Giorgio Morandi- Composition

Here is an interesting Quote about still life that was also discussed at the British Museum Visit-“In the hierarchy of genres (or subject types) for art established in the seventeenth century by the French Academy, still life was ranked at the bottom – fifth after history painting, portraiture, genre painting (scenes of everyday life) and landscape. Still life and landscape were considered lowly because they did not involve human subject matter” (Tate).

Giorgio Morandi- Composition

On the surface Giorgio Morandi’s compositions look very simple but according to research I have done this is a deceptive notion Morandi was very obsessive about the placement of objects. He would spend significant time obsessively moving objects around to find the right placement or position. The objects often overlapped or sit tightly next to each other but he would explore various combinations. This was more to do with volume, shape and space of the objects rather than the narrative of the objects. Looking at multiple shapes of the objects he often paints a scene where unrealted objects appear all at the same height or sometime with just one anomyly of one object. The objects lack of hierarchy  of a purpose as they appear just as volumes. There is no identity to the objects or whom or where the objects belong to. The perspective of the painting either looks straight or downwards.

This article in the independent explains it well:

“Take this Still Life from 1953. It presents five objects in a tight group. Morandi shows little interest in their domestic lives. They are removed from any kitchen scenario. The cup, the vase, and the three boxes are little more than a set of solids. Their volumes are made clear, roughly squared or rounded forms. This clear geometry is important to the picture’s central trick. It means that, though we can only partly see some of these objects, we’re able easily to judge their unseen volumes” (Lubbock T).

Tate Still life Art Terms [Online] At: http://www.tate.org.uk/art/art-terms/s/still-life

Lubbock T 2009 Great Works Still Life [Online] At:http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-still-life-1953-giorgio-morandi-1758344.html

Assignment 2 Aim and Context

 

As I had explored Medicine as a still life subject matter for assigment 1 I wanted to continue the  theme of medicine and health. I had been heavily influenced by art installation Pharmacocopeia 2003 by a collaborative group of artists known as Cradle to Grave.

I had an idea to use or investigate drawing on non absorbant packaging.  Specifically medical packaging. I felt it was a strong way to represent myself in the still life as the medicine packaging was from medicines I or my family had taken. The chosen medium had to work on non absorbant packaging but I was also interested in the mark making created and using a less popular medium as sharpies (permenant markers) are.

After I had established the aim of drawing on medical packaging I then looked at what would be the content of the composition, objects for the still life. Previously in the coursework I had researched Vanitas still life and I also wanted to explore Art symbolism and objects that had been commonly  used throughout still life history.

The main aim of this assignment was to portray a still life scene that represented health (why we take medicine) and mortality.

I wanted the viewer to questions or think about how health is portrayed by society around us ” what is good for us or not”- The possible side effects of medicne and effects of what is currently being considered as healthy for our bodies.

 

Art Symbolism vs Representation by Society or Medicine.

Skull (death)                                                     Death can be listed as a possible side effect of taking medication 

          Apples(immortality and health)              Society “Eat apples they are good for you”.

Red Wine (blood)                                                Debating is Red wine good for you or not?

 Lily Plant (purity)-                                        A holistic representation or using medicine vs its side effects. Are there other treatments that are more pure?

 

The mirror represents self awareness, medicine bottle simply representing medicine and 4.possible side effects (name of the assignment) represents that the possible side effects are always listed as no.4 on the leaflet.

I was hoping to stimulate thoughts about health,  mortality, why we take medicine and what are the effect of taking medicne vs the side effects through this piece of art. There is also a slight element of humour, by portrying wine (alchohol) on medicine packaging with the packaging transparently showing through the medium used. Questionably if we all eat the apples (5 a day fruit and veg) as reccomended would there be as much of a need to take medicines in the first place.  What is pure or good for us?  Ultimately which ever route or interpretation of health everyone has it will eventually lead to death.. we all have the same destination.

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Compositional Annalysis of Giorgio Morandi and Pierre Bonnards Interiors and Still Life.

The feedback I recieved from Assignments 1 and 2 were to “Research Giorgio Morandi and analyse his compositions on your blog.  Pierre Bonnard’s interiors / still life- Analyse the structure of foreground / middle / background- then try these in your preparatory drawings”.

Giorgio Morandi 1890-1964

This article on Tate: http://www.tate.org.uk/art/artworks/morandi-still-life-n05782 is a  good overview of Morandi’s Life and description of the painting below.

There is a peacefulness and stillness about Morandis compositions that I enjoy however looking at Morandis compsoitions I feel a little confused as to what is a good composition- the objects in many of the paintings seem purposefully placed centrally which I feel misses a narrative. It is simple object representation painted to capture a sense of the scene. Maybe this is something I need to try- just repeatedly drawing the mundane objects of no perticular meaning or narrative to see what occurs?

This painting in particular and others I have viewed has the objects placed very close together. The foreground has 3 objects that create a geometrical pull to the two objects in the middle ground presenting a 3 to 2 Triangular structure.The background is a an expressive wash of paint implying movement. I noticed that Giorgio Morandi uses alot of muted blues, beige or browns assuming to represnt the wall colour and brown as the wood for the table that reminds me of similar backgrounds by Cezanne and  other Vanitas  still life artists (See blog post on Still Life).

The objects are hinted to be placed on a table in the forground with a subtle hint of shadow in the background that are unrelated to objects in the painting.

Giorgio Morandi, 'Still Life' 1946

Fig 1 Giorio Morandi Still Life 1946

Questioning what is a good composition? has led me to do some research on this subject- what are the rules or description of a good still life composition?

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Fig 2 Compositions on Pinterest

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Fig 3 Composition Cheat Sheet

I found theese illustration’s and cheat sheets on pinterest and remeber reviewing something similar years ago, interestingly the theory is inside me subconsciously as I have used the triangular and cropped composition in previous still life drawings. I also have identified that Assignmnet 2 has a circular layout following the objects through the cropped composition.

Piere Bonnard 1867-1947

Pierre Bonnard’s paintings have a lot more life about them than Giorgio Morandi. Bonnard uses more pattern and texture that create more complexities to objects and excitement in the environment that surrounds them. The colours are more vibrant and looking at a multitude of images and without knowing anything about the artist there is definitely a Mediterranean feel from the images that I always love in paintings and makes me feel happy.

Looking at Bonnards work against Morandi I have a clear preference for Bonnards exciting paintings. Bonnards work makes me feel alive but Morandis work is dull and depressing. Maybe Morandi’s work can be appreciated more when needing some calm to reflect on in life.

Again the tate have an excellent overview on the painters life and work; http://www.tate.org.uk/art/artists/pierre-bonnard-781.

Bonnard is a French born artist  who was a painter and printmaker. He was a founding member of a group of Avande Garde painters known as Les Nabis interested in comtemporary/ post impressionist art and literature.

It has been puzzling me for a while how describe his work. After watching Sky Arts Portrait Artist  of the year 2017 the winners programme Gareth Reid described Bonnards paintings perfectly as “Magic” because its hard to describe or copy how he painted them .

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Fig 4 Pierre Bonnard Still Life (no date on reference)

I really like how the main focal point of the plate of fruit is situated in the foreground centrally and the table cloth’s pattern is used in the middle – backgound to pull the viewer into the painting. The very rear top right of the background hints at the interior of the room. There is a sense of touch about this painting that I really like that is emphasised with its soft palate of colour.

not_detected_221960(1).jpg!LargeFig 5 Pierre Bonnard White Interior 1932

The White Interior by Bonnard painted in 1932 is a little trickier to lable a distinctively or decisively. The table and objects are distincly in the foreground and the radiator to outside the door area is the background. The fireplace and floor are definately the middleground however I am debating the white door (centre). Initially I placed it in the middle ground however Im unsure if its intended for the background or a device to pull the viewer to a final viewpoint of the outside door.

Below is a photo taken from my sketch book to show my thought process on interpreting the forground, middleground and background within the composition.

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Fig 1 Giorio Morandi Still Life 1946 http://www.tate.org.uk/art/artworks/morandi-still-life-n05782

Fig 2 Compositions featured on Pinterest https://www.pinterest.com/pin/499899627369674993/

Fig 3 Composition Cheat sheet:  http://nickzucc.blogspot.co.uk/2008/04/composition-layout-cheat-sheet.html

Fig 4 Pierre Bonnard Still life (undated) https://s-media-cache-ak0.pinimg.com/736x/f7/4c/cb/f74ccbccdc459853fe01e48a765fcc10.jpg

Fig 5 Pierre Bonnard White Interior https://www.wikiart.org/en/pierre-bonnard/not_detected_221960

Assignment 2 Response to Tutor Feedback

Response to Tutor Feedback

Alison Dollery 515318

Thank you for my feedback, although initially I felt the feedback was very disappointing it has actually been very enlightening, developmental and I thank you for the pointers.

Here is my response:

The biggest problem for part 2 of this course for me was that having already done 18 months at Art College (mostly focusing on still life) the exercise briefs were extremely similar to work I had already done. In hindsight I should have been more transparent and used this as my starting point, reflected on it and progressed or sought help with my frustration. I didn’t want to come across arrogant as I appreciate I have still so much to learn, however the truth is I was extremely bored, I really struggled to get inspired by the exercises, find objects of interest or didn’t relate to the brief to find a new learning objective for me.  Having now worked through other parts of the course I realise that I could have spent more time exploring drawing techniques, tone and composition arrangement.

I am disappointed with the work I produced in part 2 because it wasn’t of a high standard of work that I would have liked to have achieved. Initially having read the feedback I was disappointed as I was hoping for more encouragement on what I had tried to achieve which was a mass experimentation of ideas and positive feedback on things I had done from assignment 1 feedback (looking at context and headers for assignment reflection). However in my tutors defence I hadn’t explained my starting point and frustrations having done extremely similar work before.

I clearly need to change my working methods (will arrange a hangout with my tutor for support). I have been reading whenever possible (hospital waiting rooms/ picking up children from school/ evenings) and although the information has gone in my brain I neglect to blog about it mainly because of time and logistics (for example my iPhone doesn’t like WordPress). (I have added this to the pointers).

I had researched and read about both the Welcome collection and Personal Voice recommendations but I hadn’t added any analysis or reflection to my blog. Although I had researched both Morandi and Bonnard I hadn’t followed the recommendations as per feedback in Assignment 1 although Morandi’s background was (I thought) the clear inspiration in the background of assignment 2 and other work. Frustratingly I have also read Vitamin D, Robert Kaupalis Experimental Drawing, and watched multiple arts programs that are also not reflected in my blog.  Having just finished Creative Arts Today (January submission) where I was frustrated that I had to put creative practical work on hold to complete the course I am now getting creative outpouring that I felt I had to run with (assignment 2) and when this happened everything else is got lost in the mix.( I have added this to pointers).

I have received the following feedback that I can be interpreted both positively and negatively “This was a bold attempt to manage and manipulate visually busy and conflicting material qualities” regarding assignment 2 and “There are some subtle and laboured approaches to drawing, where you evidence more subtleties in considering both the object and the space in which it sits.  In exercise 1: Detail and tone / Veg. Here you explore a range of mark-making qualities to create form, shadow and texture”.

Positive comments included that my “portfolio shows a development in confidence and take some bold risks” and “you have shown competency across a range of media”.

It was commented that I hadn’t explored various options for assignment 2’s composition. Unfortunately I hadn’t documented this- I explored multiple compositions and light reflection but by taking photographs (with an IPad) of the objects positioned in various places around my house (was mentioned in my blog). However I should have been extremely transparent documented the photos and explained this process. I possibly would have realised then that the composition and arrangement of the objects needed much more work. By doing this would have helped with the next stage’s process. After I had disregarded the photographs I set up the objects in my studio and drew from life (including then doing the quick sketches my tutor is referring too). What I neglected to at this point was to re- explore the objects for compositional effect in sketches or photographs for the final composition.

There was an element of intention of not writing about why I chose the objects as I wanted to see if the irony and narrative I tried to convey in my drawing was clear and unfortunately it seems it wasn’t. Again transparency on documenting this is needed in the future (I will go back and add this to my blog). I will ensure going forward that I am transparent with this and include the information for my tutor. Although I think what didn’t work was that I had too many aims or idea’s that my tutor is correct in advising me in the pointer” to begin with some very clear aims / intentions- this will help you more clearly focus on conveying them”.

What I have really learnt from the feedback and part 2 is that I need to be more transparent with how working, blogging when I do it, why I am doing, how I am working  and how it connects or reflects with what I have read or researched. I will just clarify this is what my tutor is referring to in the comment “It would really benefit your critical thinking and drawing process to use it more regularly, as a reflective space. This will help you appreciate and understand the qualities in your drawing and make decisions on how to develop your own work. There is a tendency in your critical thinking / analysis to refer to ‘what’ you did.  Ask yourself more questions and comment on ‘how’ and what purpose or content you can bring to the drawings. This is in relation to your personal interests, needs and desires – beyond the specific tasks for each assignment.”

After completing part two, speaking with other students and tutor Clare Wilson on a recent study visit I have discovered that I have very different ways of working and process’s that I use which I will seek further advice from my tutor on this. I had previously noticed that in my work and other students that their best work gets caught in sketch books so taught myself to not be too tentative or scared of completing the final assignment. I get such a strong need to express the view or thought in my head that I frequently use the following process; Photograph the subject/ object to check light, occasional quick sketch and then complete the composition from life (not from a photograph as doesn’t always have the same dimensional quality) to capture whatever “it is” that gets lost in sketch books. Although I have started using thumbnails (as per assignment 1 feedback) I will follow the pointer to do complete 6 A5 drawings for the assignment as well as thumbnails. I am completely open to new ways of working and I am positive I will learn something. I have previously identified that my learning style is predominantly an activist (Honey and Mumford learning styles) so I learn from doing and reflect on what I have done afterwards, then auto correct it if needed. From this feedback I have identified that I process information very quickly from A-z within seconds so that when others are still on B I have finished and given myself other objectives (such as media experimentation) the problem is I am not documenting this.

On a completely positive note I finally understand and feel confident with Harvard referencing as noted by my tutor “Good Harvard referencing throughout”.

The last barrier I need to overcome is translation of what I am doing in my blog. For example I frequently watch art programs and sometimes I have nothing to report (not sure how to document this in my blog to show how much work I am actually doing).  Sometimes I have a lot to document and I lack confidence to put this in my blog especially as my blog is public.

I will arrange a hangout with my tutor for advice on all the above and will ensure that the following pointers are fulfilled clearly for the next assignment submission;

**Assignment 1 feedback: Revisit Research suggestions on Morandi / Bonnard including analysis and applying to your prep compositions.

** Follow up on the Welcome Trust suggestion from Assignment 1 feedback.

Pointers for the next assignment

  • Reflect critically on this feedback in your learning log.
  • Set yourself some clear aims / intentions before you start the assignment (in addition to the assignment tasks). Ask yourself what are trying to convey / communicate?  This will help you more clearly achieve the context / narrative / symbolic content…you seek.
  • Critical thinking: You have some evidence of analysis and critical reflection on your work. The work will benefit from deepening this reflection, analysis and setting aims. Try and write less on ‘what you do’ but more on what you’re aiming to explore, convey and communicate- then how you might explore this.
  • Work out options for composition, negative space / object relationship, mark-making and tonal range in your preliminary drawings- as recommended try 6 x A5 before starting the assignment work.

Additional pointers added by myself:

  • Get advice on documenting in my blog.
  • Document reading on personal voice.
  • Document in blog reading and watching of programs.
  • Revisit understanding of positive and negative space.
  • Clarify with Tutor different ways of working provided it is documented.
  • Clarify my understanding of “how what purpose or content you can bring to the drawings. This is in relation to your personal interests, needs and desires – beyond the specific tasks for each assignment”).
  • Complete clear aims for each assignment and 6 x A5 drawings and blog before staring work on assignment. (“It would be good to see you construct your final drawings and think about potential composition, flow and tone at the prep stage.  You didn’t seem to explore any options for composition, prior to the piece: the wine glass remained dead-centre, apple and plant pot in exact same position”).
  • Document all photography taking photos to show stages of completion (“I recommend that you take images of the assignment piece at each stage of its development. It might help you to see clearly- what is working in the drawing.  It might also guide you in allowing some aspects of the drawing to be less-worked.  Post these to your log ( in future submissions) remember the process of development, reflection and thinking, are as important as the final piece”).
  • Ways of working/ blogging– ask tutor for ideas around time management and would using an A5 pad/sketch book to write notes down as I read to then blog about?
  • Make a list of work to complete so that I can take advantage of wanting to do theory or practical work.

Assignment 2 Tutor Feedback

Overall Comments

Thank you for the care taken in preparing and organising your portfolio.  The portfolio was supported by a link to the learning log.

I will comment upon specific aspects under each of the headings.  In relation to you reflecting on and responding to feedback at assigment 1: there is some evidence of you following up some of the Research and Pointers suggested.  However it would benefit you to re-visit each point regarding Research:  Analysis of both Morandi / Bonnard compositions and applying this to your own prep drawings.  You seem confused between ‘background’ and ‘negative space’.

You have explored a broad range of media in the assignment attempting to combine heavily printed packaging with a range of ‘wet’ media.  This was a bold attempt to manage and manipulate visually busy and conflicting material qualities.

There are some subtle and laboured approaches to drawing, where you evidence more subtleties in considering both the object and the space in which it sits.  In exercise 1: Detail and bone / Veg. Here you explore a range of mark-making qualities to create form, shadow and texture.

Composition and tonal development needs to be built upon through a regular practice.  It isn’t your ‘natural’ style, but creating new habits will bring more confidence and help you to observe more and create composition that work successfully.  At the moment you’re not using your prep stage to do a lot of the working-out of composition, tonal range and areas for the drawing to be open.

Overall the portfolio shows a development in confidence and take some bold risks.

Assignment 2 Assessment potential

 “I understand your aim is to go for the B.A Creative Arts Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.”

assessment (see Conditions of Enrolment, Section 2 a). Contact the OCA Course Advisors to discuss this further.

   Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

You have shown competency across a range of media.  There is evidence of you carefully selecting  both the pharma packaging and the ‘vanitas’ objects.  You clearly wished to create a symbolic narrative in the piece.

It would have been a useful part of your planning and prep stage, for you to have reflected upon your choice and what / how did you hope these differing elements could convey either context or meaning.  If you begin with some very clear aims / intentions- this will help you more clearly focus on conveying them. (Pointers)

It would be good to see you construct your final drawings and think about potential composition, flow and tone at the prep stage.  You didn’t seem to explore any options for composition, prior to the piece: the wine glass remained dead-centre, apple and plant pot in exact same position.  (Pointers)

I recommend that you take images of the assignment piece at each stage of its development.  It might help you to see clearly- what is working in the drawing.  It might also guide you in allowing some aspects of the drawing to be less-worked.  Post these to your log ( in future submissions) remember the process of development, reflection and thinking, are as important as the final piece.  This process also helps you to gain some objectivity and distance better to reflect on the working process.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Some interesting small, exploratory drawings such as the white ink , medical instruction and black paper. There is a subtle, minimal touch here in contrast to the assignment piece.

Use your sketchbook to fully test-out and explore: a breadth of compositions, varied range of tonal qualities, a range of both subtle and bold mark-making options and consider your choice of palette at the prep stage.  Ask what these convey and communicate in form, lighting, mood, atmosphere  and desired content or narrative.  (Pointer)

Some use of ‘mind-mapping’ and diagrams to make clear connections between research and genres.

Research

Context, reflective thinking, critical thinking, analysis

Evidence of some research into drawing processes such as cross-hatching, life-drawing and further experimentation with processes and technique.

You’ve undertaken an historical overview of vanitas research, with well referenced examples on the blog.  What would have been useful would to draw some clear and useful analogies from the research and how this informed your assignment choices and application i.e: comment on how and in what way it was of use / purpose.  (Pointers)

Good Harvard referencing throughout.

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

A well organised and structured blog reflecting your progress and development.

It is useful that you’re using the log as an archive of your process, recording exercises and drawings.  It would really benefit your critical thinking and drawing process to use it more regularly, as a reflective space.  This will help you appreciate and understand the qualities in your drawing and make decisions on how to develop your own work.

There is a tendency in your critical thinking / analysis to refer to ‘what’ you did.  Ask yourself more questions and comment on ‘how’ and what purpose or content you can bring to the drawings. This is in relation to your personal interests, needs and desires – beyond the specific tasks for each assignment.  (Pointers)

Suggested reading/viewing

Context

** Assignment 1 feedback: Revisit Research suggestions on Morandi / Bonnard including analysis and applying to your prep compositions.

** Follow up on the Wellcome Trust suggestion from Assignment 1 feedback.

Pointers for the next assignment

  • Reflect critically on this feedback in your learning log.
  • Set yourself some clear aims / intentions before you start the assignment (in addition to the assignment tasks). Ask yourself what are trying to convey / communicate?  This will help you more clearly achieve the context / narrative / symbolic content…you seek.
  • Critical thinking: You have some evidence of analysis and critical reflection on your work. The work will benefit from deepening this reflection, analysis and setting aims. Try and write less on ‘what you do’ but more on what you’re aiming to explore, convey and communicate- then how you might explore this.
  • Work out options for composition, negative space / object relationship, mark-making and tonal range in your preliminary drawings- as recommended try 6 x A5 before starting the assignment work.

Please inform me of how you would like your feedback for the next assignment.   Written or video/audio

Well done, I look forward to your next assignment.

Tutor name Cheryl Huntbach
Date 24/02/17
Next assignment due 10/04/17

 

At Home Exercise 3 Material Differences

I really struggled with the brief for exercise 2 and 3 of the at home section. I was completely engrossed in Assignment 2 at the time and after reflection it has really been annoying me that I had not completed this exercise (although I arguably explored the learning points in my sketch book). I really struggled to feel inspired to find just one interior focal point. I started my completing the four sketches (as per exercise 2 Composition an interior) of the place I felt the most drawn too. (my dressing table).ex-2

Exercise 2 Composition an Interior.

I keep trying to push myself to discover my capabilities with differing results. The brief ask me to think of the best materials for the exercise, I find this such a narrow view as I think is no right or wrong material to be used? I like that different pencil, Biro, black ink, coloured pencil and hard pastels can create atmosphere and represent textures differently and successfully. Heavily inspired by the results from the research point- interiors I decided to continue with the idea I had had in my sketch book.

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Sketch book Interior research.

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My Bedroom Exercise 2 Material Differences. A2 Biro, Pencil, Hard Pastle, Ink and fine pen.

I regretfully wished I used A1 paper and added further sections. I wish I had swapped the top right hard pastel area for the left fine pen area to break up the colour. Again I could explore this idea further… Conscious of moving on with the coursework.

 

Working on 4.Possible Side Effects

Despite an huge effort to do thumbnail sketch’s and experiment with media, after a sleepless night I often feel I need to execute my idea’s by just starting the final composition.

Layering the package was a process in itself.I purposefully placed the packaging representing the colour that would later be drawn in each area as per the still life in front of me. Then purposefully cut out and placed the “4.possible side effect” wording again according to colour.

From experimenting I quickly found out that when using permanent markers when it goes wrong it would go wrong quickly. I had to be mindful that when mapping out the composition onto the surface every mark could potentially be seen in the finished result. At this point I only had one surface (packaging A2) and not enough packaging to make another large enough if the assignment piece went wrong. Every mark is of course permanent: it cant be re painted, erased, smudged. It can to some degree be gently layered but that then can easily lead to the mark being overworked.

The initial process of drawing the composition was intensely observational extremely slow and thoughtful.Then after the first session of working a major accident happened. I sprayed a small area  with fixative (because of the conte sticks) and the lines drawn by sharpies blurred and were able to be smudge.  Panicking I managed correct the burred lines. However it became the perfect solution to blur the leaves and generate the different colors and tones on the leaves.

I quickly put together another collage canvas and experimented (after gathering more packaging)…

Sharpies mixed with fixative

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Another solution I discovered to rework areas was to glue another package over the top to create an area of blank canvas. I was mindful though that this could only be done once or twice so that it didn’t change the overall collage.

I decided to re collage the area of the canvas below. After studying the Leaf of the Lily plant with colored pencil I wanted to capture the varying greens in the same way with Sharpie’s. The dark area of the skull also lacked depth in the darkness using sharpies and after trial and error the only solution was to use acrylic paint. Acrylic paint had to be used to identify the darkest areas around the skull and leaves, although I deliberated over using other mediums. This lead to a thought around Drawing V’s Painting where is the line.. I am still researching this.

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Before re working the leaves/ darkness.

The packaging was simply glued together using PVA glue whilst the paper underneath was still stretched on a wooden board (although afterwards discovered this had caused the slight bucking).  I researched glue hoping to find a brilliant glue that I hadn’t heard of before or something that may be able to use as a transparent base for the top of the packaging this proved unsuccessful.

There was one change I made from how I layered medicine packaging together form Exercise 3. It was to place the packaging in reference to the colors of the objects depicted from the still life set up in front of me. (Blue paracetamol packaging blue area) this actually made it more difficult to piece all the packaging together.

I then used the leaflets and cut out sections of 4.Possible side effects to reinforce the collage idea.

Subsequently I have discovered that Sharpies also work well on acetate (see through layer).

I for a short while I felt uncomfortable with the absence of objects to the right of the composition and had an afterthought that I wanted to add a Ukulele into the right of the composition.I used the drawing function within my windows photo editor to see if I could get an idea of how this may look. Ultimately  I decided it would be too much brown/ red in the composition.

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Experimenting with adding Instruments to the composition

I really like the idea of incorporating technology into natural drawing. I have really enjoyed the experimenting I have undertaken in this part of the course and I intend to keep experimenting with mixed media ideas- the discovery is endless.