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MIXED MEDIA - TRACY WILKINSON
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foreword
learning objectives
This book will develop students understanding of how to creatively present their own identity through using a range of mixed media and techniques. Students will also be introduced to a variety of contemporary and modern artists who specialise in using mixed media to create artwork. Students will be expected to use these as a source of inspiration to inform their own artwork.
• To be able to complete an accurate portrait and understand the fundamentals behind the portrait process.
Mixed Media Author: Tracy Wilkinson
• Research into different artists and reflect upon their backgrounds and their art.
• Be able to experiment and explore use of mixed media and techniques to create a variety of surface textures. • Be able to use traditional methods and techniques within textiles and experiment using a range of different materials.
• Look into different online sources and different ways to do research that can help you when doing projects.
portraiture In this chapter you will learn how to draw a portrait using the correct proportions. You will be able to explore a range of creative ways and methods of recording people in relation to the theme Identity with more confidence. You will be expected to record a number of portraits in relation to the theme of Identity throughout this course so it is important that you understand the fundamental elements of recording a simple face first.
PORTRAITURE
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portrait
Proportions When doing portraits it is important to make sure everything is in proportion and doesn’t look distorted. You will be expected to record a number of portraits in relation to the theme of Identity throughout this course so it important that you understand the fundamental elements of recording a simple face first. Practice the tonal techniques this chapter mentions and see which one is best for you, the portrait guide on page 6 will help you when starting.
PORTRAITURE
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assessment criteria
Lesson Challenge
• To understand the proportions of a face and using guidelines to draw a portrait effectively.
• Present an accurate diagram of a portrait using guidelines. Practise drawing features and adding tonal shading to create a 3D effect.
• To record and analyse first-hand observations, to select from experience and imagination and to explore ideas in relation to the theme Identity.
Evidence • Technical portrait study showing accurate positioning of portrait guidelines. • Sketches of features. • Self portrait pencil study using line and tone.
• Observational recordings of self portrait with a final pencil tonal study of self portrait.
PORTRAITURE
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PORTRAITURE
There are many different techniques you can use to create tone with pen and ink.
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PORTRAITURE
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portraitS: TONAL SHADING When doing portraits you can add tone by using a range of different mark making techniques and mediums such as: Charcoal Pencil Paint and much more. When adding tone it creates depth and a realistic 3D appearance. Using a mix of different mediums can get you an experimented look to your art for example, charcoal and pencil. The next page shows you different ways you can do this; practice and see which one works best for you.
PORTRAITURE
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PORTRAITURE
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surface textures In this chapter you will explore and experiment with creating a range of surface treatments using mixed media. These techniques will inform future work when recording from observation and extending use of techniques and skills when working with other materials such as fabric and recycled materials.
SURFACE TEXTURES
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Textures Adding texture can add more depth to your artwork. It can be a good way to bring something unique that makes it stand out from others. Adding texture for a base and working on top works well for when you want to put across a certain scene. For example, adding dried leaves to paint, layering tissue paper and/or other types of paper could be a good way to show something dried out. Plastic bags can provide some interesting outcomes, be experimental and plan what you think would work well together.
SURFACE TEXTURES
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assessment criteria
Lesson Challenge
• Be able to experiment and explore use of mixed media and techniques to create a variety of surface textures.
• To explore and experiment with a range of mixed media and techniques in order to create surface treatments. You will use a range of techniques and processes that will allow you to explore and experiment with materials.
Evidence • Present a range of mixed media surface treatments in sketchbook.
• You will be expected to work independently developing these techniques further to present your own experiments and manipulation of materials in creating new surface textures. These techniques and ideas will be used to inform observational work in future Lesson Challenges.
SURFACE TEXTURES
Embedding plastic wrap into paint This can be done with watercolours, acrylics, or poster paint. You can use cling film or recycled plastic bags. The examples showing this technique on this page were made using acrylic and water colour paints. First, apply a layer of one colour, let dry, then apply a second layer and press plastic before the paint dries. Acrylics dry quickly, so make sure that your mixture of paint is very fluid, then firmly press the plastic into the paint before it dries. Then leave the plastic in the paint until it is dry or almost dry. The background colour is the part where the creases are.
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You can also create wonderful textures by bunching up plastic, moving it around into your paint mixture, and then patting it onto the surface of your paper. Taking the plastic wrap technique a step further, you can also use bubble-wrap textures to create patterned circles.
SURFACE TEXTURES
You can do this by either pressing the bubble wrap directly into the wet paint, or by using a roller to get the paint on the surface, then pressing the wrap onto your paper. Experiment with layering these techniques allowing each painted texture to dry before applying the next layer of paint.
textures from foils & papers Gently crinkle a sheet of foil and then spread it out again without pressing out the wrinkles too much. Now apply a thin layer of acrylic paint with your finger or a piece of cloth. Thoroughly crumple a piece tissue paper. Smooth it out slightly and pour or brush on very thinned acrylics (or thin inks, dyes, or other paints) all over the tissue. Let it dry undisturbed. Peel it up carefully and use it as one of your collage layers.
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See how this has been used to create an eective background for a landscape painting.
SURFACE TEXTURES
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fabric manipulation In this section you will be introduced to a range of textile techniques. Some of these will be traditional methods of working with conventional materials but you will also be expected to develop these skills and experiment further in the manipulation of these materials and techniques.
SURFACE TEXTURES
DISTRESS FABRICS WITH AN OPEN WEAVE • Use fabric like netting and lace which have a fine, hole like quality. • Add holes by pulling the weave apart or by cutting new holes. • Leave edges of holes frayed or finish with stitching. • Apply layers of fabric for a greater effect.
STRIPS OF FABRIC • Folded, gathered, rolled, attached and held in place with simple stitches.
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SURFACE TEXTURES
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gathering • Apply a simple gathering stitch over a drawn pattern on fine fabric. • As you pull the thread it gathers up the material and creates volume over the surface of the fabric. • Or simply pull on the loose threads found in open weave fabric like hessian.
appliqué
Reverse appliqué
• To add fabric shapes to the surface of another fabric using stitching to hold in place.
• Layers of fabric are stitched together using shapes or patterns, so that when an area is cut away the fabric pieces still hold together.
• A variety of materials can be used though for a more creative and interesting effect.
• The shapes/areas that have been cut away reveal different textures and colours of fabric layers underneath.
SURFACE TEXTURES
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Tap the yellow buttons below.
Quilting • Quilting is a sewing method done to join two or more layers of materials together to make a thicker padded material.
SURFACE TEXTURES
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Recycled
Materials In this day and with concerns over the environment why not consider using recycled materials in our art and design work? You are encouraged to think about your selection and use of materials, in particular, the recycling of materials to present traditional textile techniques. You will need to be innovative and imaginative with your choice of materials and adapt thoughts and processes when working with traditional textile techniques.
SURFACE TEXTURES
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plastic bags • Try working with plastic to create imaginative new materials.
• Use traditional textile techniques like appliqué and reverse appliqué with unusual materials like plastic, sweet wrappers, newspaper, scrap fabrics.
• Fuse pieces of plastic together with heat. • Place strips/pieces of plastic in between non stick material like a piece of cotton fabric and apply heat using an iron. • Experiment with how much heat is needed to fuse the plastic pieces together to form one piece of material. • Weave just plastic bags together or combine with other materials. • Distress the plastic bag first by stretching, ripping or changing the quality of the final weave by applying heat to the surface of the weave.
• Be experimental and creative with ideas. Keep notes of materials and techniques used and what has been successful or not for future reference.
ARTISTS artists
blah blah...
In this chapter you will explore the work of nine different artists. It show how different artists use similar techniques to create unique pieces of art. As well as links to their websites for you to explore more into their pieces of art.
ARTISTS
Ingrid
Dijkers www.ingriddijkers.com
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Dijkers, an American artist, was born in the Netherlands. With a degree in Fine Arts and an extensive background in travel, her interest has been stimulated by the many international and classical works of Art dealing with out of the ordinary stories of real or imaginary personalities. Dijkers’ work has evolved and migrated from one art form to another, from sculpture, jewellery, ceramics, collage and altered books into a perfect marriage combining all of these techniques.
ARTISTS
sarah
fishburn www.sarahfishburn.com
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Sarah Fishburn is an internationally known artist who currently describes her work as Mixed-Media Narrative. Recognised for its unexpected yet elegant combinations of bright colours, photographic images, spray paint, transparencies, and words, her work has been featured in numerous art magazines as well as in a myriad of books, including True Colours, Alphabetica and Transparent Art.
ARTISTS
teesha
moore www.teeshamoore.com
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Teesha Moore is an American mixed media artist who focuses on creating art journals. Art journaling is a form of self-expression using various mixed media techniques, such as collage, transfers and pen work.
ARTISTS
robert rauschenberg http://www.artnet.com/artists/ robert-rauschenberg/
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American artist Robert Rauschenberg (1925 - 2008) is best known for influencing the pop art movement of the 1960's with fellow artist Jasper John by making use of non-traditional materials and questioning the distinction between art and everyday objects. He worked as a costume and stage designer in New York City before moving to painting, sculpture, music and collage to produce his work.
ARTISTS
tim
Marrs www.timmarrs.co.uk
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Tim Marrs is most widely recognized for his Nike campaign: a series of oversized point of sale mixed media montages incorporating Michael Jordan. His illustration work is a frenzied mix of drawing, photography, print and digital techniques and draws on American pulp and pop cultures. His adaptable style has attracted commissions from Nike, Ogilvy and Geen Records and he lives overlooking the sea on England's south coast.
ARTISTS
hannah
hรถch
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Hรถch (1889 - 1978) was a German Dada artist. She is best known for her work of the Weimar period, when she was one of the originators of photomontage. Splicing together images taken from popular magazines, illustrated journals and fashion publications, she created a humorous and moving commentary on society during a time of tremendous social change.
ARTISTS
frida
kahlo
ww.frida-kahlo-foundation.org
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Frida Kahlo de Rivera (1907 - 1954), born Magdalena Carmen Frieda Kahlo y Calderón, was a Mexican painter who is best known for her self-portraits. Kahlo's life began and ended in Mexico City in her home known as the Blue House. “I paint self-portraits because I am so often alone, because I am the person I know best”
ARTISTS
joel
lardner
www.joellardner.tumblr.com
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Joel Lardner is an Illustrator and graphic artist based in the UK. His constantly evolving practice has spilled onto newspapers, book jackets, fashion advertising, T-shirts, snowboards and art galleries. He creates multiple layers of images and pattern with strong, bold stencils to create eective illustrations.
ARTISTS
betsy
walton www.morningcraft.com
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Contemporary American artist: “I work with galleries and collectors, and on personal projects. Many of my paintings and drawings explore the tension and balance between the mysterious nature of our existence and the objects and environments we find in everyday life. My style is informed by a range of influences including Byzantine icon paintings, American folk art, geometric abstraction, and the work of many contemporary illustrators and painters.�
ARTISTS
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self identity In this chapter you will explore self identity. It will show you how to use and understand mindmaps, moodboards and what websites are good to gather inspiration for when you have projects on in the future.
SELF IDENTITY
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identity You will always be given or be asked to select a ‘Theme’ as a starting point for each Unit of coursework or for your final exam. Make sure you have a good think whether your theme will work out for the full duration of the project. Sometimes a theme sounds good at the start, but when trying to do the final piece it doesn’t always work the way you had it in mind. Consider every aspect of the project. You can do this by doing mind maps and mood boards.
SELF IDENTITY
Generating Ideas A mind map is a diagram used to visually organise information. A mind map is often created around a single concept or theme, drawn as an image in the centre of a blank page, to which associated representations of ideas such as images, words and parts of words are added. You will need to create a mind map of ideas, words and images linking to your Art theme. Collect and collage images, objects and other resources that relate to the theme. Make notes to describe your choice and ideas of how you may use them in future ideas.
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SELF IDENTITY
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SELF IDENTITY
primary and secondary materials to inform the theme Identity If you had a pin board, what would you have on yours to portray yourself?
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SELF IDENTITY
pinterest Create your own Pinterest account to collect and store ideas for your own artwork. Visit https://uk.pinterest.com and get started! Check out our Identity Mixed Media board for inspiring ideas and images https://uk.pinterest.com/essathearts/ The resources and images you collect and your contextual studies of other artists will inform your own ideas for a final piece.
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Credits
Author: Tracy Wilkinson Project Lead: Abdul Chohan Project Coordinator: Sofiya Patel Graphic design, illustration & animation: Christopher Brennan & Elaine Hawkins
All image and video content are free from copyright, obtained from official databanks, or have given the Essa Foundation permission to use their copyrighted content. Video content Chapter 2. (Learn to Draw Portraits with Bill Richards):YouTube p.7
Every effort has been made to contact the appropriate owners of content. Any enquiries regarding content please contact the following e-mails. BrennanC@EssaAcademy.org HawkinsE@EssaAcademy.org
©
Images Cover. (Planes Rendering Practice):Flickr/Adrian’s Paintings (Painted Bubble Wrap):Flickr/Eliza (Photographer):Flickr/Tom Chapman (Gathering The Ruche):Flickr/Kelly (Josu Maroto for JKPP):Flickr/Arturo Espinosa (Psychopomp):Flickr/Sybil Liberty (Rake Face):Flickr/BarbarLN (Silly Little Super Monsters):Flickr/Jacque Davis (n.a):Flickr/Donna Boley (Blaise Cendrars):Flickr/Steve Hammond All images included on the cover are included in the credits below. Some images may have been credited on the pages which they are placed. Chapter 1. (Postman’s Eyes):Flickr/Adrian Brady p.TOC (Postman’s Eyes):Flickr/Cdelmoral p.3 (Blaise Cendrars):Flickr/Steve Hammond p.4 (Netherlands-3992-Van Gogh - 1887):Flickr/Dennis Jarvis p.4 (Self Portrait):Flickr/Steve Huison p.4 (JKPP-Suzanne Du Toit):Flickr/Frederic Glorieux p.8 (Josu Maroto for JKPP):Flickr/Arturo Espinosa p.8 (Planes Rendering Practice):Flickr/Adrian’s Paintings p.8 Chapter 2. (Giza in Binary - Detail):Flickr/Doeki p.TOC (Art Supplies):Flickr/Celeste Lindell p.11 (Rocky-Ridge-Watercolor-byVinita-Pappas):WaterColourPaintings/Vinita Pappas p.12 (Psychopomp):Flickr/Sybil Liberty p.12 (Acrylic DC Capitol - Yellow and Purple):Flickr/Nicolas Raymond p.12 (Painted Bubble Wrap):Flickr/Eliza p.14 (Chromium Oxide Green Bubble Wrap Stamping!):Flickr/Melissa Dinwiddie p.14 (Plastic Wrap):Blogspot/Mickey Bond p.14 (Abstraktes Bild (Nº 635)(1987) - Gerhard Richter (1932):Flickr/Pedro Ribeiro Simoes p.15 (Flower Meadow by Karen Bryan - Created with tissue paper, ready mixed and acrylic paint p.15 (Postcard):Flickr/Laurence