Using a plant pot design as the texture, I took a photo and re designed the image. I added pen to make it stand out more so it would be easier to see amongst the other colours. The pink colour is a mistake by the printer as it is low on ink, though it did help with what I was doing. Blue marker pen on paper towel for colour, I was hoping the blue would pick up the texture of the towel itself. However that did not happen so I changed my design and used it in another way. I quite like typography and the way words create an image themselves rather than be on top of an image. So I thought using it as a texture would help fill the blank spaces but also crinkling it up would be a nice touch.
Documentation of work in progress:
For this texture, I placed the shell texture beneath then layered the family photo. While layering the family photo on top I noticed the texture got lost and it was confusing me on what was going on, So I decided to add the white paper towel to get rid of the background. Here I experimented with layering textures over other textures. Using photos that I took at Larnach Castle in Dunedin, I layered a frottage leaf over an antique clock. I also tried replicating the rubbing out of the first layer to reveal the second layer.
Explanation on my work:
For my work, I have chosen to link the physical aspects of drawing and frottage into a digital platform merging them together into an single artwork. Even though most of my artwork ha s been done through Photoshop, I have used markers, pencil and different textures that I found to link them together. Also replicating the rubbing out of layers to reveal what is underneath using the “eraser” tool on Photoshop.
Final 3 Artworks:
The people in this artwork are my family members. Here I layered the shell texture first then started to carefully layer my images overtop making sure they wouldn’t clash with the various textures and colours. For the other artworks, the same principle was applied.
For my iterative artwork, I chose to focus on four main areas. With them being scale, texture, form and colour. Using various angles of the chosen car to replicate what people will find when searching it up. The sketches at the top of the page relied heavily on getting the tone and depth right in order to get the realistic car drawing. Also using the shadow gradient from dark to light to create the illusion of being 3d, made the hood stand out against the lighter wind shield shading. With the darker tones creating the borders around the car so it doesn’t blend into the page. Scale images used pen hatching to create the depth and tone. Overlapping the lines to get the darkness with cross hatching gave the car body its form and structure. Lastly watercolour, darker tones were applied to help create the frame though it lacked gradient making it look more 2d rather than 3d.
PenWatercolour
Artist research:
Andy Warhol:
From painting soup cans to Hollywood stars, Andy Warhol is a classic example of how repetition and colours work well together. Andy Warhol’s style of modernism had a huge impact on the art world. Recreating the same portrait over and over to then simply change colours and put them back together like a puzzle piece. This structure of work was not recognized by all as being “art” it did receive criticism from other artists and still today controversy remains. However, his technique to create artwork is still influential despite how simple it is. His work is also loosely based to abstract form as he intentionally leaved the thick brush strokes creating hair.
Edward Ruscha:
Edward Ruscha had many influences that impacted his art from a young age. French artist Marcel Duchamp was one of them. Edward Ruscha liked the words displayed in Marcel Duchamp’s work. He then later developed an interest for Pop art, looking at Roy Lichtensein’s paintings realising the impact that text and paint had together rather than on a separate canvas. He played around with this concept using various words and paint to try understand the connection. Edward Ruscha is also an photographer, print making and drawing. His photography is quite interesting to look at, using different view points to photograph that same object though in different depths.
For this heart, the texture and depth stands out the most. As the shadows create a 3d look like a science diagram. However, I would have shaded in the right slightly more to show the different tones as it blends in more than I would like. I used two methods of hatching to recreate the blue and red colours of the heart. The diagonal lines were used for darker areas meanwhile the straight down lines for lighter. I chose to do that, so it would be easier to see as I am using a 0.1mm pen thickness. Creating gradients inside some of the shapes made them stand out more when comparing tones. Understanding where to put the depth and various shadows helped to create it realistic presence. The dark shadow near the top of the heart brings it all together as it flows nicely into the next shape. If I had to recreate this same heart I would try using different hatching styles to compare the differences.
Collab outcome 1:
Both of these collaboration outcomes were done in photoshop with Human Anatomy being the overall focus.
