Tutor Artist Recommendations from Part 3

David Hockney: iPad Drawings of Trees

Relating to Honing in and Colour

Looking at these pieces, I can see what my tutor means regarding the difference in colours used and how they are built up in layers, one colour on top of the other. I did try to achieve this in my third assignment piece, as I layered the colouring for the bushes in the foreground, but I do not think I did enough of this in the background colours. Looking at Fig. 6., I can see how a block of green colouring has been used for the bush in in the background and then several different hues built up on top to create the depth of the bush, similar to the colourings of the pathway. I tried to use this method in my final piece for Part 3 but clearly I have a long way to go in understanding the hues I should be using. I wonder whether my tutor’s comments regarding my use of colours is due to them being more natural and not contemporary enough? Perhaps I should be using more vivid and intense colourings within my pieces?

Hockney’s pieces appear somewhat cartoon-like to me, but yet these are considered successful? I am determined to get my head around understanding my tutor’s comments and what makes the cartoon-like pieces Hockney has produced better than the cartoon-like pieces I have created. I wonder is it somewhat part of his artistic licence to be able to get away with such things? A right I have to earn along my journey, perhaps? It fascinates me how some pieces are considered masterpieces when such things as their perspectives or scalings are off, so I would really like to look into understanding this more throughout my journey. I also want to learn to fully understand and get beyond the issues I have with colour.

With regard to the honing in aspect of Hockney’s work, I can only really see that he has honed in in Fig. 4. whereas the rest appear to be on a much vaster scale, taking in the whole surrounding area. In Fig. 3., I can see that Hockney has created a piece of the vast landscape, however, he has cleverly divided the page into six equal parts (perhaps as looking through a window?) which could then have allowed him to focus on each section individually and the detail within it. I think this would be very helpful for me in my work actually as, instead of looking at the ‘bigger picture’, I could then concentrate on each individual section (once the overall general shapes were in place to ensure continuity throughout).

Charlotte Verity

Sensitive and Subtle use of Media and Limited Palette

I have previously looked at Charlotte Verity’s work, the results of which can be found by clicking here.

I decided to look again at Verity’s work and try to understand further why my tutor recommends this artist’s work to better my own. Looking at these pieces as a broad overview, I can see that each has one or two colours at most for its background and to lay the subject in its space. I really like the fact Verity uses lines in several of her pieces as the main subject within the piece. The lines are delicate and fragile in appearance, yet seem to own the foreground and draw the viewer in. I think I definitely have to consider these pieces when creating my own and try to simply wash away the detail of the background. I can see from these that I need to really lighten up with my touch also. I think the reason I am so heavy-handed is due to the fact that doing so eases my tremor and allows me more control over the straightness of the line. When I ease up off of the pressure, the line becomes somewhat wiggly and, I feel, appears weak and less finished. Perhaps I should try and use this to my advantage? I worry for Part 4 that I will make everyone I draw appear wrinkly as opposed to having nice smooth outlines! I think I will also take from this that perhaps I can use some colour, but purely in blocks and used sparingly.

Henry Moore: Sheep Drawings

Relating to Linear and Expressive Tree Drawings

Again, I have looked at Henry Moore’s work before, the findings of which can be found by clicking here.

Looking again at these pieces, I can see how Moore has used the black markings to create the negative space of the backdrop in certain parts of the pieces to create the illusion of the foreground and positive space of the sheep’s heads or bodies. Where the pieces have shadows and are at their darkest, the line has been applied thicker and broader strokes. Where the areas are at their lightest, the lines are very light and almost non-existent in certain places. The lines used are sometimes straight, cross-hatched and wiggly. I think this is something I need to consider in my own work and to acknowledge that I do not need to apply line in every single part of the piece to create depth, as well as showing direction and movement.

With regard to Fig. 17., I can see that Moore has used two very muted colours to place the sheep in the field, with only a touch of shading to indicate the distances. I really like the muted colours used in this piece and think I will try creating a few pieces in a similar way. Whilst I do not want to use too many colours, I do really like the block colourings several of these artists tend to use and think it high time I had a go myself.

Anselm Kiefer

Simplifying Vast Spaces

Having looked at Kiefer’s work, I find it slightly confusing as to how the pieces are deemed simplified, besides Fig. 19, Fig. 20 and Fig. 23. The pieces with the trees I can see is simplified in the sense that the trees are merely lines, beginning rather thickly and with greater detail in the foreground and becoming less defined and thinner when moving backwards into the piece. In most of these pieces, I can again see only two or three colours, except in Fig. 23. In this piece, there are a few more colours, but the piece has been simplified somewhat by the blocking of the colours of the clouds and the foreground. I really like the depth created in the clouds caused by the layering. I think this is something I will have to try within my pieces. I do think I have a long way to go with my use of inks, but can’t get the seed out of my mind that such things as inks and watercolours are more for painting than drawing. Perhaps these things will develop more in units more so focussed on painting?

List of Illustrations

Fig. 1. Hockney, D (1997) The Road Across the Wolds [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 2. Hockney, D (2006) Woldgate Woods, 21, 23 & 29 November 2006 [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 3. Hockney, D (2006) A Closer Winter Tunnel, February – March, 2006 [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 4. Hockney, D (2008) The Big Hawthorne [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 5. Hockney, D (2011) The Arrival of Spring in Woldgate [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 6. Hockney, D (2011) The Arrival of Spring in Woldgate [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 7. Verity, C (2014) Spent Stems [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 8. Verity, C (2015) Winter Ending [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 9. Verity, C (2016 to 2017) My Nest [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 10. Verity, C (2017) A May Day, Sienna [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 11. Verity, C January Colour (2018) [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 12. Verity, C Seed Time (2018) [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 13. Moore, H (1974) Sheep Walking [lithograph on paper] At: https://www.tate.org.uk/art/artworks/moore-sheep-resting-p02567 (Accessed on 22 August 2019)

Fig. 14. Moore, H (1974) Sheep Resting [lithograph on paper] At: https://www.tate.org.uk/art/artworks/moore-sheep-resting-p02567 (Accessed on 22 August 2019)

Fig. 15. Moore, H (1974) Sheep and Lamb [lithograph on paper] At: https://www.tate.org.uk/art/artworks/moore-sheep-and-lamb-p02588 (Accessed on 22 August 2019)

Fig. 16. Moore, H (1974) Sheep Before Shearing [lithograph on paper] At: https://www.tate.org.uk/art/artworks/moore-sheep-before-shearing-p02589 (Accessed on 22 August 2019)

Fig. 17. Moore, H (1974) Sheep in Field [lithograph on paper] At: https://www.tate.org.uk/art/artworks/moore-sheep-in-field-p02590 (Accessed on 22 August 2019)

Fig. 18. Kiefer, A (1971) Mann im Wald [acrylic on cotton canvas] At: https://www.artsy.net/artwork/anselm-kiefer-mann-im-wald (Accessed on 23 August 2019)

Fig. 19. Kiefer, A (1998) Lasst tausend Blumen blühen [emulsion, oil, acrylic, shellac, dried roses on canvas] At: https://www.artsy.net/artwork/anselm-kiefer-lasst-tausend-blumen-bluhen-2 (Accessed on 23 August 2019)

Fig. 20. Kiefer, A (2006) Für Paul Celan : Aschenblume [Oil, acyrlic, emulsion, shellac, and books on canvas] At: https://www.artsy.net/artwork/anselm-kiefer-fur-paul-celan-aschenblume (Accessed on 23 August 2019)

Fig. 21. Kiefer, A (2010) Fitzcarraldo [oil, emulsion, acrylic, shellac, ash, thorn bushes, resin ferns, synthetic teeth, lead and rust on canvas in glass and steel frames] At: https://www.artsy.net/artwork/anselm-kiefer-fitzcarraldo-1 (Accessed on 23 August 2019)

Fig. 22. Kiefer, A (2010) Winterwald [oil, emulsion, acrylic, shellac, ash, torn bushes, synthetic teeth and snakeskin on canvas in glass and steel frames] At: https://www.artsy.net/artwork/anselm-kiefer-winterwald-1 (Accessed on 23 August 2019)

Fig. 23. Kiefer, A (2014) aller Tage Abend, aller Abende Tag (The Evening of All Days, the Day of All Evenings) [Watercolor on paper] At: https://www.artsy.net/artwork/anselm-kiefer-aller-tage-abend-aller-abende-tag-the-evening-of-all-days-the-day-of-all-evenings-1 (Accessed on 23 August 2019)

2 thoughts on “Tutor Artist Recommendations from Part 3

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.