It is difficult to emulate a deisgn that is by and large intuitive, and it takes a lot of courage to just start with a blank sheet of paper, a very rough sketch, and start painting. In our study of David Jones' method, I came across one report where someone saw his scribbled out rough, blocked out onto something like graph paper. Also, he said that sometimes his inscriptions worked out and sometimes they didn't. So we know that he didn't do laborious roughs and plans. This is how we went about … [Read more...]
Some lovely work from the David Jones workshop
Here are some pieces which show how excellently people worked within the colour limitations.This is just ONE aspect of the workshop. A lot of opening one;s mind and cutting DJ some slack was also needed (I mean, some of his letterforms would fail anyone on any course!) But we have chatted about How and Why his work is amazing despite...because of... Jenny Meyer from Cape Town Carin put a desert rose on each desk in Pretoria when we began the workshop, and the rooster kindly left a feather on … [Read more...]
David Jones and Complementary Colours
I think that all these colours would be worthy of a David Jones inscription. Each of these bands of 6 swatches were made using just two complementary colours in gouache. The top band was red and green, middle was orange and blue and the bottom band was yellow and purple. Then if you take any of those mixes and add a little white, you get beautiful tints. Some of them could be a bit more degraded, but you can see the concept. They are in the same order - red, green and white, orange, bue and … [Read more...]
David Jones and Colour
Nothing quite kills colour as effectively as black and grey - that is grey made from black and white. but 'coloured greys' - ahh, there's the difference. And in fact we can consider 'coloured blacks' too especially when it comes to watercolour. The colours of David Jones' letters differ from one letter to the next - often just slightly. This suggests to me that he mixed his colours as he went - true artist style. He doesn't mention the colours of his inscriptions anywhere, so this is all … [Read more...]
Studying David Jones’ Inscriptions
You can study another artists' work by analysing it, copying it and then creating your own in a similar vein. To make it 'your own', you need to incorporate some of the essence of it into your own work so that the result is highly personal and original. A tall order. Often it takes a long process to move away from the master towards the self. I drew up a questionnaire to help the workshoppers analyse the work. They worked in groups of three and each had a full-sized inscription. You can see how … [Read more...]
- « Previous Page
- 1
- 2
- 3
- 4
- 5
- …
- 12
- Next Page »