FLORAL STYLISATION

Continuing on, I decided to utilise some of the skills I had acquired during my previous floral explorative studies; now was the time to incorporate colour, line and pattern.

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This study used a stylised approach to flowers you would see in a garden, specifically within my Mum and Dad’s garden. Poppies have been stylised, and the Forget-Me-Not’s and Viola within the rockery section of the garden have been described with Derwent INKENSE pencils and a Derwent Water Brush, with a particular use of the pencil and brush to create texture. Faber Castel PITT Artist Pens were also used to suggest the quality of grass/fronds/leaves. This was an enjoyable experience in mark-making, but more than that it gave me the confidence to use these new instruments, having never used them before.

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Having applied the principle of vibrant and exploratory mark-making with the INKTENSE pencils and FABER CASTELL pens, I decided to draw directly from life. I  picked up a reduced bunch of flowers from Aldi (only a few were still in the land of living, but considering I only paid 5p for them I couldn’t complain) and spent no more than 10minutes on this ‘sketch’. I was really bowled over by how fantastic and descriptive these instruments could be when used in conjunction with each other; a dynamic texture, colour and pattern has been created. A cohesive, fluid mark-making exercise turned out to be really successful.

Creating surface pattern/background with simple INKTENSE pencil shading and Derwent Water Brush. The image on the left is the original design, whilst the image on the right has been enhanced in my Mac ‘Photoshop’ via the Enhance tool. I absolutely love the colour and texture of the design and will experiment with applying some of my designs over the top of it; printing directly onto the surface and cutting out shapes and adhering them to the surface will allow me to explore the possibilities of the proposed final digital design.

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Playing around with stylisation and motifs; layering and mark-making. Additionally, I have incorporated a kineticism within these designs which draws the eye all over the page…allowing the viewer to choose favourite elements and interpret patterns, which would be incredibly useful when researching for a future client/s.

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Observational studies of one leaf at various different angles. The skill of observational drawing will be essential to me as a practitioner as it will differentiate me between the designers who cannot draw. Drawing is paramount to an artist!! It allows ideas to be conceptualised and carried through to a full and thought out design.

WHAT IS VISUAL HANDWRITING?

Hand-writing is your own personal style. It’s the bit that sets you are apart. That’s the mark-making you employ, or the medium you use. It can also be affected by the style/ genre you are working within.

It is vitally important to have your own Visual Handwriting, what are you without it?

What is Identity? The characteristics determining who or what a person or thing is.

Synonyms of Identity: INDIVIDUALITY, SELFHOOD, EGO, PERSONALITY, CHARACTER, ORIGINALITY, DISTINCTIVENESS,  DISTINCTION, SINGULARITY, UNIQUENESS

What is Identity important? Well, it differentiates between me and the next person. Imagine a world in which we all dress the same, look the same, come up the same ideas and create the same designs; not a world in which I want to belong in. But why is it so important to have my own unique visual handwriting? It defines who I am as an artist and is a direct result of how I interpret the world around me.

I decided to conduct a little experiment of my own today. If I copied the work, specifically floral designs of other artists, would the work look identical or would my visual handwriting create a new story?

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Is my identity the marks I make in my art? Is it how I interpret the subject matter through my own two eyes? I thoroughly enjoyed drawing this Tulip/Floral arrangement; it allowed me to expand my mark-making repertoire, which in turn will allow me to become a more experienced and creative artist.  Cabinet (Oak, veneered with marquetry of various woods, copper, pewter, tortoiseshell, horn and lapis lazuli), 1680 – Andre-Charles Boulle. 

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I was instantly drawn to this design; having spent nearly all of my childhood spring/summer in my garden,orchards or woodlands abroad, the imagery of apple blossom is synonymous with warmth and magical nature adventures with my Dad. Drawing this allowed me to pour some of my happiness into the drawing in the form of adding a little pink and purple, which strangely in the past I would not consider. Apple/Pirus malus en Peer/Pirus communist, 1905, Lithograph – Theo Nieuwenhuis

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I did not want to incorporate the colour from this design, but rather tried to encapsulate the essence of the corolla and large petal size (looking at the WGSN Trend forecast from BUSY BLOOMS). For me, the most important aspect of this exercise was learning which of my own preferred techniques could offer the most dress, unique and new take on a traditional process. For example, I would love to see how COLLAGE could transform this linear drawing into a fully rounded and highly textural design.

What medium would I use for the collage? Could I spend a day creating a varied amount of different exploratory mark-making studies? Could these studies serve as the medium I use to deconstruct and then reconstruct this design?

Spending time utilising the visual handwriting of others has been invaluable; not only have I a new found respect for the creative processes of others, but I have also improved upon my own way of working.

WORKSHOP: WIREWORK

Second workshop of the Spring Term: WIREWORK.

Having previously had a little experience with using wire before, I knew that I would enjoy this session immensely.

The tutor gave us varying lengths/thickness of wire and suggested taking inspiration from a design or pattern that we were currently working on; I thought it prudent to create a patterned shape inspired from a paper stencil to that of a wire structure.

 

Specifically shaped blocks (circles, squares, rectangles and parallelograms) were used as a template to mould the wire around, thus giving beautifully sculpted lines, avoiding kinks and unsightly bends.

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Once the desired shape had been obtained, Martin demonstrated how to use the Spot Welder. It was very easy to use and I thoroughly enjoyed the speed of welding/bonding the two ends together.

Martyn informed us to draw the size of specific components of our chosen design on a piece of paper, and use as a template to measure for additional shapes and patterns necessary to finalise the design. An important part of this process was making sure that the wire being used was made to be as flat as possible, which I made possible by eye co-ordination and a wire clamp; looking and pressure.

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To create the tighter curvature within the wire a 1″ (Diameter) metal pipe was used as a template to mould the wire around.

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When all the spot welding was complete, my job now was to remove the wire extrusions using the wire clipper/cutter. A metal file was finally used to remove any sharp protruding areas of the wire. The finished design replicated perfectly what I had undertaken within my paper stencil design.

I will endeavour to finish the design with a mixture of Silver and Copper Plasticoat. Thereupon, I wonder how this pattern/shape would be interpreted when used in conjunction with Cyanotype printing? Would the patterns created via different exposures create a new and expressive surface pattern? An e-mail to Mal bennett will ensue.