Tuesday, 13 March 2012
Monday, 12 March 2012
I tend to consider illustration as one of the essential purposes of drawing. Whether it is for children’s books or propaganda posters. Illustrations work on their own. The images might be re-enforced or clarified through text, but the drawings tend to be the centre of focus.
I have a strong passion for “storytellers without language” -illustrators who use little or no text, or whose work does its purpose before you have even started reading the text.
Both children’s book illustration and propaganda art have certain things in common. Such as a lack of realism with exaggerations and modifications from how we see things in real life. Illustration is not necessarily fine art created from references and life studies, it is often drawn from memory, to create ideas and associations rather than to illustrate an exact truth. Essentially, in the way Nigel Homes describes diagram making in Information Without Language.
Shaun Tan’s painting “They came by water” from his book The Rabbits is a prime example of how picture books and propaganda can have very much in common. The book is an allegorical fable on colonisation, though it is considered a children’s book, it might be more appropriate for adults. The absurd shapes, colours and the atmosphere makes a distinct allusion to propaganda posters portraying “the enemy”.
Thursday, 8 March 2012
Wednesday, 29 February 2012
here is one of the most straightforwardly persuasive draughtsmen I know, Daumier's anti-war blast 'The council of war' 1872. In fact, sorry to stay on the war theme, here is another equally forceful statement in a very different mode, the graphic description of Napoleon's losses during the Russian campaign of 1812, plotted against terrain, time, and temprature. The big fat arrow going right is the army marching east to Moscow, the dwindling arrow pointing left is the ghastly defeated and starving army trying to get back home in the winter. This is one of the first uses of graphic display, and showcased in Edward Tufte's book on Visual Communications. Evidently,Minard is one of Tufte's heroes, with reason. Look at Tufte's book if you want a glimpse at the poetry of railway timetabling!
Tuesday, 21 February 2012
It’s difficult to make a calibrated and semi-nuanced case in favor of a prominent artist who’s just died. Opinions at tend to fall emphatically either in the direction of praise (Twombly was one of the greatest American artists of the post-World-War-II era) or bah-humbug (Twombly was a late-to-the-game Abstract Expressionist who tarted up comparatively vacuous paintings with references advertising his erudition). For me, the two extremes are both true, but in a way that leaves my estimation of Twombly not in the middle, but way over on the positive side. Though his works seem to resemble doodling, involuntary drawing or a child
practising writing, he introduces painting in the style of ancient graffiti,
scribbled texts, drawings and simple hand exercises.
There’s still something faintly galling about Twombly’s words on canvas, and I probably don’t believe that he misspelled “Ilium” as “Iliam” in the Fifty Days at Iliam permanent gallery at the Philadelphia Museum of Art on purpose because he wanted an “a” to refer to Achilles. Do we really need the words? Do they really add anything, visually, to the work? Do they really evoke anything about their putative subject, beyond simple labeling?
Many people scratch their heads at abstract art and doubt the skills of abstract artists in general, not to mention when the art looks like scribbles. According to The New York Times’ ArtsBeats blog, “…even critics questioned constantly whether Twombly’s work deserved a place at the forefront of 20th-century abstraction, though he lived long enough to see it arrive there.”
Monday, 20 February 2012
As I stated in my first blog post it is the marks and the lack of marks that pull me into a drawing. I feel Morinerie's work encapsulates almost everything that I look for and try to create myself in drawings(at this time anyway).
Wednesday, 8 February 2012
- to visualise thought and work something out.
- to provide a pattern to follow or give instructions how to make something.
- to help clients visualise what is proposed.
- to describe or record something.
- to give pleasure as ends in themselves.
As I recognised the reasons why and what we used drawing for, I considered my own uses for drawing and why I use it in my work.
All jewellery design originates from an inspirational source, whether its a technique or material or visual information from drawing images or objects. By gathering information from a wide range of sources it can spark interest to investigate further. As jewellery is a three-dimensional medium, it is beneficial to study 3-D forms as to aid understanding how form can be expressed and how shapes and lines intersect with one another in relation to each other and within space.
By keeping a sketchbook as a sort of visual diary to record the things you find and particular aspects to be found interesting when working with a project in mind the research takes on a particular direction which may lead to several paths; some may be dead ends, but others can provide inspiration for years to come. Drawing is a vital design tool as it provides a means of exploring and recording ideas in a descriptive medium. A silversmith/jewellery designer may use several types of drawing as part of the design process from sketchbooks to exploratory drawing to detailed technical drawing and final presentation drawing. The method of illustration that is chosen will depend on the particular project and client, but clear communication is the key whatever the style .
My most successful drawing to date within the Silversmithing and Jewellery department at GSA is in the form of Maya, a 3 Dimensional animation software(See above centre). It was used with the help of my friend Saswat Satadaryshi, who is a current student of MDES in Animation at GSA. As my final design was proposed on a larger scale with specific lighting involved. This form of precise animation included all the relevant information, including the scale of the piece. Presentation drawings such as this are most useful when working to commission so that the client can see accurate representations of the piece before it is made. Successful design realization can give a silversmith/jeweller a powerful voice and means of expression. The transition from a two-dimensional drawings to three-dimensional objects can be a challenge, so making models of a piece is a key part of the process, in both technical and aesthetic aspects of designing.
Tuesday, 7 February 2012
44th Wire Piece, 1972
Wire and template for pencil line
47 x 22 x 11 1/4 in.
The Museum of Contemporary Art, Los Angeles
Gift of Lannan Foundation
other artists’ work: what is the manifesto in this drawing, what does the artist or designer aim to manifest in their work? Find and post at least one successful or controversial image and 100-300 words of reflection, analysis and context,
best wishes, Frances I chose this image by August Choisy from 1873, it is an axonometric rendering of a Roman vault from below. On the one hand it aims for strong information content and transparency, one could 'read off' the structure of this vault and reconstruct it from this drawing, because in this convention, every dimension is easy to calculate. Second, it presents a fairly strong triumphant announcement of skill by the artist, he shows he can observe and work out a complex structure and recreate it in detail even from a ruin, and he also announces his ability to re-present that complex information visually. Third, and in contrast to the notion of transparency, this image is very puzzling and atmospheric, it is a view that would not be available from any normal viewpoint, and it presents the building behaving abnormaly, rising up into space, hovering threateningly over the viewer like a thundercloud. I like the kick-ass quality of the drawing, the assertion of skill, and the threat. To me , this draughstman is saying, one little word and I could crush U with this old vault
Wednesday, 1 February 2012
Tuesday, 31 January 2012
Monday, 30 January 2012
My narative was about an elderly man who revisited govan with his grandson. On arival he was shocked with how much govan has changed from his childhood. The fast moving flow of workers to and from the ship yards has vanished and all wich was left is memory trapped in his mind.
From that narrative we were asked to create a collage which explores our narrative. The drawing i uploaded is a quick ink pen drawing on tracing paper. I though this was successfull as the traceing paper allowed me to work rather fast overlaying the different levels of the narrative.
The narrator Angus isremeniscing about the days when shipbuilding dominated Govan.
We are getting pulled into his memory, layer by layer, while his memory beginsto evolve around us. Before we know it we start to bepart of the large crowd which disperses into the ever ending memory.
and as we look closer at this memory we realise that we are now indeed looking back at angus (faded in the background, with all the layers of memories bewteen us(the memory) and angus...who now is reality)
Although this was only a quick sketch before actually creating the collage , I was able to explore diferent concepts such as movement layering and looking back.
Duing the whole project i kept looking back at this skecth in order not to distance myself too far from my initial concepts.
Sunday, 29 January 2012
Thursday, 26 January 2012
Tuesday, 24 January 2012
I am interested in how very rushed marks and a few considered lines can build up a clear image. For instance in the top right hand corner of the drawing I left clean lines to show the collar bone and beginnings of the shoulder as well as including more definite bold black lines to show the ribs, without these context might have been lost.
I believe there is a connection between my drawings and my jewellery, as I'm also interested in the textural quality of the metals and rarely create "busy" looking pieces.
I do not draw a lot. Yet I doodle constantly, I find it to be a good way to keep myself concentrating in lectures and a good way to brainstorm during projects. I consider the drawing and doodling completely different actions. While my “drawings” are tight and rigid things that I cannot find it in me to appreciate, my doodles are looser and can be more interesting; or so I find. I challenged myself last term with help from my tutor and Betty Edwards’ “Drawing on the Right Side of the Brain” to integrate the two things into one activity that I might enjoy, I’m still very much working on it. I barely use drawing in my own personal practice, and although this is not an issue most of the time, it does make me feel restricted when working with certain projects. (Which is why I chose Marking the Page as my elective. It is very much outside my comfort zone.)
I chose my drawing/doodle not because it is particularly successful as an image, but more because it shows how I can slip from lengthy doodling (on the right) to a quick observational doodle (on the left) in the style I do hope to improve and develop into something I might appreciate some day.
this image comes from a day in the studio where we used traditional life drawing techniques to draw through a slideshow of both uppercase and lowercase letters of the entire alphabet, in a range of different fonts.
i was absolutely convinced that this was going to be a horrible class, especially for me. i knew next to nothing about fonts or designing typefaces before i got to glasgow and i still feel like i'm lagging behind many of my classmates when it comes to this subject. i also feel a lot of pressure to know what i'm talking about when it comes to fonts and i wasn't the only one who got grilled by our tutor last year for using the wrong font!
however, once we'd got started, i was amazed at how much i enjoyed this exercise. the relaxed atmoshere loosened me up and i was increasingly reassured by the number of fonts i recognised, or had at least heard of, just from some basic research and general reading. (if anybody's interested a really good book about fonts is 'just my type: a book about fonts' by simon garfield)
this exercise, and the knowledge that i wasn't completely in the dark about fonts, made me a little more confident in the studio, especially when it comes to thinking about designing our own fonts, but also about drawing in general.
Studying Fashion Design my approach to drawing has changed progressively, definitely more so since doing A-Level Art and Design where my work had a more fine art approach to it. At that point I was drawing to create a beautiful composition and to show skill- now my drawing has become heavily to do with 'articulating my concept'. In a way, I would think, that my drawing now serves more of a purpose, it has become more functional now and is vital in my design process. The manner in which I draw always seems to have an outcome in mind, the lines I am placing on a page often represent something other than a line, they now become a shoulder, sleeve or pleat. There are still classical drawing elements within the course, and it is briefs that incorporate all of the 'aspects' of drawing that I enjoy the most. Drawing architecture, installations and organic forms in a photographic and clear quality have all been integral to various briefs, but the drawing that means the most to me now is the illustration and sketching I do to project my design across to the viewer.
Respectively for the drawing I feel has been the most successful, I picked the line up for my last capsule collection. Achieved through a combination of graphite, pencil and collage- this drawing reflects this feeling I was talking about earlier, that the lines are serving more of a function depicting the silhouette, shapes and draping within each design. Collage is something I have progressively started to merge into my drawing, I like the combination and often in terms of time its quicker to depict something I know could be drawn but is readily available to illustrate the same point. Also in terms of the muses face, I wouldn't want to spend time articulating her features, its what what she's wearing that is important to both me and the viewer I am presenting it too. The element of the drawing I love the most is the fur trims around the hoods of the two garments, rather the abstract and quickened pace in which they were drawn, but they seem to be the most successful aspect, to me anyway.
Tuesday, 17 January 2012
Week 2 24th January instead I'm asking for self-directed research and comments in a BLOG posting: This week’s question is about your own personal practice –what is drawing FOR? Which is your most successful drawing at moment –and why? Your assessment of what you are aiming for in your drawing and the features you think are successful will vary according to which studio discipline you follow. Please include some self-reflection about this aspect of your work as well, especially as the blog format allows you to compare, contrast and comment on other ideas and posts. Post at least one image and 100-300 words of reflection, analysis and context, please. with best wishes from Frances