure to composition painting was pursued by Georgia and was a huge shift for her.

A friend sends a collection of painting abstracts in charcoal to Alfred Stieglitz in 1916 and he goes on to organise her first solo show which was held in Chicago. She corresponds with Stieglitz extensively.  Georgia decided she needed to listen to what she wanted to say in her work and to let it come out.  She realised she may see ‘differently’ to someone else.  As an artist she wanted to convey what she saw.

She began painting flowers.  These paintings attracted criticism for being sexually orientated.  Georgia denied this and said she liked flowers and saw them as beautiful. She wanted people to see and feel the beauty.  Her paintings were large and closeup of a flower e.g. roses, snapdragons.  Her interest in oil painting grew and she created abstract works especially landscapes and still lifes.

Georgia O'K petunas

Blue Morning Glories, New Mexico 1935

She married Alfred Stieglitz in 1924 and he works assiduously to promote her work organising exhibitions and acting in a type of mentor role to her.  During her life though she is probably more of a mentor to others.  At one point she gives up colour and had to test herself to earn back colour.  At one time during her career she worked with charcoals and pencils only and then she added blue and then another colour this enabled her to change up her practice and how she did things.

She lost her sight later in life but she still paints assisted by an Assistant who loads her brush and directs her to the canvas.  She paints from what she sees in her head.  She dies in 1986.

Her techniques included a simple but saturated colour palette.  Sweeping lines with interesting curves and unusual angles e.g. looking down on a single flower.  She sometimes painted the same subject many times (other Masters also did this) and comments on “Abstraction IX” that ‘she first made(it) with charcoal, then in was painted many times with red, and I finally went back to charcoal.  I even now have another way in my head that I might have done it.’ There is a 60 year gap between the first drawing and this comment. (‘Some Memories of Drawing”, Georgia O’Keefe, 1974, Uni of New Mexico Press).  Interestingly, Georgia used a single media type in each painting e.g. oil only, charcoal, watercolour only.  Another take away from Georgia is to remember that you may see things in a way other people do not.

PLEASE NOTE:  I have continued my study in my Sketchbook

Abstraction Georgia

Abstraction IX 1916 Charcoal 24 5/8 in by 18 7/8 inches

Reference: Georgia O’Keeffe, 1974, ‘Some Memories of Drawings’, University of New Mexico, Albuquerque

Books

Georgia O’Keeffe 2005, Grange Books, Rochester Kent UK

P Jennings and M Ausherman, 2011,’Georgia O’Keeffe’s Hawaii’, Koa Books, Kihei Hawaii

Lynes, Poling-Kempes and Turner, 2004, ‘Georgia O’Keeffe and New Mexico’, Princeton University Press and Georgia O’Keeffe Museum

Harding and Mimmocchi, ‘2016,O’Keeffe, Preston and Cossington Smith Making Moderism’, Art Gallery of NSW, Sydney NSW and Heide Museum of Modern Art, Victoria

B Benke, 2003, ‘Georgia O’Keefe 1887-1986’ Taschen, Germany

Exhibition

Queensland Art Gallery 11 March -11 June 2017 – O’Keeffe, Preston and Cossington Smith – Making Modernism – attended twice April 20 and April 26 2017 – loved it!!

 

Part 5. Project 2 5.2 Building a Colour Response

5.2 Identify and Present your colour palette

Working with my new drawings I have chosen to take my colours from my Tropical Tourist work.  I love the softer, darker, murkier colours of the  UK  but that is not the world I live in.  Our sub tropical vegetation and our bright sunlight produce to me a more colourful and bright colour palette.

I drew my colours with Faber Castel Gelatos crayons and added water.  I was interested in how the Gelatos worked I thought they were a bit streaky but my subjects have fine marks and variations in colour too.  My palette looks decidedly warm temperature.

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I have identified the complementary colours of red and green predominately with the addition of yellow orange and pink(tint).  Looking out at my garden as I type this blogpost I can see all these colours in the flowers and shrubs in the garden.  We have a very bright yellow green displayed on some leaves with the morning sun filtering through. Red, orange and pink Hibiscus flowers,  red arrowroot flowers, orange marigolds and orange geisha girl are all flowering together with red and pink frangipani.

Looking at my hand dyed fabrics I identified cotton fabrics  that matched my colour palette. Reflecting on these colours I can see, for example, that a modified triad colour scheme of red, orange and yellow would make a strong and bold work.  I need to be aware of the distribution of the design elements in my work too to produce equilibrium in my composition.  Think about the amount of colour or size of the colour area e.g. mass colour(large area) or broken colour.  I can also think of one colour like red from the pure hue to light to dark – the value the degree of lightness or darkness(see Fabric Postcard below by B McQuarie). A surface or fabric which is rich in line, value, pattern and movement can be made with  a limited or single colour.

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In summary, I need to be aware of the contrasts of colour like hue(e.g.pure hue shows up well against neutral gray black and white), value(e.g. can use strong value to capture attention), intensity(my colour palette as presented has a high intensity and I need to be aware of that and think about and maybe add some neutrals to tone it down), complements(my red and green which are visually exciting side by side), quantity(think about large areas of colour(with just a hint of another colour) or small and powerful e.g. neutrals with a touch of red), temperature(art of a red desert you can feel the heat almost.  Need to think about too much heat and use a pale green/blue say to relieve the intensity).

 

Quote:

Color is one of the great things

in the world that makes life

worth living to me, and, as I

have come to think of painting,

it is my efforts to create an

equivalent with paint color for 

the world – life as I see it.

Georgia O’Keefe

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Postcard size “Red” fabric – Barbara McQuarie, New Zealand – shades of red.

References:

J Itten, The Elements of Color, 1970, Van Nostrand Reinhold, New York

N Leland, Confident Color, 2008, F & W Publications, Ohio

 

Part 5 Project 1 – Drawings

Further to my blogpost Assign5 Project 1 Developing Visual Research – Introduction I have undertaken a series of drawings using a variety of media and any size I wished based on my Introductory Assignment topic – Tropical Tourist.  I have selected those below to present as Project 1.

First I worked in pencil and drew items in my new Tropical Tourist arrangements.

IMG_86265.1.1 Line drawing of pineapples using wax crayon, made without looking at the page while drawing on A2 size watercolour paper

This method creates movement and excitement and has potential for design.

IMG_86285.1.2 Derwent Graphic pencils HB, 2B and 4B on Bockingford A3 paper 150grms of passionfruit leaf and passionfruit flower

These drawings form part of a collection of useful drawings for development into design, tone and colour.

IMG_86435.1.3 Faber Castel Graphite Pencils HB, 2B and 4B 185gsm cold pressed Arches Aquarelle of Pineapple. A4 size

Drawing this pineapple made me really look intently at the texture and leaves of the fruit and this has raised my awareness of the shape of the skin of the pineapple and the roughness of this skin.  I became more aware of the shape of the components of the pineapple and the leaves.

IMG_86295.1.4 Derwent Graphite stick on Bank paper(thin weight) using a template I drew and cut out of card of a pineapple I put the template underneath the paper and did several rubbings.  About A4 size

This type of mixed media approach creates great images for design and further work on paper and fabric.  Different types of paper can be used and different media to do the actual rubbings for further study.

IMG_86315.1.5 I made a wire outline of the pineapple and placed underneath Bank Paper I then did a rubbing using wax pastel moving the template. A little larger than A5.

I liked the effect of the wire rubbings and the ‘noise’ around the outline I think this has lots of potential on both paper and fabric using a variety of objects as inspiration.

IMG_86365.1.6 Acrylic paint mono printing using an A4 mono printing plate made of a laminated sheet with my own handout freezer paper stencil

I did a whole lot of these mono prints but selected these four as part of the blog. Each print is different and working with two colours on the printing plate was different for me.  The effect is to creates interest.  This would go well on fabric too.

IMG_86385.1.7 I painted black gesso on the Bockingford 150gsm paper and back drew a frangipani using white wax pastel drawn behind a frangipani photo and a biro to do the outline and shading.  Smaller than A4.

I liked the texture of the wax pastel on the chalky black gesso and the white on black effect.

IMG_86415.1.8 I used some more of the paper I had painted with black gesso and back drew the outline roughly of the hibiscus flower using coloured wax pastel I then drew in the wax pastel and smudged with my finger. Smaller than A4.

These ‘pop’ on the black gesso background.  I have never used wax pastel before so thought this was a good way to commence my discovery of this media.  I liked the oily type surface created by the pastel and the boldness of the lines.

There is so much scope for developing a wealth of drawings but I am mindful that I have to hurry along on the other parts of Part 5.  In the future I would like to explore ink and wash, pastel and pen, charcoal, watercolour, a large variety of paper surfaces and scratching back into gesso.

Assign5 Project 1 Developing Visual Research – Introduction

I contacted my Tutor as suggested in the outline to Project 1 Part 5 and indicated that I have decided to go with Option 1 Strengthening a theme with my selected theme in Part 1 Introductory Assignment being the Tropical Tourist.

I indicated that I planned to tackle the Project by first looking at my Model of Reflection A Structured Approach to Reflective Thinking from Assignment Four and reviewing all my work for Assignment One and my written feedback and the Tutor’s Feedback.  I also indicated that I would review my other written reflection and Tutor Feedback to date.  In addition, I would reflect further on my still life composition with a view to researching, progressing, integrating and strengthening it with the aim of providing more material for drawings and mark making and also that I can introduce colour.  I will then create eight to ten new drawings using a variety of media including fabric.

My tutor was happy with my proposal and “looks forward to the results”.

So to date as written in recent blog posts My Review of Formative Feedback I have reviewed all my Tutor feedback particularly in light of areas that need more reflection or work.

In addition, I have examined my Still Life Tropical Tourist from the Introductory Assignment Assignment One 1.1 Selection and Identifying.  I think the original Still Life is arranged in a very static manner and I am unhappy with the plaster pineapple too.  I was so taken with the work of Hannah Streefkerk Textile Artist which I wrote about in my blog/learning log two days ago and her land or nature textiles that I decided to take my still life out to sit amongst real tropical plants and also to use a real pineapple with all its texture. I wanted to achieve a more interesting and dynamic arrangement.

So this is my new Still Life.

IMG_8499I like the living palms and the passionfruit vines surrounding the real pineapple from North Queensland and the hibiscus, bougainvillaea and frangipani flowers – this to me depicts a tropical island more than my previous still life.  I like the variety of textures, shapes, structures and lines also in the composition and the colours.  I will now proceed to capture this scene with new drawings and mark making.

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