This Saturday I will be attending the first workshop at Edinburgh’s City Art Centre tied to their current A Capital View exhibition, featuring scenes, landscapes and portraits to do with Scotland’s capital.
The first workshop, that I mentioned a couple of weeks ago, is described thus:
Experiment with unusual format landscape drawings and paper constructions in this class.Inspired by early views of Edinburgh, panoramas and dioramas, enjoy a day of experimenting with viewpoints to create intriguing cityscapes.
I am really looking forward to attending this, as all the past workshops I have attended there have been superb, pushing the boundaries of my art. Last summer’s Condé Nast workshops and associated workshops got me interested in seeing the art in fashion. Until then I had been totally blind to fashion as a source of inspiration. I now consider it a core part of my art interests, and have much that I want to explore in it.
Since these workshops are all related to Edinburgh’s cityscapes, I have dug up some past Edinburgh works that I’ve done. This is also a quick way to make up for the lack of art I’ve posted over the last 3 months while building work is still ongoing on our house. It’ll be finished soon fortunately!
From 2 years ago:
From last year, the start of an oil painting (this is just the base layer):
From earlier this year, the view from my desk at work:
Over the next couple of months Tessa Asquith-Lamb will be leading 3 new workshops at Edinburgh’s City Art Centre.
I’ve attended a few of these free all-day Saturday sessions in the past, and have always found them very interesting. I attended a couple of fashion-inspired workshops led by Tessa last year (Fashionable silhouettes and Elements of fashion – Still life), and am looking forward to going to these. If you are local, perhaps you might want to sign-up too? I might not be able to make all of them unfortunately, but I’ll be doing my absolute best to clear the time so that I can go!
Sat 17 May 2014
A broad view
Experiment with unusual format landscape drawings and paper constructions in this class.
Inspired by early views of Edinburgh, panoramas and dioramas, enjoy a day of experimenting with viewpoints to create intriguing cityscapes
Sat 24 May 2014
A textural view
Explore collage and rubbings creating texture.
View the city through new eyes and create an imagined landscape of rock, castle, tenement and sky using a variety of textural techniques.
Sat 7 June 2014
An epic view
An experimental class looking at large scale ink and wash landscapes and cityscapes.
Enjoy the freedom of working in ink on a bigger scale, and experiment with mark making to create new views of your city.
Jacqui Pestell led the last of the adult art workshops at Edinburgh City Art Centre, in line with their 2 fashion-themed exhibitions this summer. Her class was called Precious Fashion Memories – Pattern, Texture and Colour.
The idea behind this class was to produce a framed object that encapsulated memories of fashions in our past. Alternatively we could produce an object that was wholly inspired by the photos and paintings in the exhibitions. This is what I ended up doing after failing to find a way to express the fashion of my 90’s punk/grunge days.
Exploring both exhibitions, 3 items caught my interest – all from the Coming into Fashion: A Century of Photography at Condé Nast exhibition. The first 2 were:
- One of David Bailey’s photos of Jean Shrimpton in his 1962 New York shoot for Vogue. I was familiar with the shot from watching the enjoyable and memorable BBC drama about this shoot, We’ll Take Manhattan. The photo can be seen as the last one on this page.
- Constantin Joffé’s photo for American Vogue (September 1945) shown here. In the exhibition it headed up a section entitled The Golden Age, ’40s-’50s.
These are sketches I made at the time. They were done in pencil on white paper, but I’m showing them in negative here because I like the effect:
The last piece that attracted me was this striking 1950 black and white cover of Vogue, of Jean Patchett taken by Irving Penn. I found the image to be quite timeless. It could be an image from the future – perhaps from many futures – as well as the past.
The photo epitomises Irving’s thoughtful arrangement of subject matter in artful compositions. In writing this blog I found that this particular cover had actually been used for his obituary in The Telelgraph when he died in 2009.
I was quite taken by this image and decided to spend the rest of the class working with it, and with the theme of timelessness and recurrence of ideas that occur to me when I look at the picture.
Jacqui supplied us with a 4.5cm deep, glass fronted frame (this one from Ikea) to decorate. I painted a version of Irving Penn’s photo with acrylic. I filled the frame with the plastic wrapping from two of the frames. Fortunately it was suggested to me that I leave the recycle logos intact.
My painting is so-so, but the wrapping and recycle logos capture the recurrence-of-ideas theme quite well. They imply re-use of previous fashions, ready to be unwrapped and made current again at any time. It is my first truly modern art piece that does something more than a traditional piece might. And it looks okay – it is still hanging on my wall 2 weeks after the class.
Last Saturday I attended the penultimate of the five art workshops I signed up for connected to the City Art Centre’s summer fashion theme. This one, Shadows of Beauty, a mixed media workshop, was run by Paula Flavell.
In this class we explored using alternative drawing techniques and materials. The class was about the process rather than the end result. I hope that you keep that in mind as you see photos of what I produced!
First up we removed one of our shoes and tried different ways to draw it:
Going clockwise from bottom-left, these are the techniques Paula directed us to employ:
- Blind. For this I drew without looking at the paper. I quite like the marks made because they capture the essence of the subject, and are quite unlike what I’d do if I were looking at my drawing.
- Blind contour. As with the first drawing, I didn’t look at the paper. The difference here was that I kept the pencil on the paper at all times and drew the contours of the shoe, i.e. those lines between different materials/sections.
- Contour. Like blind contour, but this time allowed to glance at the paper while following the contours. However, I was still meant to be looking at the shoe for the majority of the time while drawing. This was surprisingly tricky to do, on this first occasion at least.
- Non-dominant hand. In my case, I drew this with my left hand. This version you see here actually includes further right-hand work because we were given the chance to work on the drawing we considered the worst of the 4.
This was an interesting exercise, especially to see how a blind sketch brought out key elements which my usual considered drawing would downplay or even miss. I should experiment with this more to see if it was just a one-off, or if it has merit elsewhere too.
Following that warm-up, we moved to the painting exhibition to sketch parts of paintings that caught our attention. I stuck with one painting: By the Bonnie Banks of Fordie (There were three maidens pu’d a flower) by Charles Hodge Mackie in 1897. I particularly liked the figure on the left – a girl stooping to pick a flower. I did a few sketches of her.
For the following sketch, I started with a part-blind technique inspired by the earlier shoe drawing, by drawing lines with only occasional glances at the paper. Then I continued with loose marks to fill it out. I like how it compares to the above, more controlled picture.
For the final sketch I did a close-up to have something else to work from:
We used these sketches as source images for the remainder of the day.
CHARCOAL PRESSED INTO CUTS AND SCRATCHES
Still before lunch, back in the studio area we tried a technique of drawing with a needle or craft knife, and spreading crushed-up charcoal into the scratches/cuts.
I particularly like the result of my first attempt, where I smudged the charcoal more into the background of the girl:
I did two more attempts where I achieved a fuller shading by pressing a piece of charcoal covered paper over the scratched paper. For the second of these two, I used a craft knife to cut into the paper instead of scratching it with a needle. I prefer the effect produced with a needle.
MAKE-UP AND OTHER ASSORTED MATERIALS
Over the afternoon we played with make-up. We did lots of experimentation with a variety of make-up materials such as lipstick, mascara, eye-shadow, and other items like vaseline, in addition to more conventional painting media. We also had a selection of surfaces: card, tracing-paper, rice paper, sandpaper, coloured paper, transparencies, and so on. The subject of the experiments was the drawings we had made earlier.
To restate the start of this post: The class was about the process rather than the end result. The results below are not much to look at, but I’m grateful of the experience of going beyond the usual limits. For me, the stand-out discovery was the lovely effect of chalk on sandpaper. I also like the eye-shadow on card.
Lipstick and chalk on sandpaper:
Eye-shadow on card:
Lipstick and mascara:
Lipstick on tracing paper:
Lipstick and chalk on black paper:
Eye-shadow on pink paper:
Eye-shadow on paper:
I tried out a lot of things in this workshop, and I’m sure I will repeat these types of experiments throughout my drawing life.
Tessa brought in a selection of fashion accessories for us to draw in the morning, and paint in the afternoon. Among all the items I chose an arrangement of a hat, scarf, and a pair shoes. A photo of the original items is shown at the end of this post.
For the pencil drawing, we started with a line drawing and then added more contrast and shading to capture the material textures. I did a little work at home to strengthen the the hat and shoes. This is the end result:
In the afternoon we used acrylic to do some painting. I chose to paint my original choice of items so that I would be able to compare it with my pencil drawing.
A few months ago, I decided that I wanted to take an acrylic course this autumn as I’ve been doing watercolour for a while, and had tried oil. Unfortunately there were no acrylic courses available in the council-run courses for the autumn, so I was very pleased that I could try acrylic in this class.
So, this is my first attempt with handling acrylic:
It was good practice spending time to draw the mixture of textures in this still life composition, and I’m glad to have got the chance to try acrylic. I’ve got some acrylic paints at home so I should try using them now. My thanks to Tessa for the class, and to the City Art Centre for running it.
These are the originals:
This is the drawing I didn’t complete in the City Art Centre class I mentioned in my last post:
I finished it off a couple of days ago:
Lisa Fonssagrives’ skill at modelling would have been helped by her interest in art and sculpture, and also dance. She had her own dance school before modelling, and pursued sculpting afterwards. She featured on over 200 covers of Vogue, and is described as the first supermodel. Her Voguepedia entry has more info. Here are lots of photos of her.
“Fashion photography has been described as using the world as a backdrop and transforming it into a stage.”
…from the description of the Fashioning the Fantasy class I attended. Paula Flavell ran this class at Edinburgh’s City Art Centre as part of their Coming Into Fashion exhibition. I first saw Paula at the textures Drawing Room she led last year.
The goal of this class was to produce a 3D stage model, but along the way we were able to experience printing using carbon-copy paper and practice some charcoal drawing techniques too.
To begin we had a look at a selection of the photographs on show at exhibition. We picked a photo to make a quick sketch of. This is my sketch (5-10 mins) of a photo by Cecil Beaton that appears in American Vogue in 1936:
Back in the studio space, in keeping with the photographic theme, we placed carbon-copy paper onto a 7×5 sheet of photographic paper, and drew over the sketch to press the black ink into the sheet. Using this method we could edit our image by choosing which lines to draw – removing some, adding others. The resulting effect was quite pleasing, with crisp well-chosen lines:
Before lunch we prepared for our 3D stage piece. I chose to base mine on a photo by Erwin Blumenfeld that appeared in French Vogue and American Vogue in 1938. The photo was of a woman in a flowing dress hanging from the beams of the Eiffel Tower, with Paris as the backdrop. I haven’t sought permission to reproduce it here, so you’ll have to make do with my versions of it. In the morning we practiced our handling of charcoal by drawing our chosen photo. I didn’t complete it in the class, but I did complete it last night and will share the final version in a separate post.
Paula demoed some techniques to help our handling of charcoal. The following is a photo of Paula’s demo, showing:
- the difference between vine/willow charcoal (top) and compressed charcoal (middle)
- application of varying strengths (left-to-right) and using a rubber to remove it
- using water with the compressed charcoal (bottom-left)
- drawing charcoal over a texture (bottom)
- using a mask to leave a white patch (bottom-right)
In the afternoon, we worked on our 3D stage. It was constructed from cut-and-fold card that Paula had prepared for us. It required layers of illustration from the background to the foreground. My model consisted of:
- background – the sky and Paris cityscape, with little detail
- mid-ground – the woman and the beams of the Eiffel Tower she was standing/hanging from
- foreground – a beam of the Tower
This was my not-so-great result. Note that the foreground layer was badly planned because most of it is obscured by the frame!
It was fun deconstructing the layers in the photograph, and building something up from that. The more I’m exposed to methods such as these, and the silhouette isolation from the previous class, the more I become accustomed to considering things I observe in this way. A useful technique for sure.