I don’t remember who on the OCA FB page introduced me to this, but Matthew Palmer’s Watercolor TV series is great fun. He has a nice teaching style, very relaxed.
B.C., Lesson 1
Whenever there’s a point where we have to wait for something to dry, he suggests it’s a nice time to get a brew, my kind of guy! I see the potential for an art class drinking game. One shot each time he calls a color juicy, chug a beer when it’s brew time…
B.C., Lesson 2
Seriously, the videos are well done, and as a complete beginner, I’m learning some much-needed basic techniques.
A.B.C., Lesson 1
Thanks to the recommendation of Sue Burgess, I joined Rosemary Firth‘s Sketch Book Development Course for textile artists and art students.
For the first assignment, we took close up photos, verbalized and worked from there.
Mary Granville Pendarves Delany
(May 14, 1700-April 15, 1788)
Mary Delany, born in England, practiced the traditional crafts of her time, such as needlework and silhouettes. It wasn’t until the age of 72, four years after the death of her second husband, that she tried a new technique that was the beginning of collage as we know it today. Delany called it a ‘flower mosaick’, and went on to produce close to a thousand of them, which can be seen at The British Museum.
Delany made almost all her collages against a background of black, creating a striking effect quite different from most botanical drawings. She used layers of watercolor to create the background papers, as well as most of the paper used for the flowers. Delany meticulously layered small pieces to create shapes, shading and colors that are very realistic and still admired by botanists today.
Not only is Delany’s work breathtakingly beautiful, I was also (as a 53 year-old art student) drawn to the fact that she started so late in life. Her attention to detail, the subtle shading and painstaking nature of her work all impress me greatly. Mary Delany created a body of work, as well as an art form that lives on today.
Peacock, Molly. (2011) The Paper Garden: An Artist [Begins Her Life’s Work] At 72. New York: Bloomsbury
The A4, and last, collage for Ex 2.3, Line.
I like the idea of using small, individual shapes to form the line. If I had formed the shape by having all the fish going in one continuous direction, I think it would have added more motion to the piece. However, I do rather like the notion of them attacking the boat!
The A5-sized line collage, obviously Miró-inspired!
This piece for Exercise 2.3 has taken forever. My last post shows the beginnings of (and failed first attempt at) this idea. The parameters were A3 size, solid colored background, only one object (still related to the tea time theme) and still focusing on line.
Again, I used watercolor to make my own background. Then I cut various fabric shapes and layered them horizontally to create the water:
Then, on another paper, I cut vertical strips from assorted papers and overlapped:
which I then cut out to create mountains:
A bit of sketching for finishing ideas:
Adding some silver paper to represent steam* finished the piece:
Smoke on the Water (Part Two, Exercise 2.3)
I’m not sure that I stuck to the parameters as well as I should have, but overall, I’m very pleased with it!
I learned a lot about collage, mixing materials and the different effects that can produce. I learned I like working with fabric more than paper, but I also like the way they contrast each other, and how the different prints on both meld together when you step back. Also, that glue and I have a mutual dislike of each other.
Sorry, I couldn’t resist the title, blame my brother Rob for telling me the finished pieces need one.
*Thanks Rob and Charlie for the steam idea!
a bit sloppy, but I don’t see enough potential to pursue.
One exercise calls for a solid colored background, and I decided to create that with watercolor. Then went on to watercolor and cut papers for the mountains and cup. Again, I don’t care for the end result at all, but still think the idea has potential.