Welsh Art – Structures
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Welsh Art – Structures Clwyd Fine Art Trust and Joint Area Museum Education Service (JAMES) Contents: Discussion Drawing Collage and Drawing More Pictures Exit

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Welsh Art – Structures

Clwyd Fine Art Trust and Joint Area Museum Education Service (JAMES)


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Contents:

Discussion

Drawing

Collage and Drawing

More Pictures

Exit

Images courtesy of Clwyd Fine Art Trust and Joint Area Museum Education Service


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1. Discussion

This image of Caernarfon Castle by Joseph Dodd was painted during the Nineteenth Century.

Not only does it show how people used to dress, but it also shows some of the modes of transport used during the period.

It is fascinating to think that this was the view that the artist could see when painting the picture.

Look carefully at the painting. What might be different if we were looking at this view today?

Joseph Josiah Dodd Caernarfon castle, Market Day


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Gwilym Pritchard Red Sky and Farmhouse

In this painting by Gwilym Pritchard we see a completely different style from Joseph Dodd's work.

The artist has chosen to simplify the form of the farmhouse, clouds and bushes.

By reflecting the red sky in the windows of the building and in the bushes, Gwilym Pritchard has successfully unified the composition.

The use of texture in the thickness of the paint has given the image depth.


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David Woodford After the Rain

In David Woodford's painting, After the Rain, we see an effective example of producing reflections to represent wet surfaces.

By using a similar tone in each shade of colour, the artist has been able to reproduce the essence of a rainy, cloudy day.


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Gwilym Pritchard Red Sky and Farmhouse

Look at the paintings of Gwilym Pritchard and David Woodford.

Discuss the works using words to describe the colours (e.g. warm, cold, bright, dull, light, dark etc. .. )

and the image (e.g. detailed, simple, colourful, realistic, imaginative etc ... ).

David Woodford After the Rain












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What is similar about the works? painted? How can you tell this?


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What is different? painted? How can you tell this?


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Which do you like best and why? painted? How can you tell this?


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What is different about the colours? painted? How can you tell this?


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Why do you think they chose these colours? painted? How can you tell this?


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How do the pictures make you feel? painted? How can you tell this?


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2. Drawing painted? How can you tell this?

Materials needed:

Sketch books or paper and drawing boards, charcoal, pencils, graphite sticks, white oil pastels, Indian ink, water pots.

Take your sketch books, pencil and charcoal outside. Make drawings of any buildings you can see using all the materials you have.

Use as many different marks as possible. Try to add as much detail as you can to your drawings. Make sure that you fill the page with your drawing.

Make three drawings of three different buildings

Back in the classroom, use the white oil pastels to add lighter areas to your best drawing. Dip the graphite stick into the black ink and draw over your darkest lines - look at the interesting marks that can be made in this way!


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3. Drawing painted? How can you tell this?

Materials needed:

coloured oil pastels or chalk pastels, white paint, Indian ink, graphite sticks, charcoal, A4 white photocopy paper, A3 or A2 white drawing (cartridge) paper, scissors.

Fold the photocopy paper in half. Cut a rectangle out of the folded side. Open up the paper and you should find a window in the centre of the page.

Using the drawing you worked into with ink and oil pastels, place the window over the most interesting part of your drawing. Try to find an area that has lots of different shapes and marks.

Look carefully at the pattern created in the window ­you now need to draw what you see on the A3 or A2 drawing paper - enlarging the image and filling the page. You should now have a large abstract drawing of a section of a building.


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Put your original drawing to one side. Look again at the work of Gwilym Pritchard and David Woodford.

Look at the colours and the way they make the paintings feel. How do you want your drawing to feel? (warm, cold, sunny, bright, natural, happy etc.)

What colours could you use to put a feeling into your drawing?

Choose no more than four colours and choose carefully which areas of your drawing you colour. Remember that this is an abstract drawing ­the colours are there to create a feeling and not to be exactly the same as the building you drew.

Once your drawing is complete - and you have used various marks, colours and materials, then place it with the rest of your classmates' work to produce a large, colourful, abstract patchwork.


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4. Collage and Drawing work of Gwilym Pritchard and David Woodford.

Materials needed:

A2 drawing paper, various collage paper (Newspaper, brown paper, tissue, crepe, thick card etc) PVA glue, masking tape, white paint, ink, charcoal, graphite, pencil, brush,

Go back to one of the original drawings you did at the beginning of the project. Select one that has lots of lines and shapes in it.

Before you start drawing, you need to prepare your drawing surface. To do this, take your A2 drawing paper, rip up various other kinds of paper (newspaper, brown paper, tissue) into interesting shapes.

Scrunch some of them up and flatten them out to create new textures. Stick them to your drawing paper, overlap some of them, leave some of the drawing paper showing. Use PVA glue to ensure that the paper is stuck down properly.

Use masking tape in some areas to create straight edges in contrast to the ripped edges of the paper. Once you are happy with your new drawing surface, leave to dry.


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Look again at the drawing you have chosen to reproduce on the textured surface. You now have a choice to make. You can use a paper window and choose an interesting area of your drawing, or you can reproduce the whole drawing, which ever you think will look most effective.

Once you have decided, use the graphite stick dipped in ink to draw the outline of your drawing on to the textured paper. Try to add all the shapes you can see in your original drawing.

Using charcoal, white paint, graphite sticks and ink, start to add tone to your image - notice how the different papers react to the materials you use.

Keep building up layers of tone. You can use a pencil to scratch into the paint. You can use your finger to smudge the charcoal. Use a little water and a brush to create a wash over some areas, this means adding water off the brush onto areas of the work where the ink is wet and dragging it across the page.


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Malcolm Edwards the textured surface. You now have a choice to make. You can use a paper window and choose an interesting area of your drawing, or you can reproduce the whole drawing, which ever you think will look most effective. Greenfield Valley Mill


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Malcolm Hughes the textured surface. You now have a choice to make. You can use a paper window and choose an interesting area of your drawing, or you can reproduce the whole drawing, which ever you think will look most effective. Composite Monsanto


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Elis Gwyn the textured surface. You now have a choice to make. You can use a paper window and choose an interesting area of your drawing, or you can reproduce the whole drawing, which ever you think will look most effective. Pencoed


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John Ingleby the textured surface. You now have a choice to make. You can use a paper window and choose an interesting area of your drawing, or you can reproduce the whole drawing, which ever you think will look most effective. St. Winefride’s Well


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Wilhemina Mary Martin the textured surface. You now have a choice to make. You can use a paper window and choose an interesting area of your drawing, or you can reproduce the whole drawing, which ever you think will look most effective. Street View, Conwy


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