Jackson Pollock

Jackson Pollock

Jackson Pollock, is an American painter, born in 1912-1956 in Arizona, later in life he moved to New York in which he began studying at the Art Students League, from 1929-1931 with Thomas Benton. His paintings are known to be of ritual violence or sexuality.




Pollocks work has a lot of movement in it, he tends to express his feelings through the motion of his lines. He creates large scale paintings using oil on canvas.
he creates gestural paintings mainly inspired by surrealism.

 

Id describe Pollocks work to be very abstract, the composition of it seems to look very cluttered and over loaded, but the movement within his imagery and line work, creates a positive overall outcome.
Looking at his work you can see that he doesn't tend to use vibrant colours, the way of making his image pop is by adding contrast, you can see that Pollocks done this by using a small amount of a brighter colour against the ordinary dull outline he worked with.

3D Model-Making

Michael Goro

Michael Goro

“continuous creative search for raw authenticity in urban environments and human forms that are constantly changing.”

Michael Goro is an artist that works within printmaking born in St. Petersburg, Russia. He creates etched plates that create an intaglio print. He received a B.A. in Architecture. He later discovered intaglio printmaking in Israel 1990. This is when he began to use this as his main medium. He later completed his education in printmaking at he University of Illinois at Urbana-Champaign. Goro's work can be found in numerous places, both private and public.
He's shared his unique personal experiences through creativity and art.

Looking at Goro's art the mediums he seems to work with is watercolour and intaglio. I find his work extremely inspiring, he's an artist I think links up with Maja Wronska. Both within there watercolour paintings ass significant amount of detail, and using a range of colours.
Focusing on his printmaking he's and artist that influenced me into creating my own architectural intaglio prints, he captures the fine detail and adds effects but working into them with watercolour.

I like that he captures all aspects of the observational values in which he works from. He adds a lot of detail with his prints, including the shaded areas.
When creating my own I chose to use different mediums to show the contrast in the shaded areas. I chose to work with Tage Mahal for my intaglio print, I think the overall design of this landmark is interesting, its whole composition and the overall shapes used makes it original.
I stuch with using only black ink, referring back to Goro's prints, he also tends to stick with a simple colour of ink and adds any wanted tone with paint, which is what I also interpreted in my work.

This print was added with watercolour, I used a blended technique to create shades, adding water to the area, and then applying the paint will create a gradient outcome, youu can build up the tones by doing this in layers, re-applying the paint over and over again to create darker shading.

  

This intaglio print was also used with watercolour, but using a different technique to get a different outcome. I used a brush stroke technique, I first blended the colour, but once it was fully dry I worked into the shaded areas using a fine headed brush and lightly stroking it in a motion to create shape and definition. I think this added a lot more detail, and showed you a visual understanding of how to create different outcomes when working with a range of techniques. 

This piece was watercolour and added pencil, I again used the blending technique and worked into the areas to add shading. I used 3 different shades of brown and a circular motion of the pencil to make it more defined and darker.

This final development of my printmaking sample was printed onto a handmade textured background, i wanted to experiment with whether the texture of the surface would capture as much detail as it does on ordinary watercolour paper.

I think this print actually worked well, i was a bit sceptical at first but the outcome surprised me, I faintly worked in black watercolour to give it a bit of shading, I stuck to one shade and a minimal amount of layers as I didn't want to overpower the print.

I think my work in comparison to Goro's relate in many ways, the techniques and overall mediums used both create in depth art work.

To capture more of the image like Michael's I think working from observation would enhance my view of fine detail.

however I did enjoy the process of creating my work in response to Michael, I think the outcomes were interesting and original. 

Maja Wronska.

Maja Wronska

Maja Wronska works as an architect and freelance illustrator, who graduated from Warsaw University of Technology (Architecture Faculty). He works with various materials such as 3D, interior designs, hand made renderings and illustrations. His main inspiration is Architecture, he produces his work on Fabriano paper.
HIs work stuck  out to me on Pinterest, I find Wronska's workvery similar to Elwira Bawlikowska, they both add a significant amount of detail within there artwork, but Wronska uses a range of colours, whereas Elwira sticks to minimal tones when creating detail within her work.

I like the way Maja works with hic=s colours, you can see he uses watercolours and a blending thecnique for the sky.
He again captures and portrays the observational values of architecture, within both his drawings and paintings.








I found his work to be very inspiring, which is why his work links to mine. I also kept his techniques in mind when creating my camples.

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Callograph Printing

Collagraph printing.

A collagraphy print has the same techniques when creating an intaglio. The final piece is a lot different to an intaglio but they both require a very similar process when creating them.
Collagraph print is formed by creating texture onto either a plate made from wood or strong cardboard.
The main thing with this type of print is to ensure that all materials are stuck down firmly. This is key when it comes to actually printing them.
To get an even print you should try keep height levels similar and not too uneven so that the press captures all detail.

To create my collagraph prints I started by using small square plates to create test pieces, this gave me a rough idea of what materials worked well, how the press would capture the texture it has and what effects they individually produce. I applied a thick layer of PVA glue and firmly stuck down my materials.
Once dry, apply shellac all over your plate; this will protect it. With this type of printmaking you need to understand the limitations of the materials used, such as applying ink and putting it through the press.



To print, I  first produced one called 'embossed print' This means I only used the plate, I didn't add any colouring or ink to it, just to define the textures I had used, this  made it easy to see what materials worked better than others. I then moved on to inking up my plate using Etching ink. When applying this product try to stick to a minimal amount as a little goes a long way.
Using circular motions with scrim to enable it to capture all detail when being pressed. I then used tissue paper to wipe away the excess ink.
When printing its best to use damp watercolour paper, this helps pick up all ink within the texture.

These were test pieces to get an insight on what types of materials create different textures, i then moved on to creating my larger Collagraph plates, I decided to use a fair few of the same textures I used on my experimental plates as I liked the texture they created. I changed the overall design of my larger plates and manipulated some of the more flimsy material to create a textured surface.

With my larger plates I chose to play around with the colours  and techniques, to get an understanding of the limitations with each material I chose to work with. I didn't stick to one major colour scheme, I liked the idea of using colours I think would define the texture and show the range of detail within it. To get a blended effect with the ink I simply used scraffito, this is a small piece of material used when working with textured plates. I used circular motions which will enable the ink to get in all the small detail, I then used tissue paper to against rub over he plate to eliminate all excess ink that's not needed.
 
I like the final finish of my prints, I think some materials captured more texture than  others, but overall they all had interesting outcomes. To improve the prints I should have added less amounts of ink and stuck to a range of 2-3 colours at most if I wanted to use the blending technique. I think too much colour going on in one print will over-power the textures.
An artist linked to collagraphy would be Barbara Rae.

 

She's an artist that works with painting, sketching and printmaking.  I find Rae's work to be quite child-like when it comes to use of colours and imagery, however i do find her to be quite unique with her techniques. I don't think she's a very influential artist, when looking at her work it doesn't give me any urge to create an outcome inspired by her. 

Sunga Park and Batik response

SUNGA PARK RESPONSE

Being inspired by Sunga Park's work, I decided to create a further response using different materials and techniques.

As I stated in my research to Park's artwork, I liked the way he faded out the imagery, which created an unfinished, yet interesting outcome.

To develop his work further, I used a wax technique called Batik. This is something that's done on fabric to stop other materials/liquids to run in places you don't want. 

The process of this is very simple. You heat up a small pot on a chosen temperature, which can be altered by a switch on the side, after adding a fair amount of wax called Paraffin. This type of material is applied to the fabric using a Batik pen, shown below.

I  found that using this to apply the wax to be quite difficult. If you want to create a very clean and defined piece of work, you'd have to learn the techniques within the tools. Picking up a large amount of the wax can cause it to come out a lot quicker, which gives you unwanted negative sections. I got the hang of this more towards the end of the process.

Batik basically eliminates the sections from any ink or substance you apply to the base, this creates negative and positive spaces. I find it to be like a stencil, you exclude the areas you want to leave blank with only the positive sections visible.

I started by finding architectural images I wanted to work with, I went with photos and designs that are quite detailed, I wanted to add shading and tones through using fabric ink.

I applied wax to the areas I wanted to leave blank and highlighted, I looked at my images chosen and worked with the way the light had hit the building.

 Once I had done this stage I then went on to adding colour. With the ink I was working with I was able to mix the colours, and add water to create different tones. This was the beginning stages of adding colour my work

To begin with when adding shading i started by using the lightest colour and building up on the detail to define the imagery. To do this i used Concentrated batik ink. 

With the ink I was working with I was able to mix the colours, and add water to create different tones. 

I repeated this step around 4-5 times in the areas I felt needed more detail.

Once happy with the overall painted piece I then placed my dry fabric between grease proof paper and ironed over the top. Placing this over the material worked as a protective cover when adding heat to the surface. If you wasn't to do this stage, this would cause the wax to melt and go on to your iron, which isn't ideal if you don't want to ruin your equipment.

Here is the final outcome:

 

 

As you can see, the lines aren't very defined, I don't think the outcome looked neat enough to be produced as a piece of artwork, although this has a negative effect on it, I like the way the shading has turned out, I think it adds enough detail to make the overall piece look original. To clean up the line work, I thought of ways in which I could neaten it up and add detail, for this I chose to work with stitch.
I used a sewing machine to cover the areas I think needed to be worked on, i didn't want to cover too much of the detail with stitch as I think it would take away the aspect of using different materials to develop Park's work further.

 

I started by choosing the main colours i wanted to work with, for the image on the right i chose 3 different shades of thread, all being grey tones.

I used a freehand footer for this, which gave me the ability to move the stitch in a circular motion, which will build up the thread and be opaque. 

I varied the 3 colours in areas to give it a shaded effect.


The limitations when working with stitch illustration would be  thread build up, if you're layering over one area to add more texture or colour be careful with the loose tread at the back of your fabric. This can begin to tangle together and stop your machine from running smoothly.

 

Once happy with the definition and detail  added into my work I then cut off any loose threads ti neaten up the final outcome,

 

 Im happy with how my illustarions have turned out, I think my use of colour and embroidery has worked well together.
My second illustruration was the top of guildhall, I like the amount of detail that the embroidery has captured, its worked well with the use of ink and created an original outcome.
Here's an image of the two finished:

 

To develop this further I could think about adding a series of different architectural stitch illustrations, on a long piece of fabric, I think working with stitch and intaglio to create this would work well.

 

 

 

Harriet Popham

Harriet Popham

Harriet Popham is a 21 year old designer based in Bristol. She's an illustrative textiles designer working with a variety of materials including print, embroidery and pattern design. 
She hand draws her work, adding intricate detail, and lively density. She's inspired and influenced by observations and surroundings. She decides to stick with traditional embroidery and techniques.

I come across Popham's work on Pinterest and found her highly inspirational. I decided to add stitch into my illustrations of architecture. I started by using my intaglio print onto the fabric which gave me an idea of where I should be stitching.

 I only wanted to add the basic outline of Tage Mahal as Popham's architectural stitch illustrations don't go into too much detail with shading etc. She captures enough detail for it to look interesting. Looking at the techniques of her work, the one thing that caught my eye the most was the loose thread she left. Usually this could have a negative effect, but I find that it compliments the artwork and gives it originality. I chose to add this in my own response.

I think my finished piece come out well. I find Popham a massive influence when it comes to stitch illustration. in comparison to both our work I think we capture the main aspects of the architecture. Her work seems to have various stitch techniques, whereas I chose to work with only machine embroidery. If I had worked on a larger scale and added more imagery into my work, it would be a lot more detailed.