Lino Prints

Three lino prints, two on a rubbery material, the last on a more plastic. When it comes to creating a good lino its about how steady the lines are and all the cut marks should be equal in depth. The actual prints made needed the paint to be smooth covered at the same consistency. Originally my idea for these prints was to engage them in the illustrations. As they didn't turn out as well I'd hoped I've decided not to involve them but the small red print seemed good enough to use in my ceramic tea set. The red and green prints are segments taken from background wall art in Chinese rooms, they still do have the style of the old photos and if there was more finesse I may have attempted an entire print of one the depicted scenes of the fairytale. The blue rose print is a central part of the story and all together I used the three prints to fill an entire sheet with. I wouldn't say that print making was a wasted effort despite all the problems, perhaps cutting work just needs more delicate attempts.




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Photo Negatives

The idea of using a phone in the dark room to project the light off the image and onto the shiny paper is a useful tip. It's difficult to navigate the image to fit on the paper and timing it right, typically the image needs to only be projected for 5 to 6 seconds and then you can have a decent photo negative. The first photo as shown here with twin dragon was originally just one drawing but I copied it onto some clear paper and flipped the clear one around. The two together had a geometric appearance with the scales and the shapes create an abstract effect. I then took a photo and used it in the dark room. Here the image developed fades slightly where the parts haven't been doubled over, making the middle area a central focus point. Another good thing about the negative photo is that the entwined dragons have lost their definition lines that made it easy to tell they were two different dragons. I defiantly think this was an improved result by transferring work to another art area.
The second photo was from a lino print I made, I zoomed in on the print with my phone and found once the image had been developed it was too simplistic. Placing some ink colours onto the photo with a slight runny effect made the photo more interesting to look at. 


Chinese Dragon

While trying different art styles of popular fantasy artists I decided to look back into my style I've used before and see if I could get any better outcomes. I found a small sketch I was working on which was this Chinese dragon to actually be better than everything else I've done so far, my style is more bold with the black lines and it simply looks better. Some of the artists I've researched that created patterns with details gave me an idea on what to work with, like the scales here are much like a pattern with how they repeat all over the body. This drawing isn't effectively tied with the story of the Blue Rose so I've sent it to go to Baileys with some other drawing I did after this one. It'll then be transferred onto a paper where the image can slide off and go onto my tea set making it all look more tied to the art concepts of China. From doing this I hope on trying ink drawing with my art style and seeing if I can continue to make it all more Chinese themed.


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Resin Casting Blue Roses

The steps taken for this process of resin casting was cutting a block of wood based on the size of what I wanted it to go around. Here the wood is cut for small ceramic roses similar to the larger one I've done before, the clay becomes less malleable the smaller it is and these roses are smaller than the palm of my hand so I thought resin would make them look better. The block of wood cut will need to be sanded well, especially around the edges as it could potently break the sheet when placed in the vacuum former. The block of wood should be slippery enough to wedge out of the mould and a screw inserted to pull it out without damaging the mould. After this point its about spraying the mould and making the resin mixture that gets poured in steadily. The resin should be poured in a vacuum degassing unit, as shown here with bubbles surfacing, it needed that done more because the resin is deep. 


Batik Technique

The technique of batik goes in the stages of making a design, lightly mapping it out on the fabric with pencil then waxing it. The wax is typically bought as small beads that get melted in the electric pan or pot. It takes time for the wax to melt but once it's at a liquid consistency the work can get started. There's different tools of use for making batik, a selection of them are called Tjantings, these have wooden handles and a small copper pot at the end where it can leak out the nozzle. Some end shapes will give better results than others like the triple end prongs for a more dynamic effect. The last tool for batik is the common paint brush, the finer the tool the better as the wax seeps through the fabric, making a larger wax line than originally planned. After all the light pencil lines have been covered leave to dry and get all the necessary fabric paints to colour. The last stages once dry is ironing out the wax with an iron. Newsprint needs to cover over and under as the wax will reattach itself to another surface instead of fabric and then the piece is completely finished.


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Walter Crane

Prince with Deer, from the Hind in the Wood, by Walter Crane, (1845-1915)

Walter Crane is viewed as one of the most well remembered artists of his generation with his book illustrations. In the earlier days even children’s books illustrations were considered high profile and seen as exhibited art to the public. Crane had the capabilities of doing detailed art as shown by his earlier work but later became inspired by how the Japanese art was portrayed more than his previous acrylic or oil paintings. The stylised pieces of art are considered to be his own in an almost trademark way. Despite being influenced by the Japanese art method, Crane has something Greek like about his art that especially flourishes when he does the older stories pertaining to this era. A lot of the time he managed to capture what the culture is like in his illustrations by researching instead of using imagination. While many artists could give a gritty approach to their retelling of the old fairy tales Walter Crane made it more cheery by simplifying the line art so the textures and colours would appear more prominent. The colours in his work were incredibly vivid when used on any surface, they all go together with enough contrast to stand out without making it out of place. Crane also did stained glass pieces along with trying other specialist areas. The stained glass and his illustrations go together as they’re connected with how he uses thick linear art and bright shades to create both. The stained glass process was done with thick lines and vivid colours as it’s the structure of the glass and the illustrations as it was his chosen method.
The art of Walter Crane is able to both simplify and stylise as he knows how to draw realistically well. I intend to try line art and possibly water colour to see if I can make potentially good results. The boldness of his line work is what I really hope to transfer to my work as this is how I hope all of my illustrations may look towards the end when they're final outcomes.

Arthur Rackham

Alice in Wonderland by Arthur Rackham - 10 - Off with her head!

Arthur Rackham has worked with various illustrations in books such as fairy tales ranging from Alice in Wonder, Peter Pan and Lord of the rings. His technique has an almost mighty appearance in regards to colour and tone. The colour scale uses mostly greys and light shades and assists in bringing out the linear work making the artwork seem rather dark and sketchy. The process he uses is unique to him and has been compared to photographic work. Rackham started the process by sketching out what he wanted then placing over the shapes and details, afterwards the process would be about adding ink line art. How much effort and attention to detail that he did shows how experimenting with techniques can make development work an art form. He even continued this experimental streak when he went on to make out cuts of figures and stories. Closely resembling shadow figures, this different style change happened after the war and it seems much more simplistic, perhaps he didn't wish to have the gritty style associated with his work any more. As he illustrated stories targeted for children and his old art may inspire negative emotions that isn't ideal after a war.

One thing that can be easily noted is how much detail and texture that gets placed into the illustrations overall; they’re all incredibly attention drawing, every section making its own detailed pattern, like articles of clothing or wood. This all together makes the art have less of an area of focus as many art pieces tend to do. After looking at this I would like to try and spend more time on my own drawings seeing what fits best and try giving each section its own pattern with attention to detail as Arthur Rackham has achieved in his art. 

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