Artists / Illustrators I've been looking at:
Tomas Shahan's woodcuts are so intricate and detailed. I love his depiction of light and dark, and his complex compositions. I want to try to emulate the form that he captures in areas of his work.
Hans Holbein is a reference that I've mentioned before, and for obvious reasons. He's created intricate, detailed work with clearly defined layers and sense of depth. He uses very few areas of solid black at all, and his use of line is really refined.
Mike from the print room put me on to Error Design, as they've got some pretty interesting hand printed work. I chose this example because of the communication of light on the hills/rocks and through the clouds in the background. Also the directional lines contouring the skulls.
Dürer, again, is an obvious one considering I've looked at his work within my dissertation. He captures an insane amount of detail in his ridiculously intricate woodcut series focusing on the Apocalypse. The directional lines are so fine, and his composition is incredible.
Michael Halbert is a scratchboard artist that I came across on Youtube. He draws all of his designs out in fineliner in intense detail on white scratchboard. Then he adds contour lines. He thickens the lines up in certain places, describing shadow or depth, and then finally he works back into it by scraping areas of the scratchboard away. He does this to sharpen lines, cut away shading, and add cross hatched highlights. He is ridiculously talented at fine pen drawings. I wish I had his talent and/or patience.
Nico Delort is another scratchboard artist, but I've chosen him because of the variation of tone and value in his work. Some of his line work is soft and subtle, and some is really sharp and aggressive. All of it describes form and texture really well. His illustrations are so striking, I absolutely love them. The variation of his mark making to describe different elements of the illustrations is what I find most inspiring.
Overall I want to practice mark making, and line drawings. I feel so out of practice having focused purely on carving flat, graphic linos for a while now.
Within my sketches I've been trying to introduce some contour lines and develop a sense of form, as well as build up some tone and vary the values. All with the use of line. It's been challenging in a way, because ordinarily I'll flatten things a lot when I draw them in order to fit a certain aesthetic when I linocut. I know that what I usually draw tends to look very different once I cut it.
At this stage I'm just trying to practice these contour lines, capturing the 3D form of something more than I usually do.
Mike from the print room put me on to Error Design, as they've got some pretty interesting hand printed work. I chose this example because of the communication of light on the hills/rocks and through the clouds in the background. Also the directional lines contouring the skulls.
Dürer, again, is an obvious one considering I've looked at his work within my dissertation. He captures an insane amount of detail in his ridiculously intricate woodcut series focusing on the Apocalypse. The directional lines are so fine, and his composition is incredible.
Michael Halbert is a scratchboard artist that I came across on Youtube. He draws all of his designs out in fineliner in intense detail on white scratchboard. Then he adds contour lines. He thickens the lines up in certain places, describing shadow or depth, and then finally he works back into it by scraping areas of the scratchboard away. He does this to sharpen lines, cut away shading, and add cross hatched highlights. He is ridiculously talented at fine pen drawings. I wish I had his talent and/or patience.
Nico Delort is another scratchboard artist, but I've chosen him because of the variation of tone and value in his work. Some of his line work is soft and subtle, and some is really sharp and aggressive. All of it describes form and texture really well. His illustrations are so striking, I absolutely love them. The variation of his mark making to describe different elements of the illustrations is what I find most inspiring.
Overall I want to practice mark making, and line drawings. I feel so out of practice having focused purely on carving flat, graphic linos for a while now.
Within my sketches I've been trying to introduce some contour lines and develop a sense of form, as well as build up some tone and vary the values. All with the use of line. It's been challenging in a way, because ordinarily I'll flatten things a lot when I draw them in order to fit a certain aesthetic when I linocut. I know that what I usually draw tends to look very different once I cut it.
At this stage I'm just trying to practice these contour lines, capturing the 3D form of something more than I usually do.
I've started by being quite free with it, like with the first Scolds Bridal sketch. This was really rough though, and it doesn't really make much sense. The lines are going in all different directions. Even if this worked as a sketch, this approach wouldn't work for linocut.
I moved on from it, trying to control the lines more to accurately describe the shape of the mask.
One of the small sketches, I based off a Holbein piece, where I noticed that he uses quite large areas of cut space with only small marks on the skulls and the foreground objects. The marks are then built up more in the background. This is great for small elements of a more detailed piece, but it wouldn't be striking or detailed enough for an A5 cut.
The Judas Chair isn't technically well drawn, (my light source is off and the line work isn't neat), but I was trying to get used to drawing in some directional lines / contour lines, and thinking about developing this to create areas of shadow etc.
I'm pretty pleased with the aesthetic of the thumbscrews. I know the structure isn't perfect but I can imagine this as a lino. It works well with the structured linework and the shading on the posts either side gives them form.
The Garrote - again, the light source isn't right but I'm just trying to get used to the way of thinking and drawing to cut. I like the way it's come out in regards to the contour lines and the sharp angles. This is another one that I can fully image as a cut plate.
I've been experimenting with line and cut some small lino tests, trying to explore the lines, textures and effects that I can achieve. Some of these I will take forward and incorporate into the final linos.
No comments:
Post a Comment