To be done based on books I have
To be done based on books I have
!!To do a thorough review in autumn when Aps have been upgraded for iOS 11. Digital watercolour is a key feature for upgrade with faster processing speeds.
Currently my attempts are pretty crude. These will be explored for Assignment 4 on Aldeburgh.
Currently digital watercolour depends on transparency effects, edge effects, and deletion with water brushes to vary transparency.
Good at very detailed drawings that build up gradually in textured layers using a combination of water brush shapes (including drips) and water eraser. Use alpha lock for edge effects. Has the most control over brush shape. Bleeds have to be simulated through smudge or eraser tool and edge effects. Due for significant upgrade in the autumn.
For the most beautiful effects I have found:
Can get interesting effects with the canvas variants. Mainly focuses on edge effects.
Watercolour brush is the only brush I would really use from the built-in toolset. It has really nice bleed effects that are fascinating to watch. Good for atmospheric abstract effects. But difficult to get real subtlety. Upgrade due?
Dedicated watercolour for more complex combined techniques. Has 3 layers that dry at different rates that can be controlled. But quite slow at higher resolution.
Can get nice Japanese watercolour effects with vector gradients for beautiful anime type effects. But not watercolour as such.
Dedicated App for watercolour painting.
The Auryn Ink website: http://www.auryn.ink has images of art gallery-size paintings as well as manual, tutorials and FAQ.
The whole experience is rather more random than real watercolour happy accidents. But some really beautiful effects can be achieved, including layering and erasing that cannot be achieved on paper.
Canvas: There is a choice of low, high and superhigh resolution. Rough or smooth papers with different textures that affect their ways of interacting with paint. It is also possible to control run and splatter.
Stylus: Apple Pencil uses tilt and velocity for size. For quick washes the Sensui brush stylus is good. Fingers also work well.
Layers: There are 3 layers: wet, dry and fixed layers in one image that simulate the way watercolour layers and paper interact. It is possible to control evaporation, dry and fix layers to build up images.
An image layer can be inserted at the bottom for reference/deletion.
No blend modes.
Undo: is on a timer and has to be done before layer dries. Otherwise use eraser and paint over.
Brushes: four types of tip to combine with a range of ‘footprints’ and a variable eraser to get mask effects. There is a paint flow and size control. Using the Apple pencil size is also affected by tilt and velocity.
Colour: There is a central colour picker dialogue, with customisable palette for each painting. Holding down the brush brings up an eyedropper. Then as you paint you control interaction between water and pigment on the brush for transparency.
Output: as PNG only to iPhoto. Can send into the website to enlarge to large A1+ art gallery prints.
Text: No. They recommend theTypedrawing app.
Social network: Link to Auryn Ink website and Auryn Ink Facebook page.
Islamic calligraphy has always fascinated me. I studied Persian, Arabic and Urdu as part of my degree and travelled widely in Iran, Pakistan and Afghanistan in the 1970s. I really like the flowing lines and geometric styles, and the way abstraction is used to create artwork from words. These techniques could also be applied to more figurative drawing styles like fashion illustration. This is an area where I have only just begun to explore the potential.
I am particularly interested in the techniques of some contemporary calligraphers who use watercolour and ink to create word paintings from poetry.
For other examples of contemporary calligraphy see Free Islamic Calligraphy
Edited and extended from the Wikipedia links below
Islamic calligraphy is the artistic practice of handwriting and calligraphy, based upon the alphabet in the lands sharing a common Islamic cultural heritage. It includes Arabic , Ottoman, and Persian calligraphy. It is known in Arabic as khatt Islami (خط اسلامي), derived from the word ‘line’, ‘design’, or ‘construction’.
The development of Islamic calligraphy is strongly tied to the Qur’an; chapters, and excerpts from the Qur’an is a common and almost universal text upon which Islamic calligraphy is based. Deep religious association with the Qur’an, as well as suspicion of figurative art as idolatrous has led calligraphy to become one of the major forms of artistic expression in Islamic cultures.
The traditional instrument of the Islamic calligrapher is the qalam, a pen normally made of dried reed or bamboo; the ink is often in colour, and chosen so that its intensity can vary greatly, so that the greater strokes of the compositions can be very dynamic in their effect. Some styles are often written using a metallic-tip pen.
Teo Yi Chie
based in Singapore
He is essentially a painter of identity. But more than the identity of the body, it is the identity of the soul as evoked by these sumptuous watercolours.
For Graham Dean, the body is a ‘holding-pen of emotions’, a ‘thinking body’ similar to the research done by Wilhelm Reich. His characters are the receptacles of these emotions, ideas, and memories. They are witnesses of the human condition and our complex relationship with the world. Our individuality, our identity is formed by this interaction of our inner lives which is constantly penetrated and altered by the outside world. Graham’s painting is an investigation between the inside and the outside, the surface and what lies beneath. Arms, faces, torsos, legs become interchangeable – anonymous but recognisable, The body becomes a canvas, torn and stretched, a vehicle for the imagination of the artist. The works are open to interpretation, free, as are the movements of watercolour, colours and sensual shapes.
(quoted from Dean’s website: article by Galerie Maubert, Paris. September 2011)
‘Pigments suspended in water’. Contrasting layers of paint are applied separately on thick, handmade paper from Southern India. Colour is important: use of red accentuates the dramatic effect of green and yellow and juxtaposition of complementary colours. He exploits the differential viscosity, granularity and opacity of different watercolour pigments and the ways in which thick layers /dripped paint interact with water at different degrees of wetness/drying cycle. Paint glazes (multiple, transparent layers) create intensity and depth. Each sheet undergoes a process of tearing and overlapping to create a final new composition.
Eric William Ravilious (1903 – 1942) was an English painter, designer, book illustrator and wood engraver. He grew up in East Sussex, and at the Royal College of Art (1922–5) was taught by Paul Nash and became close friends with Edward Bawden. In 1939 he officially served as a war artist, and died when the aircraft he was in was lost off Iceland.
He is particularly known for his watercolours of the South Downs, empty rooms and war paintings. His use of watercolour and limited muted palette to capture light, often overlaid by crayon lines, has a beautiful shimmering quality. He uses exaggerated perspectives, unusual viewpoints and abstract shapes to create drama, suspense and movement. The effect is often haunting – reflecting a mix of nostalgia and foreboding in the world destroyed by the war.
CONSTABLE, F. & SIMON, S. 2003. The England of Eric Ravillious, Surrey, UK, Lund Humphrey.
Dulwich Picture Gallery exhibition 2015
Selected images to music
His use of two point perspective – slightly off – creates a feeling of claustrophobia, uncertainty and unease. The eye goes first towards the bed, strangely reflected in the ceiling of a windowless room. But then is taken down the empty corridor that appears to go upwards to nowhere and round a corner to the light. Is this an escape? Or a dead-end to nowhere? Or worse?