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by 'monotype-plus' techniques and more besides
For all who may be interested in exploring notions of originality.
Improvisation of methods for the invention of new compositions. Consistantly affording original possibilities for visual and other media applications.
Drawing from scratch to hatch, description, definition and dynamic delineation. Imaginative inventions by illusion for achieving allusions. View points according with perspectives and compositional constructions. Applications of design devices according with intrinsic purposes.
Transformations of ideas through transposed images tends to encourage a dynamic sense of freshness and novelty through processes of origination, research and exploitation.
photo illustration above __ studio workshop at Cooper Art Gallery Barnsley South Yorkshire in March 2010 _ photo by Frank Ayton, and below __ studio workshop at Michael Young Centre for the Arts, Open College of the Arts, Barnsley South Yorkshire in September 2006_ photo by Roger Head
click on small pictures above for details about the picture below
a notional construction that one may place on any matter, seems to be partly dependant upon points of view, points of reference and partly other things besides
Experiments with various materials for making colours optical properties possibilities of colour material, vehicles, solvents; and supports' effects produced by different manipulations and colour techniques, with happy accidents as useful distinguishing artwork improvisations.
Observations on account of curiosity and recognition. Perceptions, impressions, perspectives and conjectures, by means of imagination, originated in the moment of its making artwork. As significant in comparative terms and complimentary with many cultural activities previously created and to be created.
'A New Method of assisting the Invention in Drawing Original Compositions of Landscape', author Alexander Cozens ( 1717-86 ) published 1785, republished by Paddington Press Ltd. 1977 __ ISBN 0 448 22120 9 ____ for method of making original compositions by way of 'abstract' marks and blots on paper as developed into fully formed finished artworks together with quote in Eighteenth Century English language translation of remarks by Leonardo da Vinci (b.1452 - d.1519) concerning invention and imagination ____ ( from 5 page and continued on page 6 )
"Among the things I shall not scruple to deliver a new method of assisting the invention, which, though trifling in appearance, may yet be of considerable service in opening the mind, and putting it upon the scent of new thoughts; and it is this. If you look upon an old wall covered with dirt, or the odd appearance of some streaked stones, you may discover several things like landscapes, battles, clouds, uncommon attitudes, humorous faces, draperies, etc. Out of this confused mass of objects, the mind will be furnished with abundance of designs and subjects perfectly new."
___ and Alexander Cozen's inventive ideas, page 6 and continued, with following illustrations. ___
" I presume to think, that my method is an improvement upon the above hint of Leonardo da Vinci, as the rule forms offered by this scheme are made at will; and should it happen, that a blot is so rude or unfit, that no good composition can be made from it, a remedy is always at hand, by substituting another. But according to Leonardo, the rude forms must be sought for in old walls, etc. which seldom occur; consequently, the end of the composer may sometimes be defeated. An artificial blot is a production of chance, with a small degree of design; for in making it, the attention of the performer must be employed on the whole, or a general form of the composition, and upon this only; whilst the subordinate parts are left to the casual motion of the hand and brush."
Techniques for making some surprising images by transpositions and transformations; generating novel visual ideas for imaginatively enlarging possibilities, original approaches and inventions using additional design forming materials; composition by monotype and multi-media and to devise one's own techniques.
Germination of artworks ideas through preparatory explorations in studio experiments, forming potential finished artworks, prospects for developments, improvisations envisaged, considerations and planning with exhibitions possibilities in mind.
"....whatever deserves the name of artistic imagination can rise only from a creative process. The hand does not execute something which the mind could have formed previously, but rather the process in which the hand engages is a further stage of a single indivisible process."
Conrad Fiedler (b.1841-d.1895)
"..The scientist discovers elements of things, if you like, and the artist, with elements having no value in the place they chance to be, composes, invents a unity, in a word, creates; he strikes the imagination of men by the spectacle of his creations, and in a particular manner. He summarizes, he renders clear the sensations that things arouse within us, and which the great run of men, in the presence of nature, only vaguely see and feel." from the journal of Eugene Delacroix dated 2nd September 1854 while at Dieppe
Concerning matters of expressive drawing, medium and message, coincidences and constructions
The eye of the imagination conjectures compositions, develops notions with and from graphic gestures, as part of languages in a complex and sophisticated culture.
Delineating some workable graphic methods for novel inventions, describing and exploring possibilities at the cutting edge of the imagination, outlines, inlines, dynamics, motion, emotion and space composition by way of definition, resonance, reason and transformations.
Describing the intangible and substantially by way of the imagination. Working from the known and handling risk at the extremes of research, development and production.
"...while Newton’s theory that the whole range of natural colour may be built up from the three primaries was applied by Jacob-Christophe Le Bron (1667-1741) soon after 1710, to the multiple-plate method [of printing]. Le Bron used three messotint plates in order to reproduce in full colour portraits and subjects after the Old Masters. His work clearly foreshadows modern three-colour process reproduction, even to the extent of on occasion a fourth plate inked with black in order to obtain greater depth and richness. "
from The Oxford Companion to Art , 1970, edited by Harold Osborne
Attuning motivation and curiosity towards awareness of coincidental possibilities.
Purposeful comprehension and development of coherant consiquences expression of concept as and by means of an original event. Using exposition, resonance, reason, criticism and transformations, dealing with matters of purpose, expression and exposition with intent. ( Time spent in reconnaissance is seldom time wasted and action brings good fortune.)
" In the 1940s intellectuals used to talk about a 'crisis of conscience'. This was more than a question of moral values, it was also a crisis about the role of intelligence and imagination, a crisis of interior values. Today, there seems to be a crisis of objectivity. This crisis of objectivity seems to ask questions as to what art is all about at the present time. What exactly, is the function we demand of it? What do we hope of it, what are the emotions we invest in it? "
Kenneth Coutts-Smith, from 'The Dream of Icarus' Hutchinson, 1970.
for generating compositions by way of autographic monotype with added painting and drawing.
Possibly with a view to photographic and digital developments, amongst other things,
with some bibliographical referecenes links
For a Printout use View as Text Size as Smallest Setting
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