Possible location for FMP and Canvas Development

Above is an image of of the back wall in the lower gallery of the Castlefield Gallery, where I may be hanging my large canvas.  They have strip and spot lighting, so any work here is well lit.  Knowing the size of my canvas has helped me to visualise the space better.  It's getting ever closer to our exhibition now and I'm beginning to feel a little nervous.  This will be an important exhibition for all of us in our group.

Below shows the initial mapping out of my canvas.  I have spent some time working out the measurements for this piece.  I have followed the design I have sketched out in my sketchbook, but I've tripled the depth from the edge to the canvas to the pencil line which is just visible.  I am going to use various textures from paper to textured paste and egg shells in the section that I've drawn so far.

Here are 7 6in x 8in pieces of paper and card that may represent the size I could use on this canvas.  I wanted to try various sizes, not going too small, because I don't want the texture border to overshadow the images.  I am going to layer various paper from flat to textured in the middle section under the photographs and stamp images.  This will be painted over using earth coloured acrylic paint, which will be of different intensities.

Above is a selection of 5in x 7in canvases that I chose to represent the same arrangement as above but on a smaller scale.  Personally I think this canvas can take the larger examples above.  I want my images to have impact and not be overpowered by the surrounding media, although I want people to be able to see them as a part of the canvas and as a whole of it too if that makes sense.

The above images, which may be hard to see here could be my final choices for this canvas.  I'm undecided whether to do a series of image transfers, which could stand alone from this canvas, or a series of photographs which will need framing.  So it's cost versus time.
Opposite is the start of preparing the middle of my canvas.  I am using various papers from white printing paper to brown wrapping paper and textured paper in rectangles and squares.  This will represent the old train timetable layouts that I found whilst researching Castlefield.

Above is a close up of the bottom right hand corner.  As can be seen the square/rectangle pattern is starting to emerge.  Once it has been covered with acrylic only the edges will be visible.  I may highlight some of these lines to emphasize them; to pick out the cross lines as shown on the ole timetables.

Below is another close up.  It's easier to see the textures on this image.  I hope these show up once they have been painted.  I'll have to be careful not to totally obliterate them.

Top right hand corner close up.  The greenish gold textured paper was very hard to keep glued down so I had to use other papers to hold it down.  I was going to use more of this paper but I'll have to be careful because it will be difficult to lay image transfers over it without distorting the image.  This didn't matter too much as I wanted some cross over to achieve a variety of sizes.  Some of the larger shapes may be covered further at a later stage. 

Above & below more close ups.  I can't wait to put some paint on this so that I can start work on the outer edges. 

Well that's all for now.  Keep looking for later developments.  I'm sure this is going to be a fun project.

Sketchbook Development

Hi there friends.

As promised some of my sketchbook experiments that I've been working on over the past weeks.
I have really enjoyed working on this project as I've known from the start which textural experiments I wanted to revisit.  It's now slowly starting to take form in my head about which one's I want to take further and how I want the overall piece/s to look.  I have spent the entire Easter holidays working towards a final decision and I'm pleased that I'm on the right course to what I hopefully will be my best piece of work to date.  Anyway see what you think.  I will add more images over the following weeks so that you can see my projects' progression.

Always good to have your title on the first page; something to refer back to especially if you use it for a mind map too.  I like to prepare my pages with white emulsion paint and then watercolour as it gives some lovely effects, which can be seen throughout this post.  For the main title Sense of Place I used pen and wash to add a sense of looseness.

The image above and below are close-ups of the title page.  You can just make out my mind map ideas.  I find it useful using this method, because if I feel I am losing direction, I can always refer back to it. 

Below I have found some useful ephemera whilst researching for my Final Major Project featuring Castlefield.










Here I've used old train timetables and train tickets, that I may use for further experimentation.  Also whilst researching various layering techniques I have devised a way of incorporating the squares and rectangles from the timetables.  I aim to layer the canvas/s using a variety of textured papers in rectangular and square shapes, which I'll then paint over before image transferring my own images and intaglio prints.  I may use dots to outline a few of these shapes, connecting them to my ephemera and the relationships with the past and the present.   Castlefield was home to the first passenger railway and I may use photographs of Knott Hill Station in my work to keep a connection that people will be able to relate to.                                                              

I want to use the date 1761 because this was the date the the 1st Duke of Bridgewater officially opened the first canal.  This was linked to the River Irwell making it easier for him to transport his goods to what was to become the Industrial heart of Manchester.  I think it will fit well with my project.  What do you think?  Also the number 64 for me is significant as there were 64 turntables from the canal into warehouses along Liverpool Road, which could have originally been part of Castlefield or at least it's close by.  To me this connects Castlefield to the present and also reminds people of where their roots have come from.

To prepare these pages I've used white and sunflower emulsion paint, with a light green watercolour wash over the top.  Again in keeping with some of the themes running through my work I've used the yellow emulsion to loosely represent straight lines crossing over on the timetable structure.

This page represents old maps of Manchester and the Bridgewater Canal.  I used pen and wash to do a rough sketch.

I wanted to use various papers and material, such as scrim to see how the paint picked up the textures.  I particularly like the paper that I've screwed up and the prepared art shop bought paper as this gives the best results.  Not sure these are my best examples but I wanted to give you an idea of what I'm thinking of using an where I'm going.

The page opposite is an experiment with 'frottage' a technique of using oil pastels rubbed over a textured surface, (in this case wood chip wall paper) over and under layers of tissue paper.  I deliberately used the tissue in straight cross-over lines to loosely represent the train timetables and also to vary the tones of the tissue.  I think this is an effective technique, possibly best used on paper and not on canvas unless you are not thinking of painting over the top, so this is possibly not going to feature in future work.

Left and below are a coupe of photo montages I developed with a view to sketching some abstract images that I can transfer onto Intaglio card, ready for printing.  I have had a lot of success with  abstracts from this method of working in past projects, so I knew I wanted to revisit this again.  Watch this space as I will upload these soon.

Left and below are images of my experimentation with a limited colour palette.  I am first and foremost a colourist, but sometimes I like to use a limited colour palette, especially within a city setting, as colours can often be restricted (apart from advertising) dependent on the colour of brick or stone used to construct the buildings.  Victorian brick is a lovely red, so I knew from the outset that I wanted to use earth colours. 
Because I love nature ( wanted to add some greens to my work to see if this would work out.  Manchester has spent millions since the 80's  transforming the city, turning old
dilapidated mills into sort after luxury apartments, that have small oasis's of green gardens and benches for people to relax on.  This transformation of what started out as an industrial busy place, to a derelict area and now into pleasant surroundings was the impetus for my idea for this project.

I particularly like certain colours, such as the burnt sienna, as it naturally granulates when applied to the paper. For this palette I used acrylic, watercolour and gouache paint, so that I would have a balance of mediums.  On one page I painted straight onto virgin paper and the other I panted my palette over white emulsion paint, as I wanted to compare the results.  I got some interesting effects on the prepared page as can be seen in the middle image.

I like the way the gouache and watercolour repels off the emulsion paint forming interesting patterns.

Above left is watercolour and the right is gouache, both with rock salt.  I'm not sure if I will use this technique, but I wanted to try it as I've not had much success in the past.  I think you will agree that it has been successful this time round.

Opposite is a wax resist and watercolour wash experiment.  I think it's fairly effected, but perhaps a little too pale.  Below is another sample where I've applied a slightly stronger wash of burnt sienna.  This shows the wax resist well.  I used a cold wax candle to draw arch shapes over the page.  I want to include a pattern of abstract arches possibly as a background into my work, to link the bridges of Castlefield.

Below I've used a stronger was than above.  I like how the paint settles on the wax and think it makes an interesting effect, which I could use again further into my wok.

On the image to the left I've prepared the page with yellow ochre, then added wax after it was dry.  I then applied black ink.  This experiment wasn't too successful, so below are a further two experiments that turned out just right and look effective.  I may use this technique again.  I have used irregular squares and rectangles from the inspiration of the timetables for this.

Opposite is a wash of burnt sienna with cold wax and oil pastel.  I may need to experiment further.

On these two images the ink has blotted out most of the paint effect, which was deliberate.  I wanted highlight the paint through the wax. To the left image I further added some watercolour undiluted and I think it adds to the effect.

I'm not too sure of these two images.  the left is on paper cold wax and ink and the right is cold wax on cotton with black ink.  I quite like the ghostly effect of the second one.  It reminds me of the smog filled Industrial Manchester.

The left image is cold wax and acrylic burnt sienna on black card.  I don't think I'll be using this again, but it's good to experiment to find out what will work and what won't or what you don't want to use.

 

Above I've used the same technique on scrim, but the effect is too vague for what I want.

This image is burnt sienna acrylic that has been treated with cling film to create a textured effect.  I want to try it again using thicker paint, to get a more defined look that I may use again.

Sgraffito on black card using  the handle of a paint brush.  I think the paint should be thicker and a wider instrument used for a better effect, although it is possible to see what I've done.






Below is large bubble wrap over burnt sienna acrylic held down by a large book to create a textured effect.  It is a bit hit and miss in parts, but I think this adds to the effect.  I may use it again.

My images have been altered on Photoshop into stamp images that resemble lithograph prints.  I particularly like this effect and want to use some of my images on my final pieces after I've done some more experiments with them, using some pale washes or tints before I image transfer them for example.

I love the image above as I feel it is timeless.  It's almost impossible to see 21st century influences.  I will definitely be using this image as part of my mixed media piece/s.  Since I took these photographs I've been back to Castlefield to take some more.  It was bright and sunny when I returned and was a complete contrast to the one when I took theses.  I know I've got a wide range of images to choose from when deciding which ones I will use on my final piece/s that I'm confident will reflect my sub theme of 'relationship with the environment'.   

I split the image above to show how easily it could look in a by gone age, even though at the height of the Industrial Revolution there would have been barges, produce and the busy bustle of many workers would have shown a truer image.

Opposite is more textured experiments with brown screwed up paper and acrylic and emulsion paint.  I will probably use this method again.




Below is a series of my images that I've altered on Photoshop.  I want to age some of my images and have tried several ways of doing so.  On the first on (top left) I used photo filter, but I haven't got the level quite right, so will need to try again.  It's a little too red, instead of sepia.  To the right I have desaturated the image then used box blur, which again I'm not too sure about either.  I do believe that it is good to show experiments that haven't worked out as you had planned to show how you've developed your ideas.  Bottom left has been desaturated and then colour balanced.  Again it didn't turn out as expected, but that's part of the fun of trying different techniques.   The centre image has been desaturated.  I then googled how to make an image look ghosted, so that it will look older.  Following the simple instructions I used motion blur.    To achieve this look I altered the settings to 30 pixels, which is too much, so I've done another one to 20 pixels, which I'm also putting in my Reflective Journal as I couldn't upload the image on here.  It looks more like the effect I was after.  I tried the same effect on the image on the right and although it looks older 30 pixels is too much on this image too.  Again this image will be in my RJ.

Above is my first attempt for this project of an image transfer onto canvas.  I prepared the canvas first with a very light wash of burnt sienna and raw umber acrylic to achieve a tinted look.  Unfortunately it is hard to see on this image because of the flash when taking the photograph.

The small canvas below has had a variety of textured and smooth paper, cut into rectangles and squares and will be covered with acrylic paints.  I like how it looks like this in it's raw state as an abstract piece and it has given me food for thought for future project, but I'm not going to let it distract me from my main objective.  I will also use the results from this small prototype to do a large one that I can add some images to, to see how it works.  I will post those results in the near future.   

Right that's it for now.  Keep looking for more updates in the near future.

Important Information on my Sense of Place Prroject

Hello again

Well I've finally come to a decision about how I'm going to create my Final Major Project.  I've decided to follow my initial plan of a mixed media piece/s, creating textured surfaces from paper, textured paste, image transfers, intaglio and collograph printing, alongside other ephemera.

I've yet to decide what base I will use; either canvas or board.  What do you think?  I've only used board once on a small scale, so this would be a challenge on a larger piece.  I feel a lot happier now that I've finally made up my mind.  I was getting worried as there is only 5 1/2 weeks to go.  I will be experimenting with the other option of displaying my work over 5 by 5 squares with image transfers on cotton, silk or straight onto the square surface onto either coloured background or adding splashes of colour over the top in my sketchbook so that I can see how it would look and also as a way of showing how I've come to my final decision.

I look forward to updating this blog with images from both sets of experimentation's, so keep an eye out.  I hope to be uploading them before this week is over.
Bye for now.

My Artist Statement

                                                          Jackie Gibbs

                                                                                                            Macclesfield College

                                                                                                            Foundation Degree

                                                                                                            Creative Arts for

                                                                                                            Employment

                                                                                                            2013

Statement of Intent for My Final Major Project

CAE 10: Creative Arts in Practice (Student Negotiated Brief)

Theme “Sense of Place” (Relationship with the Environment)

Subject Areas;

Photography, Print, and a wide range of Mixed Media

Section 1:

During my 2 year Foundation Degree I have revisited some subject areas such as photography, printmaking, pen and wash, sketchbook (for initial ideas), work, mixed media and Photoshop, which has enabled me to become more proficient in these areas.  I have experimented with all aspects of media, but for this project my aim is to focus on specific areas from the above as I think they will afford me the best mediums for my final project.  I have decided this after looking at the mediums I work best with from previous projects I have completed successfully.  I have developed a particular style that will in part fit well with the ideas I’ve had so far, but I want to experiment more with mixed media and incorporate old and new techniques for a final piece/s of art.  I am looking forward to this project but at the same time I’m apprehensive too.

I have enjoyed completing my commission for Arighi Bianchi’s using a mix of traditional and non-traditional methods of painting, which I want to take further, as well as using photography, pencil sketching, pen and wash and watercolour.  I also want to create layers using various mediums from my own photographs, which for some I’d like to age giving a sense of place from a by-gone era, intaglio and collograph printing too using various textures to create a sense of depth and also as a way of bringing the foreground into the present.  I will be using Photoshop to manipulate images from my photographs that I can use on the final piece/s too.

Section 2:

I’m inspired by a great number of sources but I’m mainly drawn to the natural landscape, which I intend to include as part of my project, by introducing small oasis’s of green into my work.  When transforming Manchester’s old mills and giving them a new lease of life, they have included small gardens to soften the harsh lines of the buildings and to inject a sense of tranquility not normally found in a city centre. 

I aim to use a fairly limited colour palette of warm earth tones i.e. raw and burnt sienna and umber, red and yellow ochre, and soft greens to reflect Manchester’s rich colours.

Artists such as Turner, Constable, Leonardo, Caravaggio, Titian, Jackson, Keifer, James Naughton, Colin Halliday, Ingrid Karlson Kemp and other mixed media contemporary artists, inspire me.  I have researched in detail a multitude of mixed media techniques some which I will use and others i will save for future projects.  I like the relationships between the past and the present and how the changing faces of familiar places take us on a journey of discovery.  I find Manchester has sympathetically modernized itself within keeping of the fine Victorian architecture and it is this relationship with the environment that intrigues me. 

My long term aspirations after successfully completing this course is to concentrate on the gallery I co-own with Louise Knight, Carol Newton and Michelle Stringer called StudioFour Gallery helping to raise its profile and be an accomplished artist, whilst hopefully working as a tutor or in the art industry to help make this venture a permanent fixture. 

I now have a good understanding of under painting, mixed media techniques, photography and printing, which will stand me in good stead for this project.  I also want to experiment with new techniques and I will also research old and new artists for inspiration, whilst refining my style.  I aim to be more expressive with my approach and techniques for this final project.

Section 3:

Personal Confirmatory Study: Aims & Objectives

My aims for this project is to look at the changing environment of Castlefield from the Industrial Revolution to the present day looking at relationships between the landscape and the people who lived and live there through experimentation and research both primary and secondary.  This will involve looking at snapshots of specific time periods such as when it was a thriving social and economic society, the decline of the use of canals and some railways to carry produce to the regeneration of the old mills into prestigious apartments.  

I have been particularly interested in 'Chiaroscuro' and 'the Golden Spiral or Golden Ratio as it's best known', which I want to develop.  Chiaroscuro is the strong contrast between light and shadow and Golden Spiral or Golden Ratio of appears in mathematics and nature.  I'm fascinated by how the great masters chose to show how intense the difference between light and shadow and whilst it draws the viewers eye it doesn't detract from the whole image.  i can say the same for the Golden Ratio too.  I aim to experiment with both these techniques in my sketchbook with a view to using it on my final work.

I will use photography, intaglio, z acryl and collograph printing, mixed media, using my sketchbook to design experimental pieces in acrylic, watercolour, sketching and pen and wash before deciding which to take forward to the final outcome/s.  I will achieve this by sketchbook work and producing small canvases as a prototype to reflect the past and present through applying layers of various mediums.  I will make notes on material I have used and my theories about their application and result cross referencing between my sketchbook and reflective journal.  I will look at artists analytically and theoretically to back up my findings both in written form and practical work.

From photographs I’ve taken of Castlefield I want to include some of the patterns and ornamental decoration I’ve seen on the viaducts and bridges that I could incorporate in the form of print onto a mixed media piece/s.  This will help link in the past and the present.  I like the idea of using the arches in print as a layer within the work and as a way of projecting the link from the past, the present and the future.  I see the bridges, viaducts, railways and canals as the foundation from the Industrial Revolution to now and the future. Foundations have a strong bond with society, material products like buildings, personal items and in particular families.  

My anticipated outcomes will consist of a number of works in my sketchbook and canvases that will show my developments that I will annotate in my sketchbook and discuss further in my reflective journal, working towards possibly one or more large canvases.  Using traditional to contemporary painting, a series of photographs and various printing methods and mixed media, that will reflect my research and also inspiration from different artists.

Latest thoughts on Final Major Project

Hi everyone
I've been doing a lot of thinking, which is hard when plagued by migraines that last for days.  I'm struggling with two very different ways of approaching my work with totally different outcomes and can't decide which route to take.  Do I go with my initial plans or do I follow another path, which will be way out of my comfort zone?  Decisions, decisions and not enough time!!!!  I know I will have to try experiments in both directions, but hate it when you have to pick one of them and the feeling although unfounded that I've wasted my tome doing one that won't be part of the final piece/s.  I'm aware that this is part of the process of producing artwork, but I feel under enormous pressure to create something that will look professional in such an auspicious Gallery.  I am now going to concentrate on creating some intaglio/collograph boards and pen and wash sketches in my sketchbook.  I will then upload some of my best ones on here soon so keep looking.  If anyone has any suggestions then please feel free to comment.

Castelfield Project Development

Hello friends.
Here I am with the latest development of my project.  Since I last wrote on here I have re-visited Castlefield to take some more photographs and get a feel of the area again.  I am posting some of them for you to have a look and see what you think.  When I went again the sun was shining bright giving the whole area a fresh look that was lacking the first time as can be seen by my photographs.

 Here is a perfect blend of 19th Century and 21st Century architecture.  I like the contrast between the arches and the straight lines of the buildings in the background.  I aim to use arches in my work in abstract to connect the past with the present.  Due to the colours in and around Castlefield I have decided on earth colours such as red ochre, burnt and raw sienna, burnt and raw umber, yellow ochre and some greens. (The greens are important for me as it is one of the main features of the transformations that Manchester has given to huge parts of the city, adding some natural flora and fauna).

 Contrast of the past and present.  I think this would make a good feature in my work.  I have altered the image on Photoshop (not seen here) and it would make a good image to print from.  What do you think?   Suggestions gratefully received.

 At some point the area cordoned off must have been transformed, (there are a few picnic tables to the left just out of sight of this image) but as can be seen it has become almost derelict, with the bridge and new apartments in the background.

 I love these bridges for their simple lines and decorative details and I may use some of the shapes in my work.  Watch this space.

 This is one of my favourite images and it has also worked out well using stamp in Photoshop.  I feel that this image takes you back in time as there is little to no modern influence.  What I like about the stamp feature is that it strips it back to the basic lines and allows you to see them better for sketching.  Very often the amount of detail can get in the way when I'm sketching especially when I'm doing buildings.  What do you think of the stamp image below?  I love it and it reminds me of traditional printing.

 I like this close-up of the underneath of one of the bridges leading up to Castlefield.  The contrast of black and white is striking.
The next set of images were taken on 2.4.13 on a bright sunny day.  However was freezing cold so I wasn't snapping for long.  I'm still working out how I'm going complete my final piece/s, especially after talking to one of my tutors.  My head is in turmoil!!  I've had so many conflicting ideas and thinking about it most of the day and sometimes the night too.  I need to try to collate my ideas, possibly talk to the girls at the studio and also our course leader.  It's a shame I've got to wait until next week.

 This image is simple yet effective. A blend of old and new.  Below is a stamp version and again this looks like a traditional print.

 Old and new blend seamlessly.  Manchester has transformed the mills into much sort after new apartments.

 A view from the other side of the bridges. 

 What do you think of this image?  I think this view is good.

 If you took away the new apartments in the background and the benches this image could almost pass as a 19th Century view.  Of course it would have to have alot of workers and the industrial age smog to make it realistic.

 The glass tower in the background should look out of place against Victorian architecture but it doesn't somehow.  I'm not a fan of modern architecture but this does look stunning.

 The canal basin looks its every 160 years older than when it was first developed by the Duke of Bridgewaters navvies.

 The sun really shows off the brick and iron work in this image.

Knot Mill Station in the midst of being rejuvenated with a fresh coat of paint.  It's hard to think it's been here since the mid 19th Century.  Hope you've liked my page so far.  I will be adding anoth one in a day or two discussing my project in more detail.