Sketchbook Seascapes Creative Art with Collage - Melanie Cormack-Hicks - Part 2

we are back in studio so that's the case of starting to tear these up and see what happens with these shapes and start to add additional paint so it's a create composition this you can see I've got this of large structural piece of rock and rock in the foreground here with some collage too and again some water same for this one rock formation and some water so these all give me ideas for composition and then the idea of sort of a sea cave and looking through an aperture so I'm hoping to come up with a composition here that I can use for painting but I need to start this week and hopefully this should show you how quickly and easily this can come together for you to type of composition that I want to go for I want to lead through rocks and outsi for this one here's another ones that I did in October while I was in beer obviously I've got a sketch book to rely on because that's my job but there's nothing to stop you look at photographs from magazines or these photographs that I've taken as well while I've been obsessing oh that's nice do you know I caught often take videos because I don't like the idea of having a static image that I'm working for them because I wanted to work more organically that is actually perfect in combination with my sketchbooks so that means that I can I can use that one too so that's really exciting so what a better plan first of all I'm going to stick in my horizon line my advice is don't put it in the center because actually a central line isn't that aesthetically pleasing if you know about the rule of thirds you'll understand why so we've got to decide whether it's going to be lower down our horizon line or whether it's going to be higher up because we've got quite a few rocks to get into our composition then it's probably going to be a good idea for the horizon line to be higher up because the rocks are going to be the main feature of this composition it's not going to be this guy so then we need to think about the gap we need to think about actually how much of that sea is going to be showing and so there's going to be a fair amount there and then we want sort of some sort of lead in here but that's that's so that's it for drawing and just giving myself an idea of where things are going to go now we get to the exciting bit which is time to rip that up and if you remember the image showed you before that looked like it had it almost looked like a bridge didn't it look like we're saying through that came I've got Rock already I love it that came out of just ripping a piece of paper and then seeing what a piece of paper look like afterwards so let's have a look at that shape there I can see from my image here I've got different color blocks here than I have here I've got a sort of decide which rocks are going to go where and make sense for the orange rocks to going up to the blue of the sea because obviously I can make the sea whatever color I would like to I really do like these subtle colors here so what I'm going to do is I'm going to take them apart from the orange so you can see this is now much more subtle see again I've just sort of like found that when it was in the whole sheet I couldn't see it but all of a sudden I can it's like having different art glasses on like I need to bring in a different color into the mix see that's quite nice kind of palette and then I've got that little little gap like I had coming through there but that's now weird shape that's what's lovely about collage you can look at your shapes and decide how you want them to work together this is nice little shape there to my look look at that so much more exciting to make a painting from Didier something quite interesting see how I knocked that I was meant to be there hmm and that weird shape that's not quite so weird anymore so this is really capitalizing on those happy accidents because I'm responding to what's happening lovely like I took my first why shoot there I really like the shapes so what I can start to do is stick these down then like look all this paper I've got over I can use again I'm starting to see that bright orange which I can put into other areas so let's start to glue this I'm just like to make last few sort of set of decisions about where those last bits paper I've got a bit of landmass I've got a nicer Y shape here I've got some rocks that I can have some water trickling obviously I should be putting this on a pallet obviously I'm not let's beat up my brush and then I'm gonna just start to see how that watercolor pencils been picked up there landmass a bit so this is already telling me I could keep the C I really really like color that's quite nice already great back in immediately gives me some rocks in the sky and how did you know like barely there remember the sky comes behind low clouds in the sky I feel along the horizon line I'm just gonna reconfirm that landmass a bit of red line I like that blue which means that this is more of an aqua okay it starts you put that across there I'm just gonna rip this off a little bit and then I'm gonna use the big Brush not a small one to start pushing that paint around and see what see what happens notice how it's sort of sweeping around how that aqua this just loves that orange that's the beauty of having your color palette and go much much lighter here and now I've got waves coming in here remember I said about those black lobster I didn't need to worry too much about so I sort of quite like that already I like the fact it looks like I've got this sort of because the Seas coming in from this angle I've got this wave formation coming across here and I've got some of those those areas of the wax resist starting to happen Russian believes I like that contrasting wave here let's pop a bit of that Prussian blue at the bottom here and then let's have some because you're gonna get some really dark tones here because you've got the shadow of this rock falling onto the water so I'm now gonna go in with my small brush shake you earlier I'm just gonna start dragging some of those shadows down and I'm going to take some of this Prussian blue actually out of here and I'm going to push it across thinner lines into here as well and then I'm gonna take this blue I'm just gonna splatter it around a bit so that should have a bit of a shadow pooling beside it and underneath it as well just want to neaten up that low-mass there and then this gives me the opportunity to bit more hair drying and you'll see that the hairdryer will move it around a bit as well so the last thing to do is to start to put some of those darker contrast in tone in so things like this sort of edge of facet of rock here which is to do with knowing that in order for that to look like an edge we've got that top surface there and then we've got those side facets there things like having these sort of strong reflections and contrast and tone in which you can also see within the video here as well so starting to put those stronger contrasts in if you didn't want to put it in with ink like I have so I've put it in with a mixture of a black ink and then the Prussian blue ink in there then what you can do is you can use pieces of collage to put that in and then you don't have to take so much for risk so in just in the final stages now I'm starting to sort of see some of the colors that have come in here I'm wondering what they look like in other places so putting it on my pallet knife because that's quite a nice squared off shape and thinking okay what happen if I'm a curing my color I have here yeah what would what would happen if I started to put it down in in this area here and they'd sort of guessing for those last conclusive marks in the composition where you can easily a Creole easily I overdo it and then you keep going and going and going and it gets muddy or and muddier and I would say that this competition isn't quite finished but what it is is it's close and it's getting to stage that if I put too many more marks on I'm going to lose a sense of what's working and what's not and so I know from experience she says putting a few more marks on if I probably need to stop and then possibly go back to this another time or leave it as it is because this is gonna be something that'll turn into a bigger image something that I can explore further in a larger painting now I have the composition and what I've got which is what I set out to do with variety of mark making and experimentation which has not just happened on these collage pieces that recreated itself but some of this like the wax resist has started to actually translate into the way that I'm using paint and that's a really good bridge for that gap between the theory of experimentation and the excitement of experimentation and how you can move forward and transition into your work becoming looser and freer through using collage and experimenting with materials and mixed-media so I hope that something enjoyed and you found it useful I hope you found this enjoyable and it's given you some ideas some food with all and some opportunities for you to go and be creative with materials and collage to you

Channel: Melanie Cormack-Hicks Fine Artist

Views: 5,042

Rating: 5 out of 5

Keywords: sketchbook, collage, art, artlesson, free art lesson, free sketchbook lesson, things to do in insolation, #isolationartschool, seascape, how to paint a seascape, melanie cormack-hicks, art workshop, creativity, how to be creative

Id: G25CCHrqgRg

Length: 14min 37sec (877 seconds)

Published: Thu Apr 30 2020