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Used a vignette approach
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Message
Posted
Have drawn and painted this scene before, and thought I'd share something I don't do very often....a vignette treatment.
When I'm doing ink and wash I usually restrict the ink work to mainly line treatment, and usually have the treatment equal all over... but I wanted to try something different for me, where I've used a lot more detail and texture with the ink, and making more of the focal area, then fading out both the line work and the washes. I'm really pleased with this, and aim to do more with this approach.
I'm calling this one finished, but in the spirit of always looking to develop and improve, I thought I'd put it in the critique section. If you have any thoughts, they would be appreciated.
Thanks again folks.
(PS, mocked up in a 10x8 mount)
Posted
Right then, no takers as yet I see, so I’ll start us off with a few observations…
I like what you’ve done up to this point, but I’d like to see it more complete if I’m honest.
I’m not a great lover of vignettes, sort of reminds me of the Victorian error, sepia photos and hand coloured photos in particular.
And that’s it really, I’d like to see this rather lovely building progress further, knock back that rather bold sky of course… but it’s your work Gerry!
Posted
Thank you Alan. I know what you mean about the historical feel of vignettes. Maybe that throws me a gauntlet of figuring out how to make sure they're more contemporary.
Tempting though it is to do my usual comfort-zone detail/completion treatment from edge to edge, this was a trial and exploration into trying to balance emphasising a focal area with the 'ambiguity' I am currently reading about...
- resisting the temptation to draw and paint all that's there,
- making a suggestion of what's there,
- allowing the focus to 'tail off':
thereby 'encouraging' the viewer to have more of a dialogue with a piece.
A balance that will need some practise, I'm sure. I'll be doing more exploring when time allows, and will share them when I have. Cheers.
Posted
Understood, it’s your work Gerry.
There’s plenty left for the viewers imagination for sure.
Another option, and one I quite like, is to continue the drawing somewhat, but leave it devoid of any colour, or in fact just add a splash of colour to one portion.
It’s another option for consideration anyway - I’ve done something similar a while back, I’ll see if I can locate it!
It’s good to experiment… keep going!
French chateau rooftop, ink and watercolour on handmade tinted paper…
Or here’s another simple approach…but more finished although it was just a quick sketch.
Chichester Cathedral under Snow
Or here’s another simple approach…but more finished although it was just a quick sketch.
Chichester Cathedral under Snow
Edited
by Alan Bickley
Posted
"...Another option... is to continue the drawing somewhat, but leave it devoid of any colour, or in fact just add a splash of colour to one portion...."I really like the sound of these, Alan. As I was reading your comments, my mind went "ooh, now there's something". I have done 'one colour on one part' treatments, of which I've shared a few, but those were full detail edge-to-edge drawings. This I need to try on the 'fading out' drawings. Thank you so much for your encouragement and for your suggestions. And I'm loving both your examples, thank you for sharing.
Edited
by Gerry Mellor
