 |
| #1 |
I wasn't able to do the assignments for Lesson 7 of the on-line class "100 Drawings", offered by Jane Davies. I was just way over-committed. Even this week I've submitted only the minimum of six samples.
 |
| #2 |
Lesson 7, the week I missed, was an assignment to create interest with monochromatic colour schemes in a striped format. Interesting compositions were to be made with minimal differences in value, in hue, in texture and in edges (hard, less hard and dry brush.) Some stamped pattern was allowed, and so was some variety in the width and length of the stripes. It was an exploration of "the quiet".
 |
| #3 |
Earlier, Lesson 6 focused on maximal variety, creating extremely "busy" compositions. So it is only to be expected that this latest lesson, Number 8, is about combining zones of minimal variety (quiet areas) and maximal variety (active areas) in our samples. In fact, it was suggested we limit the active areas to less than 25% of available space, and include another 25% or so as "transitional" areas.
 |
| #4 |
It was great to see what the other students submitted. Some of it was really gorgeous. I also appreciated visiting Jane's Pinterest board, "Busy Quiet Balance", and seeing the video that accompanied the lesson. Jane is known for putting down lots of detail and contrast and then obliterating much of it with paint. This creates areas where the complexity is partially hidden, and gives a sense of ambiguity and mystique. It allows for exciting, unexpected things to emerge because so many decisions are made on-the-go.
 |
| #5 |
The point was made that "quiet" and "busy" are relative qualities. Although the demo showed vibrant and intense colour contrasts, I decided to limit my palette to a quieter range that I am more likely to explore in my own work. And though I did some "obliterating", I used that approach far less than Jane does.
 |
| #6 |
All of these measure 9" x 9", and use acrylic paint, collage, cloth, and watercolour crayon.
2 comments:
Thanks so much for sharing your work for this class. I'm learning along with you. Since I work with fabric I'm curious about how well these kinds of techniques translate to that medium.
I think that some of what I'm learning from Jane Davies is applicable to work in fibre. For example, having "high activity" areas balanced with quiet areas, and using variety to create interest. But I haven't yet found a way to use the "obliteration" approach, so successful in Jane's hands, on fibre, unless it's with paint on fibre. To a degree, you could achieve this with a layer or two of transparent tulle or organza. But that only goes so far. Perhaps others can offer examples?
Post a Comment