Last Thursday, 13th July 2017, I went to the last day of this year’s Great Yorkshire Show with my sister and my mum. Last year I went on my own, which you can read about here, and the year before that my sister came with me, read about that here. This year was the first time that I’ve been with my mum. I’m glad she could come this year, it’s grown a bit since she last came when she was still at school. It’s even changed since my sister last came 2 years ago as the new building with the food hall and other stalls has been built since then. And the flowers have their own building now too.
“The Great Yorkshire Show is England’s largest agricultural show. It’s held in Harrogate at the specially dedicated Great Yorkshire Showground. The first show was in 1837 and it’s been on every year since then on Tuesday, Wednesday and Thursday at the beginning of July (usually the second week).
In 2012 it unfortunately had to be cancelled after one day due to weather conditions that made the car parks too muddy and unsafe to use.”
I’ve been going for quite a few years now, usually on the Thursday due to work plus I like going on the last day so you can get the food and flower bargains at the end of the day. There’s also quite a lot of free food samples to try, especially cheese, which are always welcome.
I usually enter via the green entrance as that’s the easiest one to get to in relation to which field I get parked in. It’s the one closest to the horses so we could look at them as we made our way to the cows for my sister. I’d bought our tickets from Morrisons a couple of weeks before so we didn’t have to queue to get in, not that there was much of one anyway, and it meant they were a bit cheaper too.
My sister loves cows, especially short horns, so as we made our way to the Gundog show we went to see the cows.
The traffic hadn’t been as bad as we thought it might have been so we got there with plenty of time before the Gundog show at 10:30am. So once we’d looked at all the cows, and baby cows, we went in some of the arts and crafts tents and then went to see the sheep.
It was then time for the Gundog show, where we could compare the trained Cocker Spaniels to our Sprockers, Jeffrey and Winter, and Springers, Spring and Summer.
Next was the Chris Slater artist demonstration so I left my mum and sister, they went to the food hall, and went over to where the demo would be taking place.
Chris Slater is a plein air, which means he works outside directly from the subject in the open air, landscape painter and for his demo he painted the scene outside the gallery building and demo tent in oil paint. I took some pics of the progress he made so you can see how it developed over the hour.
It was a difficult scene so it was interesting to see how he tackled it. Once he’d finished I had a look round in the gallery and spoke to Lucy Fiona Morrison about her demonstration which was coming up next. I was really pleased that I was getting to see her demo this year as in previous years she’d done hers on the Tuesday or Wednesday so I’d not been able to see them. It was nice to have a catch up to see how she was doing too, her studio is in Wakefield Westgate so I sometimes see her and her work on the Wakefield Artwalk.
There was still half an hour or so until her demo so I went over to look at the chickens and forge then came back.
Lucy Fiona Morrison is also a landscape painter who works in oils but she prefers to work from photographs and reference sketches. She showed how she starts to apply the final layer of oil paint to one of her large landscape paintings of Holmfirth.
It wasn’t finished by the time her demo ended but I really liked seeing how she worked, it also reminded me of why I don’t have the patience for oil paints. They take far too long to dry for my way of working.
Once she’d finished I messaged my mum and sister to find out where they were so I could meet up with them again and we could all go to see the end of the Grand Cattle Display and the Atkinson Action Horses in the main show ring. They were really good, hopefully they’ll be back again next year and will get more time to show what they can do. The 30 mins they were scheduled to have didn’t seem that long, especially as they were late getting started.
It was getting towards closing by this time so we had another look round the stalls, popped into the Asda and Tesco stands to try out the samples they had on offer, cheeses, bread, strawberries and cream, icecream and porkpie. I saw a bike/trike that I liked the look of for obvious reasons.
Then we had one final visit to the food hall for the last of the bargains and free samples, mum got some flowers from there and then we made our way back to the car and home. Tired and a bit sun burnt, but we all said that we’d enjoyed our day out and I’m looking forward to going again next year.
Have you ever been to the Great Yorkshire Show? What do you think to it? Do you have a favourite bit? I’d love to hear about it, please leave me a comment about it below.
Holmfirth Artweek is one of the UK’s largest open art exhibitions and is a fundraising event for Macmillan Cancer Support, 20% of all sales goes towards the charity.
This year is my 3rd year taking part, you can read about my first year here and second year here.
This year the two 3D acrylic paintings I’ve chosen to submit are my ‘Medium Daffodil’ and ‘Tulips’.
Additionally this year I’m going to have some things in the marketplace too, my 3D print greetings cards and some framed versions.
Taking in day was last Sunday, 25th June, so I needed to get everything ready by labelling it up with all the necessary information that they needed. They provide guidelines that let you know exactly what they want to help make this easy to do.
The main event takes place at Holmfirth Civic Hall, the market is on the second floor and the demonstrations are on the stage in the main room on the first floor. This is where I will be on Thursday and Friday showing how I make my 3D acrylic paintings, I’ll also have more of my work with me for sale plus kits so you can try my 3D technique for yourself.
This year as well as having a new online application process there is also a catalogue featuring infomation about all the artists and work in the exhibition, I’m on page 60, there is also information about the fringe events taking place in Holmfirth during artweek too.
DATES FOR ARTWEEK 2017
Sun 2nd July: 10.00am – 5.00pm
Mon 3rd – Fri 7th July: 10.00am – 9.00pm
Sat 8th July: 10.00am – 5.00pm*
* The market closes at 16.00 on Saturday 8th
Where is it?
The main exhibition takes place at Holmfirth Civic Hall, with additional Fringe venues dotted around the Holmfirth Area. There is plenty of parking in the Co-op car park directly across the road from the hall.
On Thursday, 8th June 2017, I managed to get a cancellation booking to do a screen printing workshop with Laura Slater at The Art House in Wakefield. A few days beforehand, I got the cancellation booking on the Monday morning, I received an email explaining that I needed to have my image ready to print. This meant having the master image and then separating it into the different colour layers that were to be printed.
At first I was going to do my screen print of my cute cartoon cat characters so then I could experiment with different colour combinations, but while I was sketching them out my little doggy Jeffrey kept looking at me as if to say “why are you doing cats when you could be doing a picture of me?” So I did a few sketches of him then painted my final master design and made the separate colour layers ready for Thursday morning.
The first thing we did on the Thursday morning was prepare our screens by applying a light-sensitive emulsion to the surface then leaving it to dry. While it was drying we photocopied each separate layer of our design onto acetate, doubling each layer up to make them even more opaque to stop the light getting through.
Once the emulsion was dry and the acetates ready we could then use the exposing machine to transfer the designs onto the screens. We did this by putting the acetate, with the design the correct way round, on the glass top of the machine. The screen was then placed emulsion side down on top of the acetate and the rubber lid lowered over them.
Next the vacuum was turned on so the rubber lid formed a tight seal over the screens, stopping any movement that could happen during exposure, then the shutters on the exposure unit were opened so the light could get to the coated screens. These were left open on a preset timer so that they were exposed to the light for the correct amount of time.
After the screens had been exposed we then needed to wash away the areas that had been shielded from the light by the design. This is how the photo process works, the light- sensitive emulsion gets baked onto the screen when it’s exposed to the light. Any areas that weren’t exposed to the light due to the design blocking it out doesn’t get baked. These areas can then be washed off to let the ink through when printing. That’s why it works better to do your design in black to make it as opaque as possible to stop the light getting through.
While the screens were drying, after having the unbaked emulsion washed off, the next job was to mix the inks ready for printing with. I needed a background colour, obviously I went for purple which I made light to contrast with the darkness of the black and grey, then I needed a black and a grey for the body. In my original design I had a black body with grey highlights for the ears and nose. Sadly I had to change this slightly and swap them round as the grey wouldn’t have shown up printed on top of the black, but apart from the eyes I don’t think that it negatively affected it too much.
Once the screens were dry and the ink mixed then we were ready to start printing. As the layers needed to print on top of each other I started by printing my background. I was doing edition printing, this meant that I’d been printing the same thing over and over again so I’d have a set of prints that were all the same. The joy of hand printing means that each one would still be slightly different though.
After the background was printed they were left to dry and I cleaned the ink off the screen. I could then set up ready for the next layer of printing. This meant securing the screen in the hinges that held it in place on the printing board, then lining up the background image to the screen so that it would print in the right place. Using masking tape on the corners of the paper to help register the next one in the same place.
You may remember from the blog post that I wrote a few months ago about my older work, read it here, that when I was studying A level printmaking I always felt that my registration let me down. So it was nice when Laura told me that it’s those things that make hand printing different to being perfectly printed by a machine. The so called mistakes or errors make each one unique even when it’s part of an edition. This made me feel a lot better and more positive towards that older work.
For the last layer of printing I again had to line up the paper with the new screen, using masking tape to help register the rest to the same spot. Also using the acetate print outs to help with this step too. Then it was time to leave them to dry and wash up the screens etc.
I really enjoyed the workshop, it was nice to go back to screen printing after the 15 or so years since I did it at college.
Yesterday evening it was the Wakefield Artwalk again.
“Every other month, venues across Wakefield come alive with a variety of visual arts and crafts, live music, and performances”
As I missed the one in March, because I went to Amsterdam which you can read about in the blog post I wrote about it , I was looking forward to seeing what people were up to this time. I wasn’t disappointed, there was plenty to see and I had lots of inspiring chats with all the lovely people I met on the way. Even though I was trying to get round to see as much as I could at the same time too.
I started at the Chantry Chapel where I saw the colourful abstract work of Terence Fletcher and had a little chat with Brian Holding, I’d had my own exhibition there in last year’s May Artwalk which you can read about in my blog post here. I then went over to The Hepworth. I don’t normally go to The Hepworth as part of the Artwalk because I can go there at other times and most of the other things on the artwalk are only open for the Artwalk so I go to see them while I can instead. But this time there was a curator talk on at 6pm, plus since I was last there, which you can read about here, they’ve got new Barbara Hepworth and Henry Moore exhibitions on so I wanted to go see them too. And since it’s only over the road from the Chantry Chapel it was easy enough for me to go to.
The curator talk about the Gyorgy Gorgon work was really interesting and I really enjoyed going round The Hepworth when there was hardly anyone else there. Even though I’ve visited the Disobedient Bodies exhibition before, read about that here, I enjoyed it even more when there was no one else there. I kept seeing things that I didn’t remember seeing before, which could have just been my poor memory or that there weren’t people getting in the way this time. Either way I enjoyed it, so even if you’ve already been to see the exhibition I can recommend going to see it a second time, but you only have until the 18th June (Father’s day) to go to see it, so not long left.
Next I went into town to Wakefield Cathedral to see the Jacqui Parkinson: Good Grief! series of antique handkerchiefs stitched by the artist as an outpouring of grief exhibition. While I was there I was treated to a spinning wheel demonstration by the lovely Tracey too.
From there I walked round the corner following the signs to The Cathedral Centre to see the ‘Home’ exhibition of traditional and digital drawings by local artist Cameron Hopkins.
Next stop was Jordans Solicitors on King Street to see the Evinced works by Lora Caselli.
After that I went up to SNAP Arts (near the college) to see Louise Barrett: Wastelands solo exhibition of new works.
I wanted to see the Ella Holland Wall Mural again, it’s outside the Wakefield One building. She did it in October last year as part of her residency at The Art House, so on previous Artwalks it’s been dark when I’ve seen it. It was nice to see it in the daylight, even if someone has added their own contribution to it now too. You can see some pics of it in different lighting in the blog post I wrote about the January Artwalk.
I decided that I’d go down (the hill) to the Neon Workshops next to see the new neon and mixed media work by Richard William Wheater, then come back up to do the rest as I didn’t want to miss it by running out of time.
I then went to the Theatre Royal Wakefield and was really impressed with the Melanie England ‘Sparkle Thief’ Memories installation of upcycled hand made wreaths, giving new life to day to day items from the past. My favourite three were the ones with liquorice allsorts, painted toy soldiers and cotton reels.
Lastly I went to Unity Works to see Ronald Jackson’s ‘The Art of Rugby League’ exhibition, plus the paintings on slate of Jill Green and some of Lucy Fiona Morrison’s epic landscape paintings.
Then before I knew it it was after 9pm and I was too late to get to anywhere else but I left Wakefield in a great mood, feeling really positive after talking to people and looking forward to telling you all about it so you can go to the next one on the last Wednesday of July (the 26th).
A couple of years ago, when I was in the Artworld 2 Gallery in Wakefield, I got a commission to make 2 small 3D acrylic paintings of doggies called Douglas and Oxo. The lady who commissioned them chose the background colours she wanted plus as an extra request she wanted the names painted on the canvas too.
I took these pictures as I was making them to show the process of how they were progressing. I started by drawing each one on cardboard, working from the photos she had sent to my phone. I then cut out the cardboard and sculpted it into layers to make the drawings 3D. Next I put modroc on to add texture and provide a solid base so then I could paint them with acrylic paints.
When she came to collect them from me at the gallery she was delighted with them. If you would like me to make a 3D acrylic painting of your dog or anything else then email email@example.com
Drawing stage of the Oxo dog portrait
Drawing stage of the Douglas dog portrait
Cardboard sculpting stage of the Oxo dog portrait
Cardboard sculpting stage of the Douglas dog portrait
Modroc on the Oxo dog portrait
Modroc on the Douglas dog portrait
Starting to paint the base colour on the Oxo dog portrait
Starting to paint the base colour on the Douglas dog portrait
More details painted on the Oxo dog portrait
More details painted on the Douglas dog portrait
Background painted on the Oxo doggy portrait
Background painted on the Douglas doggy portrait
Finally the name painted on the Oxo dog portrait
Finally the name painted on the Douglas dog portrait
I studied at Selby College from September 2000 to June 2003. The first 2 years there were spent studying for a BTEC National Diploma in Graphic Design with an A-Level in Fine Art Printmaking alongside it. Over the 2 years I much preferred the fine art printmaking to the graphic design so once I’d completed them and was looking at what to study at University I decided that I’d stay on at Selby College an extra year to do the Foundation Studies in Art and Design to help me figured it out.
What follows is a selection of some of the work made at that time, along with some of the original briefs that we were given to make the work, difficulties I encountered, how I felt about the work then and how I feel about it now.
Hopefully you’ll find it interesting to see the art training I had and see the progression of then to where I am now.
If you’d like to enquire about the availability of any of the work email firstname.lastname@example.org
Continuous line drawing of still life shelf objects
Negative space drawing of still life objects on a shelf, part 2
Negative space drawing of still life objects on a shelf, part 1
Charcoal still life drawing of vase of flowers/plants
Ink drawing with acrylic painting coloured shapes
As part of the BTEC course we did a unit on drawing development where we worked on our observation skills and tried various techniques of drawing. The above five show some examples of the things we did.
The first one is a continuous line drawing in pencil of a shelf with still life objects on it. Drawing with a continuous line meant that I couldn’t take the pencil off the paper so I had to think about the picture as a whole from the start. Planning the route I needed to take across the page so all the lines flowed, sometimes going over lines so as not to create unwanted ones while making the ones that I did. I wasn’t impressed with what I created at the time and I’m still not. I do however like it as an example of the technique that helped me to think about and be more decisive with my line making.
When I make my 3D Acrylic paintings now I need to think of them as a whole right from the start. Planning how it will be made up of lines and shapes in cardboard, modroc and acrylic paint that will work together to become the finished piece.
The next two drawings are negative space drawings in charcoal which have then been worked on with pencil. Negative space is the space in between the objects so rather than drawing the objects themselves you’re focusing on the space around the objects. Again I wasn’t really pleased with what I produced in either of these as a final artwork, and I’m still not, but as with the first drawing I appreciate what making them did for my drawing development and so I like them as a reminder of that.
This third drawing is in charcoal and is of a vase of flowers/plants/leaves on A1 sized paper. I can’t remember as much about this piece as the previous three but there was something about it that I liked when I was flicking through my old portfolio folder so I thought I’d include it. I think it may have been one of the first pieces I did at Selby College as it looks very similar to my work from high school.
This last drawing was made by first using acrylic paint to create the coloured shapes, then using ink directly from the pipette to create the links on top. Even though the colours are a bit washy and the ink has made pools in areas I still like this piece. It has a simplicity and clarity of line that I think works.
These next two acrylic paintings were made after we had been looking at Futurism, an artistic and social movement that emphasised speed, technology, youth, violence, and objects such as the car, the aeroplane, and the industrial city in the early twentieth century.
Primary colour Futurism inspired acrylic painting
Futurism inspired acrylic painting
I prefer the simplicity of the first one, the primary colours seem to work better plus I think I over complicated things in the second too trying to use too many different colours, tones and textures within them.
This next set of work is also part of the drawing development unit from the BTEC course.
Pencil line drawing of Breakfast Scene
Textured paper collage version of Breakfast Scene
Complimentary colour version of Breakfast Scene in acrylic paint
Primary and secondary colour version of Breakfast Scene in acrylic Paint
We were instructed to construct a still life of a breakfast scene and make a line drawing of it. We then had to make a collage version of it using paper with different textures (tissue and sand paper were used quite heavily in mine) the next version is an acrylic painting in the complimentary colours. Complimentary colours are colours that are opposite each other on the colour wheel.The last version is an acrylic painting using primary and secondary colours (red, yellow, blue are primary colours and orange, green and purple are secondary colours).
There were other versions of this breakfast scene made at the time, a tonal one and other colours, but these are the four that at the time I felt worked best. Looking at them again now I still like them all and I especially like how the textured paper college works with colour and texture, and how the line drawing has a simpleness that is pleasing to the eye while also featuring some more detailed areas.
Another project that we did as part of drawing development was working with a famous piece of artwork. First we made an acrylic painting copy of it, then a complimentary colours version and a tonal greys version in acrylic paint too. I was given Basket with Oranges by Henry Matisse to work with and I was pleased with the copy and tonal greys version but the complimentary colours version didn’t work quite as well as I didn’t get the colour tones quite right.
Copy and complimentary colour version in acrylic paint of Basket with Oranges by Henry Matisse
Tonal grey version in acrylic paint of Basket with oranges by Henry Matisse
The tonal greys version is currently on my living room wall in a frame and the copy and complimentary colour versions are mounted together in my college portfolio case.
We had another project that involved creating copies of another artist’s work. This time it was part of the Fine Art Printmaking A-Level course and the painting that I was working with was Fabulous Beast II, Horse by Franz Marc.
It was one of the first projects that we did on this course to get us used to the screen printing process. We started by using indian ink with a pen and nib to draw the design on to acetate. We then needed to transfer this to the screen to be used to do the printing by coating the screen with light-sensitive emulsion. Once the emulsion was dry the screen and acetate design were placed onto a vacuum sealed light box and exposed for about 30 seconds then washed in the pressure washer. Once the screen was dry it could then be used for printing.
In the first black and white version I’d not applied enough ink and pressure so the resulting print is lighter than it should be. The second one is much darker. Once we had the black and white version we then needed to work on the backgrounds. We didn’t do printed backgrounds this time, that was something we explored in later projects. So these background were either painted with acrylic paints or were collages using different types of papers. The colour choices were left up to me so, that’s why there are a lot of purples used.
I think that as a first attempt at screen printing they aren’t bad, just a few issues with the black ink printing and how that works on top of the coloured backgrounds. I do like the background colours used though (obviously)
Black/white screen print version of Fabulous Beast II, Horse painting by Franz Marc
Darker version of Black/white screen print version of Fabulous Beast II, Horse painting by Franz Marc
Black/white screen print on painted background version of Fabulous Beast II, Horse painting by Franz Marc
Black/white screen print on painted background version of Fabulous Beast II, Horse painting by Franz Marc
Black/white screen print on painted background version of Fabulous Beast II, Horse painting by Franz Marc
Black/white screen print on painted background (top) and coloured paper collage background (bottom) version of Fabulous Beast II, Horse painting by Franz Marc
The last two, with the yellows and oranges in the background and paper collage background, are mounted together and are in my college portfolio case.
Not quite enough ink used or hard enough pressure used to print this one but you can see the tones and details more clearly than in the one where too much ink and pressure has been used making it look muddy.
The purple tones painted on the background needed to be more carefully thought about so that the detail from the black ink printed on top would show through more clearly.
The acrylic paint blue and purple tones work better in this one as the detail from the black ink printed on top are coming through more clearly.
The introduction of complimentary yellows and oranges in the acrylic paint background isn’t as successful as the previous blues and purple version although the lighter tones used has made the blank ink printed on top more effective at showing the details in the print. As a whole it seems a bit disjointed however.
The use of complimentary colours in this painted acrylic paint background is more successful than the previous version, the colours seem to work better together in harmony. Also leaving some of the white paper has helped the details of the printed black ink show through.
The different textures of the paper collage background have made the black ink printed on top react in interesting ways, although it is muddy in some areas I think this one is the most interesting of the set to look at.
Aswell as screen prints we also looked at lino printing. Working directly on the piece of lino with tools to carve out the design then printing from that. We then screen printed a colour background on top. My design was my Missy cat and Rascal (who are sadly no longer with us) on my purple bedroom carpet. Both of the cats are black and white so that lended itself nicely to the black and white lino print. However I struggled to use the tools to make different marks when I was carving out the lino, so I think the cats get lost somewhat in the texture of the carpet. Even the introduction of the light purple screen print background wasn’t as successful as it should have been as I didn’t manage to get it all in. There are bits that are still white that should have been printed over.
Black and white lino print of Rascal and Missy cat
Black and white lino print of Rascal and Missy cat with a light purple screen printed background
These next ink drawings were made as more drawing development. The title was Metamorphasis and we had to transform one drawing to another in six stages. The first stage was a colour ink drawing based on a photograph we’d taken ourselves. Stage six was based on a black and white image that had been created by another artist. So not only were we having to go from one image to another, we were also having to go from a colour image taken from a photograph to a black and white illustration made by someone else. Sadly this proved to be a bit too difficult for me, as a series of images they don’t really work as a transformation from one image to another. The middle stages let it down, I do like the first and last ones though, I just needed to practise the metamorphasis process a bit more.
Metamorphasis ink drawing stage one
Metamorphasis ink drawing stage two
Metamorphasis ink drawing stage three
Metamorphasis ink drawing stage four
Metamorphasis ink drawing stage five
Metamorphasis ink drawing stage six
I found some of the original paperwork from the foundation course ( I am a bit of a hoarder) these first 2 pages are the first things we were given to introduce us to the course.
These next four pages are what we were given to do over the summer holiday before the course started in the September.
As you can see we were given plenty to keep us busy. Here are just a handful of some of the images I produced in reaction to the second phase of the first section.
Pointillism style drawing, using dots to make up the image, in black marker pen of farm machinery near to my parent’s house.
Pointillism acrylic painting, using coloured dots/dabs of paint to make up the image, of the old overgrown garages near to my parent’s house.
Collage made up from magazines of some farm machinery (a plough?) near to my parent’s house.
Acrylic painting of the railway bridge going over the beck where we take the dogs for a walk near my parent’s house.
Acrylic painting of the view from my parent’s back garden, looking at the fence and tree to the shed and greenhouse next door.
Charcoal and chalk drawing of a corner of my parent’s garden, featuring an upturned wheelbarrow, bags of sand, brick wall and wire frame possibly from a rabit hutch door.
Poster paint abstract of a road sign and overgrown grass verge. The poster paint was applied straight from the bottle and left to mix together in pools on the paper.
A marker pen drawing using crosshatching of a relief design idea.
Out of the two of these pointillism style pieces I prefer the colour painting, I like how the colours work with the technique, even though it wasn’t successful in getting realistic colours it still has a charm about it that I like. I do still like how the black/white version shows the use of the technique though, just dotting black marker pens to create the shapes, tones and details.
When I’ve been looking back through this work I have found that I seem to have a soft spot for the pieces that use collage. There’s just something pleasing about recycling one thing and turning it into something else, especially when it uses and creates different textures too. Something which I continue to do with my 3D Acrylic Paintings that start off life as cardboard boxes. I do remember that it took a while to find all the colours and tones I needed out of magazine pages to be able to make this one but I’m still pleased with how it looks now.
These next two acrylic paintings were made using different brush stroke marks to try to create different textures. The first one of the bridge and overgrowth was painted to look quite loose and abstract, not much detail just enough to hint and suggest at what is in the picture. The second one of the view from my parent’s garden was more impressionistic, less abstract so you can make out the objects more clearly but still not so concerned with realistic details. Even though part of me now would have liked more details in them I still like the use of colour and light created.
I’d always struggled when I’d used charcoal before, smudging it and not getting enough definition between the tones, so I was pleased with this one that I did. I tried not to use the white chalk too much and just let the whiteness of the paper show through but I think I used it effectively on the wire. I was having some issues with proportion unfortunately though.
At the time I didn’t think much to this painting, it took ages to dry and couldn’t really be moved as that made the paint move about on the paper too, but actually now it’s one of my favourites. So much so that it’s in a frame and up on the wall in my living room.
These three tractor pictures are some more of my favourites that I’m proud of, the acrylic painting one especially. They were all made from photographs I’d taken at the pig farm near my old primary school and are on A1 sized cartridge paper.
Acrylic painting of a tractor
Oil pastel drawing of a tractor
Complimentary colour version of the oil pastel drawing of a tractor, also an oil pastel drawing
This first one was a combination of two photos, one of the tractor at the pig farm and another of a fence post and barbed wire from a sheep field nearby, to give the foreground a bit more interest.
Oil pastels can be effective but I don’t think that they lent themselves to creating the kinds of details that these drawings required, and that the acrylic paint had allowed me to get in the previous tractor picture.
Complimentary colour version of the oil pastel drawing of a tractor, also an oil pastel drawing
The complimentary colour version sadly doesn’t work as successfully as the first two original versions. The tones are too dark and muddied. I am still proud of all three of them though and have them framed up on my living room wall.
The same set of photos of the pig farm that I used for the tractor pictures were again used, first to make a chalk pastel drawing, then to make a screen print version.
Chalk pastel drawing of pig farm
Black/white screen print version of pig farm drawing
Better printed black/white version of the pig farm drawing
Colour screen print version of pig farm drawing
Better printed colour screen print version of pig farm drawing
Mounted colour screen print version of pig farm drawing
The original chalk pastel drawing is another one that I’m proud of and have framed up on my living room wall. Even though chalk pastel is by nature quite smudgy and blurry I’m still pleased with the amount of detail I was able to achieve with it.
I’ve sold a framed colour version and an unframed copy of each (black/white and colour version) of these when I had my shop in Castleford.
This next project was one of the first ones when we started the course, we were required to experiment with the different marks that can be made with each media (paint, charcoal, pastels, inks etc) and make bound books of what we made.
Here are two of the front covers that I made for my books. The black/white version was created by photocopying the colour version that I’d made.
This page of my marks and media book was made by dripping black and white ink onto mesh.
This is a collage of black mountboard card, white plastic bag, tissue, dripped black and white wax and purple staples.
This page is acrylic paint manipulated with a piece of card.
This is the brief we were given..
These are a few of the pages from inside
This final page was made with ink and acrylic paints and was selected to be used for the next project. In that project we were required to make an enlarged version of the selected page, approx A4 size enlarged to approx A1, this was then made into a black/white screen print which then had several different coloured backgrounds made for it to be printed on.
Enlarged version of the marks and media page
Black/white screen print version of the enlarged painting
Better printed version
Cool colour painted background
Different cool colour painted background
Green/blue painted background
Gree/yellow painted background
Warm colour painted background
Green and pink tissue paper collage background
Purple and pastel colour tissuepaper collage background
Here is the brief we were given to work from.
The top part of this brief relates to the chair project which I’ll talk more about later in this blog post, the second part relates to the next series of screenprints.
If you look carefully you can see the lines showing where the glass broke on the light box when the image was being exposed before printing.
I found the marks and media project to be enjoyable and useful, even the process of making them into books was satisfying, and it meant that I had a resource to look back on when I needed it. Even though it was less about the outcome and more about the experience as a learning tool for future work I do still like some of the pages, so much so that I’ve framed them and put them up on my living room wall (there is a lot of my work on my living room wall and elsewhere in my house).
I think that the outcomes of the enlargement/transcription project was less successful. At least in terms of fulfilling the brief. The things that made the page work when it was small were lost when it was enlarged, and further so when it was made into a print. But they do each have their own qualities that work instead so I still like them.
The next was concerned with still life, we chose to make our still life out of skulls/ bones as the college had a box of them and we liked how the various shapes worked together when set up on the shelf. Once we’d set up our still life we made chalk pastel drawings of them, these were then used to make a black/white screenprint version with different coloured backgrounds for it to be printed on top.
I’m pleased to say that this first chalk pastel drawing has now been sold.
This chalk pastel drawing was used as the basis for the next set of screen prints.
Black/white screen print of the still life bones on a shelf
Odd colour choice for the background of this one, I think it’smade using chalk pastels as the original drawing was.
There’s too many colours used in this background, I don’t know if I was trying to change the mood by using such bright colours but it just looks odd now.
The colours used for this background seems to work better than the first two. I think it’s because there’s not so many different ones used.
Primary colour screen printed background
This screen printed background using secondary colours is my favourite one of this set of screen prints. So much so that it’s framed and up on my living room wall.
Here’s the brief we were given for it.
This next project was quite a time intensive one, there were lots of parts to it which crossed a variety of disciplines and skills including photography, drawing, sculpture and screenprinting.
Here is the brief we were given for it:
These are some pages from my workbook:
First a photograph of the 2 chairs chosen.
This shows some of my brainstorming/analysis about the two chairs, what makes them chairs, how they are different from each other etc.
This shows some sketches of possible ways to construct my chair sculpture/s
Photographs stuck in my workbook showing some early experiments at putting the chair sculpture together, plus some notes made by me about them.
Photographs stuck in my workbook of some of the chair sculptures made by me and others in my class.
We were all told that we’d not been very successful with our sculptures. We’d been too literal and hadn’t understood how to just use the concept of chair to make our sculptures and not a functunal chair. I’ll be honest I didn’t really understand that then and I still don’t, but I do still like some of the outcomes even if they weren’t considered to be successful in relation to the brief.
This is the brief for the next part of the project
The second part of this brief relates to the marks and media project I told you about earlier in this blog post.
This is the black master image screenprint. I like the hatching marks I’ve used and the use of reversing the black and white so the image becomes the negative space.
This background uses coloured tissue paper which has given it a nice texture but there are a few registration issues with it and I’m not sure about how well the colours work with it. A bit too garish I think.
This one has a painted background using acrylic paints in the 3 primary colours (red, blue, yellow) and 3 secondary colours (green, orange, purple). One colour but in different tones for each square, each colour used twice in the grid of 12 but spread out so no 2 have the same colour used next to each other. I like how the different tones of each colour work within the grid, sadly there were registration issues again though.
Cool colour acrylic paint background. I like how the light tones of the colours used make the black master image stand out, Only 3 colours used in different combinations, some slight registration problems but not as noticable as in the previous ones. The master image could have been printed better so that the ink wasn’t patchy in areas, particulary at the bottom.
This is my favourite as I think it works the best. it’s a 2 colour screenprinted background, yellow and pink the orange is created by printing yellow over pink. The tone of the colours is light enough for the master image to be seen clearly and because they are warm colours it gives it a happy feel which seems more appropriate for a poster encouraging people to come see the work.
This is the brief for the final part of the chair project.
I think that these work just as well as individual images on their own as they do as part of a set, even the 3 in the middle transition stage. I especially like the 2nd one, it’s a strong, bold image with nicely defined lines and mark making.
I think this is the most sucessful metamorphosis set out of the 3 that I’ve shown in this blog post.
This next set of work is from the final end of year project that we were required to write for ourselves. As I was a fan of the surrealists, Salvador Dali and Rene Magritte in particular, I decided to title my project Incongruity,
noun: incongruity; plural noun: incongruities
the state of being incongruous; incompatibility.
“the incongruity of his fleshy face and skinny body disturbed her”
“the incongruity of his fleshy face and skinny body disturbed her”
The bottom bit of this brief, Term 3, explains what we were having to think about when starting to come up with our final project.
The next series of screen prints focus on experimenting with the danger sign.
I liked the grid layout that we used in the chair project so I used that with this. The lightness of the tone used here makes it difficult to see, which ties in nicely with the incongruity theme I was going for.
This one again uses a light tone to tie in with the theme.
As does this. These 2 were printed over each other to make the next one.
Pink and yellow printed over each other. Bit of smudging with the pink one in the middle
Next I started experimenting with printing more colours over each other, again using light tones to keep it hard to make out clearly.
Playing with how they go together. I like how this one works with the light purple and light black interacting in different ways.
I don’t like this one quite as much as the previous one, I don’t think the interactions work as well together. There’s some interesting things going on though, especially in the bottom left square.
A master image printed for some experiments with the background, deliberately printed so it’s not solid black, giving it some texture which will continue when it’s printed on top of the backgrounds.
Purple printed background, the purple is too dark and isn’t quite registered right though.
Tissue paper background . I quite like how this works with the different colours/tones of tissue torn into natural free form shapes, it’s quite a simple idea but I think it’s effective. I like how the outlines of the tissue show up under the ink where it’s been printed on top.