Wednesday, 31 August 2011

WATERLOO SUNSET - COLLAGE

After I interviewed Paul Catherall, a London-based printmaker and illustrator. I did a follow-on project using Paul's work as inspiration. Not having access to printmaking equipment I wanted to use a different process to finish my artwork. Though I was inspired by Paul, I didn't want to just copy his style completely, but wanted to make the work my own and put my stamp on it. Here is the step-by-step process.

MY ORIGINAL PICTURE, ROUPELL STREET, WATERLOO SE1
IN ILLUSTRATOR I CREATED THIS USING THE IDEA LESS-IS-MORE 
ON TOP OF THIS POOR A3 COLOUR PRINT I DREW A GRID
I DOUBLED THE SIZE OF THE GRID TO FIT AN A2 LAYOUT SHEET
THEN I RE-DREW THE IMAGE BY HAND
AFTER CUTTING OUT EACH SECTION I EXPERIMENTED WITH DIFFERENT COLOURS
BUT I DECIDED TO STICK WITH MY ORIGINAL COLOURS OF CHOICE
FINISHED WORK BEFORE FRAMING
FRAMED AND ON MY WALL



Tuesday, 23 August 2011

BOUNDARY STUDS-TYPESCAPES, GF SMITH

I tried taking one or two of the Boundary marker stud pictures and used them as layouts for compositions for the typescapes posters and the GFSmith Invites.





The same technique can be used with buildings to make grids and layouts. Here is a couple I have experimented with.





Sunday, 21 August 2011

TYPESCAPES-GRAPHIC DESIGN THEORY

I have spent some more time this week reading Graphic Design Theory - Readings from the field. After reading the eassy of Herbert Bayer and Josef Muller-Brockman. I have tried the Typescapes poster based on samples in the the book along with one or two quotes.


"TYPOGRAPHY IS A SERVICE ART, NOT A FINE ART"
Herbert Bayer 1967





"WORKING WITH THE GRID SYSTEM MEANS SUBMITTING TO LAWS OF UNIVERSAL VALIDITY"
Josef Muller-Brockmann 1981


Thursday, 11 August 2011

THE ART OF THE BOUNDARY MARKER STUD

As part of my Boundaries within Boundaries project, I have been collecting pictures of Boundary Marker Studs. These strange metal studs are popping up everywhere, especially around new buildings, in the City of London. You may have noticed them yourself and wondered what they are for. They divide areas of ownership of land. So for instance, when these studs appear around the front of a building, the owner of the building also owns the land up to the stud boundary. A piece of land may be in private ownership but it forms part of a public right of way. So certain laws or rules may be different on either side of the boundary. 

As I gathered these pictures, I received some strange looks, kneeling down on the ground in order to take them. They started to take on an abstract form and reminded me of the dot and line exercise we did at college. So I played around with them and here are the results. If you find any, yourself, that look interesting, then please send them to me. I have heard from one of the  manufacturers of these studs, that some are made with logos stamped on them, but I have yet to find any.

I came across this quote about boundary marker studs from the book ‘Stuart, A Life Backwards’, by Alexander Masters.

In London, the pavement isn’t all public: some of it belongs to them and some of it belongs to us. The brass bits is little bits put in outside all the government buildings in London, what lets you know the difference – there’s brass bits all over London.

If we sleep on the bit what belongs to them, they do us ..... and .... if we sleep on the bit that belongs to us, they still do us, only it’s not the same.






























Monday, 25 July 2011

THE CHALLENGE OF THE LETTER S

When I interviewed LETTERCUTTER JULIE REZAC 24/05/2011 for my blog I asked her if she had a favourite letter that she liked to carve?
 
Julie:  I like carving the S because S remains a challenge every time, for me.  Lots of times I get it wrong, but when I get it right, then the letter S is the most delightful letter ever.  I think you have to visualise a letter to understand it and cut it and if you don’t understand it, you won’t cut it right, which is kind of funny because you think ....it’s drawn on, but somehow you have to know that letter really well before you can cut it.  I also find a lower case e difficult, because there is such a fine point of where it can go wrong and where the angle has to be just right, at a certain point, or else the whole letter is wrong.  So, an e is tough too.

If you have been following my own journey into wood carving you would have seen some of my own attempts into mastering this skill. So as a follow on project I decided to try and cut the letter S. I had an old piece of Cedar wood from which I once made a shelf. The wood had a crack in it and broke into this amazing shape, I had been wondering just what to do with it. It seemed to nice to just burn on a bomb fire or throw away. So I decided to cut a few S into it. Julie is right the S is indeed a challenge.

An interesting fact about the Cedar wood I used, it comes from Lebanon and its timber is sometime known as the Cedars of the Lord. The timber was used by the Assyrians, Babylonians and Persians as well as the Phoenicians. The wood was prized by Egyptians for shipbuilding; King Solomon used them in the construction of the First Temple in Jerusalem and the Ottoman Empire also used the cedars in railway construction.



I STARTED BY DRAWING 4 KINDS OF S ONTO THE CEDAR WOOD
THIS WAS THE FIRST S, A ROMAN S
THE CARVING STARTS BY CUTTING A GROVE INTO THE MIDDLE OF THE LETTER

YOU THEN WORK YOUR WAY TO THE CENTRE FROM THE EDGE OF THE LETTER
THE BASIC CUT OUT, BEFORE YOU SMOOTH AND EVEN OUT THE EDGES
THE FOUR FINISHED S's
THE WOOD IS SANDED AND SEALED
I PAINTED TWO IN GOLD AND TWO IN BLACK, WITH A WAX FINISH TO COMPLETE.