Final stage adding in the line work, defining the perspective and leading the eye to the distant point.
 |
| Oct 5th 5.15pm |
This print will partner the previous square print at my little exhibition in a month's time.
Showing posts with label balance of tone. Show all posts
Showing posts with label balance of tone. Show all posts
Thursday, 29 January 2015
Printing squarely - bringing out the image
I left this print on the last post at the first tonal stage. The second layer of tone gave much more detail and I can see where I'm going now...
Final stage adding in the line work, defining the perspective and leading the eye to the distant point.
I left the title of the print fairly ambiguous - different months have layers of meaning for different people - I hope the time suggests a relaxing point in the day to be out for a walk.
This print will partner the previous square print at my little exhibition in a month's time.
Final stage adding in the line work, defining the perspective and leading the eye to the distant point.
This print will partner the previous square print at my little exhibition in a month's time.
Thursday, 6 March 2014
A grand time
I've had some busy times in the print studio and new work is on its way.
Here's a print I made for the New Brewery Arts show (which closes this Saturday afternoon)
This image was taken from sketchbook studies made last summer.
Drawing in this place brings the trees on the left into prominence, they stand waiting to greet walkers as they pass by.
The path at this time of year opens up and loses character but in the summer the undergrowth and lush leafy branches frame the path and the feeling of walking along here is more like that of being in a grand hallway in a large building. The thickness of the leaf canopy make the view in the distance quite dark, but sunlight pours onto the path creating strong tonal contrasts.
An earlier proof was more like my sketchbook drawing, but was too insipid as a print, I wanted more drama - hence the stronger contrast.
The process is always an adventure - what will work the best? And what works well in one medium does not always translate to another
Here's a print I made for the New Brewery Arts show (which closes this Saturday afternoon)
This image was taken from sketchbook studies made last summer.
Drawing in this place brings the trees on the left into prominence, they stand waiting to greet walkers as they pass by.
 |
| 'Grand summer path' completed etching |
The path at this time of year opens up and loses character but in the summer the undergrowth and lush leafy branches frame the path and the feeling of walking along here is more like that of being in a grand hallway in a large building. The thickness of the leaf canopy make the view in the distance quite dark, but sunlight pours onto the path creating strong tonal contrasts.
An earlier proof was more like my sketchbook drawing, but was too insipid as a print, I wanted more drama - hence the stronger contrast.
 |
| 'Grand summer path' mid point proof |
The process is always an adventure - what will work the best? And what works well in one medium does not always translate to another
Sunday, 10 February 2013
Streaming Path
Having looked at this drawing the white un-drawn areas down the right hand side worried me. I agree with the premise of allowing the viewer into the image by leaving some areas unresolved, but this can be achieved with dark as well as light and there seemed to be no good reason for this image to have light areas.
That's better, the darker ground frames the running water. I've also started working some detail into the water, as far as the first main twist back in the course of the flow. I tried working back further but its too visually complicated.
Its difficult to see in these pictures, but there is quite a lot of change in strength of tone in the water ripples and the land to the left of the water.
I am so pleased with the strength of the dark on the left, it stops the viewer getting tied up looking at tree trunks and concentrates attention on the water.
Finishing this one (please excuse the bulldog clip in the photo!) has required subtle balances of tone, adding in and taking out detail - a gentle exchange.
There's still a lot of water around!
That's better, the darker ground frames the running water. I've also started working some detail into the water, as far as the first main twist back in the course of the flow. I tried working back further but its too visually complicated.
Its difficult to see in these pictures, but there is quite a lot of change in strength of tone in the water ripples and the land to the left of the water.
I am so pleased with the strength of the dark on the left, it stops the viewer getting tied up looking at tree trunks and concentrates attention on the water.
 |
| Streaming Path 70 x 35cm Nitram Charcoal |
Finishing this one (please excuse the bulldog clip in the photo!) has required subtle balances of tone, adding in and taking out detail - a gentle exchange.
There's still a lot of water around!
Saturday, 2 February 2013
Charcoal drawing - Brook reflection
The final stages of the brook have been all about detail in the water and tree branches, and balancing tone.
The distant hill line needs some fuzzy definition and the tree needs work to build up its shape.
At this point I felt that I needed to pay closer attention to the reality of the place, so on a sunny Saturday morning a managed a plein air sketch
Better, the spindly branches coming in from the right are now framing the central tree
Time to get to grips with the fiddly reflection, and bring some definition into the foreground
I liked the circular ripples at the front of the image, until I realised that they attract the eye too strongly, and create another focal area beneath the rail - too distracting!
The balance is better throughout the image. I've darkened the bridge and lowered the arch slightly too, it now feels more like the real place. The ripples went, to be replaced by flowing shapes which continue the motion of the water rather than stopping it. Leaves in the bottom left corner create a more natural scene. Altogether a good feel of this familiar place. Done. I think!
The distant hill line needs some fuzzy definition and the tree needs work to build up its shape.
At this point I felt that I needed to pay closer attention to the reality of the place, so on a sunny Saturday morning a managed a plein air sketch
Being back in 'the place' showed me that the bridge and the central tree were really dark, and detail was difficult to make out. Some adjustments to the charcoal drawing will be needed. Being there for a period of concentrated looking gives me so much more confidence when I'm back in the studio. I feel more able to get the essence of the place.
Better, the spindly branches coming in from the right are now framing the central tree
Time to get to grips with the fiddly reflection, and bring some definition into the foreground
I liked the circular ripples at the front of the image, until I realised that they attract the eye too strongly, and create another focal area beneath the rail - too distracting!
 |
| The final drawing |
The balance is better throughout the image. I've darkened the bridge and lowered the arch slightly too, it now feels more like the real place. The ripples went, to be replaced by flowing shapes which continue the motion of the water rather than stopping it. Leaves in the bottom left corner create a more natural scene. Altogether a good feel of this familiar place. Done. I think!
Subscribe to:
Posts (Atom)