Archive for the ‘1’ Category

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Heavenfield

April 5, 2010



Heavenfield

Originally uploaded by thejanehorton

Battle ground of St Oswald on Hadrian’s Wall, a stunning spot. Photo manipulated with Vihgo.

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Heavenfield

April 5, 2010



Heavenfield

Originally uploaded by thejanehorton

Battle ground of St Oswald on Hadrian’s Wall, a stunning spot. Photo manipulated with Vihgo.

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Doodling again

March 28, 2010



Doodling again

Originally uploaded by thejanehorton

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Staithes harbour

March 28, 2010



Staithes harbour

Originally uploaded by thejanehorton

I really enjoyed painting the red rooftops of Staithes and got my watercolours out to replace sketching with my iPhone for the first time for ages. I am rusty! In the end sketching with a felt pen worked best…

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Watching the waves

March 28, 2010



Watching the waves

Originally uploaded by thejanehorton

Spent much of the weekend sketching the red rooves at Staithes, but enjoyed capturing the stillest people on the beach too.

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Tree on speed

March 28, 2010



Tree on speed

Originally uploaded by thejanehorton

Doodling with a sketch outline of a tree in Brushes and Vihgo apps on the iPhone.

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iPhone art across the Atlantic

March 16, 2010

Since I have been so very focussed on iPhone art recently (ref previous post) I have just decided to give in to it for now, and work towards an exhibition in June as part of Sheffield Open Up http://www.openupsheffield.co.uk/. This will be the first iPhone Art exhibition in Sheffield (I believe). I do miss painting – with paints – and drawing – on paper – but reckon I should just go with the flow. My joy in iPhone art has been inflated along with my ego since, as a result of my recent blog on iPhone art on the Open College of the Arts blog WeareOCA I was contacted by a journalist wanting to follow up on the story that led to an iPhone image of mine on the front page of a local paper in Oklahoma. The result of this latest interview? A piece on local radio in Sheffield about my art plus a Youtube story.

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Kate looking for gear online

March 1, 2010



Kate looking for gear online

Originally uploaded by thejanehorton

I expect my OCA tutor David has given up on me. David, its just that I am sooo into iPhone art its taken over! I do draw every day, and my observational skills have definitely improved, all be it that most of the sketches are on my iPhone. This was a ten minute sketch done today. Am going to start posting my iPhone images on my blog.

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Blocks and unblocking

February 4, 2010

I was distressed to hear of a colleague’s complete blockage on painting today, but it chimed with me. How to you ‘go back’ when you think you have moved forward and then realise that you haven’t after all, in a creative sense? I am currently still totally focussed on iPhone art and a commission I have. Does this move me anywhere? Actually, I think ultimately it does. My observational skills have definitely improved since using my iPhone as a sketch pad, since it is always with me to capture moments I would otherwise miss, AND I have a painting commission worth a bit of money. Since I am struggling financially, this is pretty motivating, and when it comes down to it, has made me think. He wants a triptych. Now why should I produce a triptych on order? Well, apart from the money, I needed to find a justification, and just that exercise has stimulated the creative cells. Its sometimes just serendipity that finds a path through blocks, I think I’ve found mine … 🙂

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A history of drawing in three paragraphs

January 22, 2010

A history of drawing in three paragraphs for the Open College of the Arts…..
The first known drawings known are cave paintings, the most famous of which are those in Lascaux, France. Such early examples of mark making were clearly designed to communicate a message, but the aesthetic quality of these communications was transparently demonstrated in the earliest of marks, not just in cave paintings, but also in symbols produced in Mesopotamia (now Iraq), and later in Eygpt and China. In non Western societies art, calligraphy and craft have always been enmeshed, and drawing as communication is something that is universal, and through history remains a constant reason for picking up a mark making tool. The ‘reasons’ for drawing through the ages, the struggles with drawing conventions and styles, while not remaining static, are still pertinent in the 21st century. There is today, a resurgence of interest in drawing, and a re-examination of the role of dawing in the field of art.

It was not until around 1300 that paper existed and not until around 1500 that drawing paper was created. Before that, the concept of ‘sketching’ or preliminary drawings did not exist. The artist/artisan working from Byzantium through to the medieval world were producing images to the glory of God, using conventions that were based on simple geometrics, and were working directly onto specially prepared boards or parchments, using copybooks and imagery that was carried down through the ages. The 15th century was a time of dramatic change with the beginnings of the Renaissance. The rediscovery of classical art, a new interest in science, the development of artistic patronage, and the new role of the artist as a profession were the key factors driving the the huge expansion in the concept of drawing. Instead of being just a craft skill, drawing became a tool with which to investigate the natural world, and most importantly a way of artists expressing their own views of the world around them. Drawing became a tool for design and experiment, and with the advent of a system to describe the three dimensional world: linear perspective, later in the 15th century, the boundaries of drawing expanded phenomenally. Leaonardo Da Vinci and Michelangelo pushed drawing towards descriptions and visions of nature, dissecting bodies to investigate the detail of the bone and muscle under human skin. Brunelleschi used drawing to design the most incredible new architecture, using his new perspective system, while the Renaissance artist Pisanello created beautiful drawings of animals that stand in their own right as works of art.

During the sixteenth century with the rise of the academies, drawing training became rigid, and trainee artists were asked to copy classical statues and other artists’ work to learn how to draw. Formulae were prescribed for facial and bodily expressions and the ‘rules’ for portraying people were very tight and controlled by the mid 17th century, as exemplified in the French Academies. By the 18th century there was rebellion against the strictures of the academy and many artist enthusiastically adopted the softer and freer stylistic licence provided by the Romantic movement in art. By the 19th century there were two definite streams of art practice, exemplified in the drawings and paintings of Ingres (highly contrived, rigorous classical work) and Courbet: naturalistic, who wanted to portray the harsh realism of the world and work directly from nature. This was the beginning of the move to much greater diversification in approaches to drawing, though the rigid academies approach persisted right through into the 20th century in parallel to many more innovative approaches to drawing (and painting). Reform was patchy but persistent, the Vienna secession pushed some reform in art training: throught the campaigns of Egon Schiele and Gustav Klimt, whose stunning work is still popular today. The drawings of these two are so intensely different from just being about observation and copying. Their drawings are about personal expression, feeling, pathology. By now, drawing could be used to aid the expression of personal feelings, or have a whole range of other purposes. The invention and popular dissemination of photography had a fundamental effect on artists’ drawing. The need to copy ‘reality’ had lessened, the camera could do that. The Impressionists in particular experimented with a range of drawing media, previously frowned on. Charcoal, inks, graphite became common currency for drawing. Now paper was available in much bigger sizes, and with the advent of abstraction early in the 20th century, the role of drawing was challenged again, so that the ‘making of marks’ of all kinds became honoured, and the process of drawing became something of interest, rather than just the output. Now, in the 21st century, drawing can be anything. The reasons for drawing are so disparate it is impossible to encapsulate its role in a paragraph. This freedom in drawing is both exciting and terrifying. As a budding artist, as someone interested in studying drawing, it is important to understand the meandering path the development of drawing has taken. It is also important to have control of the media you use, and to be able to interpret what you see, and communicate it effectively in drawing. To be able to do this, you still have to observe, observe, observe, and practice practice, practice.