 |
| Space where the mural will be placed |
Wednesday, 27 April 2011
Commission, Community and Collaboration - Church Mural
The second Commission, Community and Collaboration project I am undertaking is producing a mural for Hurstpierpoint Methodist Church in West Sussex. I have been commissioned to produce a piece of work that will fit in the area of the back wall that was once a large window, which has since been filled in. Although the window itself is no longer there, it is only the glass portion that has been removed and covered over so there is still a distinct shape as the window facings still remain. My original plan was to paint directly onto the wall, however this would entail the hiring of scaffolding which would be quite expensive. Also to comply with heath and safety someone would have to supervise me while I was painting. I have since decided to paint onto three canvases that can then sit into the space meaning that they can be produced on the ground and eliminating any need for scaffolding. It also means that if the picture needs to be moved, or the building is re-developed at a later date the picture can be saved.
The church has given me free rein to design the painting myself, which is very helpful. I am eager though that the church still has some input and agrees to the final design. I attended the Church Council meeting on 17th February 2011 and presented some design examples of what could be produced and showed them images of other artist and work that I like and will be taking influence from. I also spoke about the budget for the work which as this is my first project of this kind will be something that becomes clearer once the project progresses and I have decided on the materials I will be using. The Church have agreed to fund the project paying for all the materials needed, so I will be keeping a tight budget and a record of all my recipts so that the cost does not become get too extreme.
Sunday, 3 April 2011
Work Experience: All good things must come to an end.
DAY NINETEEN:
My final day at the National has been relatively quiet, finishing off the commission work for the canteen was the main task of the day. I also had to package up my painting. Having not worked on my painting for the last few days has been really helpful as the break has allowed me time away to reassess my work. When I finished it on Tuesday I was feed up with it and really hated it, as it was a real challenge for me to paint in a style that is so far removed from my own style. It was hard to be so out of my comfort zone. Having a quiet few days has made the last week a good opportunity to make the most of taking in everything that was going on around me. Through out my time at the National I have been trying as much as possible to be observing and learning from what the other painters are doing. In this last wee there have been some more freelance painters in working on the floor for "Cherry Orchard" which will be in the Olivier Theatre, so is so large it has had to be painted in two halves. I have found that scenic painting is a completely different way of working compared to painting in a fine art style, as it is all about how the piece looks on the stage, it doesn't have to look good up close just as long as it works overall for the audience. There is also a lot of work put into achieving exactly what the designer wants, it has to be perfect rather than just being along the lines of the design. The designer for "Cherry Orchard" was asked in twice during the week to approve the work being undertaken.
Being at the National has by no means put me off being a scenic painter or working in theatre, it has confirmed for me that this is everything I have ever wanted to do. At no time during the last month have I ever been bored or wanted to leave, I have been challenged, exhausted and always on the go, but never bored. I have loved working in a place where everything happens under one roof, where the project can be seen through from beginning to end. I think being able to see you work finished and on stage is really important as you don't get an idea of how things look or work while they are in pieces in a workshop. Also working along side all the different departments gives you a real sense of working within a community, everyone is out to achieve the same goal. A great production. All the people there have been really supportive of my work and plans for the future. They have always been willing to answer question, give advice and make my time at the National the best it could be. Working at the National has also boosted my own self confidence as I have always doubted myself as a person, and my abilities and aspirations, however the compliments and encouragement I have received from everyone there has given me the courage to believe that I can do this. I really hope that I can be involved in the National once I am fully fledged, as I have already been invited back to see the dress rehearsals for both "Cherry Orchard" and "One Man, Two Guvnors".
My final day at the National has been relatively quiet, finishing off the commission work for the canteen was the main task of the day. I also had to package up my painting. Having not worked on my painting for the last few days has been really helpful as the break has allowed me time away to reassess my work. When I finished it on Tuesday I was feed up with it and really hated it, as it was a real challenge for me to paint in a style that is so far removed from my own style. It was hard to be so out of my comfort zone. Having a quiet few days has made the last week a good opportunity to make the most of taking in everything that was going on around me. Through out my time at the National I have been trying as much as possible to be observing and learning from what the other painters are doing. In this last wee there have been some more freelance painters in working on the floor for "Cherry Orchard" which will be in the Olivier Theatre, so is so large it has had to be painted in two halves. I have found that scenic painting is a completely different way of working compared to painting in a fine art style, as it is all about how the piece looks on the stage, it doesn't have to look good up close just as long as it works overall for the audience. There is also a lot of work put into achieving exactly what the designer wants, it has to be perfect rather than just being along the lines of the design. The designer for "Cherry Orchard" was asked in twice during the week to approve the work being undertaken.
Being at the National has by no means put me off being a scenic painter or working in theatre, it has confirmed for me that this is everything I have ever wanted to do. At no time during the last month have I ever been bored or wanted to leave, I have been challenged, exhausted and always on the go, but never bored. I have loved working in a place where everything happens under one roof, where the project can be seen through from beginning to end. I think being able to see you work finished and on stage is really important as you don't get an idea of how things look or work while they are in pieces in a workshop. Also working along side all the different departments gives you a real sense of working within a community, everyone is out to achieve the same goal. A great production. All the people there have been really supportive of my work and plans for the future. They have always been willing to answer question, give advice and make my time at the National the best it could be. Working at the National has also boosted my own self confidence as I have always doubted myself as a person, and my abilities and aspirations, however the compliments and encouragement I have received from everyone there has given me the courage to believe that I can do this. I really hope that I can be involved in the National once I am fully fledged, as I have already been invited back to see the dress rehearsals for both "Cherry Orchard" and "One Man, Two Guvnors".
Thursday, 31 March 2011
Work Experience: Start as you mean to end.
DAY EIGHTEEN:
Today was a continuation if the commission work for the canteen. The task involved drawing out pictures onto the corners of the mount board, such as fruit and veg, meat, cakes and a variety of dishes.
Now that I am coming to the end of my placement with the National I am finding myself doing the same jobs that I completed on my very first day. The black paint was back in full force as I was touching up the metal frames of some light boxes for the production of "London Road". The frames were not intended on being seen, however a miss calculation in the width of some wood meant that that raw edges of the frame would be visible on stage. So they all need to be touched up whist trying not to get paint on the light box, which was easier said then done. As well as this I was also charged with the job of unpacking fake grass and reeds for "Cherry Orchard" removing all the plastic and labels in preparation for them to be sprayed and made into reed beds. A freelance painter/props maker will be coming in to make the reed beds. I was surprised to find out that this was part of the paint frame work as I would have thought the props department would have made them. It just goes to show that being a scenic artist is not all about painting, you also have to be able to do some construction and carving work aswell.
Today was a continuation if the commission work for the canteen. The task involved drawing out pictures onto the corners of the mount board, such as fruit and veg, meat, cakes and a variety of dishes.
Now that I am coming to the end of my placement with the National I am finding myself doing the same jobs that I completed on my very first day. The black paint was back in full force as I was touching up the metal frames of some light boxes for the production of "London Road". The frames were not intended on being seen, however a miss calculation in the width of some wood meant that that raw edges of the frame would be visible on stage. So they all need to be touched up whist trying not to get paint on the light box, which was easier said then done. As well as this I was also charged with the job of unpacking fake grass and reeds for "Cherry Orchard" removing all the plastic and labels in preparation for them to be sprayed and made into reed beds. A freelance painter/props maker will be coming in to make the reed beds. I was surprised to find out that this was part of the paint frame work as I would have thought the props department would have made them. It just goes to show that being a scenic artist is not all about painting, you also have to be able to do some construction and carving work aswell.
Work Experience: I could get used to being paid in cake.
DAY SEVENTEEN:
As part of an internal commission the head of the canteen requested that some small 3 inch by 4inch canvasses be decorated. We were informed that we could do what we liked on these canvasses and used our own artistic flare to interpret the challenge. The decision was to paint the canvasses in pastel colours as these would be less obtrusive on the senses when deciding on food. However, the head of the canteen had other ideas and was not too keen on the colour choice. We used the colour of the walls as inspiration, as the canteen is called the "Blue Room", and mixed a midnight blue to match the walls. When we returned to have a meeting with her she loved the blue, but also decided that she liked the pastels as well for use on the cake stand. The final choice was a mix of the pastel colours and the dark blue. It is this kind of indecision that I can imagine experiencing with some designers, who are unsure what they really want. It is all about working with people through a problem to come up with the best outcome for everyone. On top of the canvas is placed a piece of black mount board with a drawing of different food using white, silver and gold pens in the corner. These cards are interchangeable depending on the dish that is being served. Doing a project like this can be difficult as you don't always get to do work that you like or enjoy, but you still have to do the best job possible as it is always about the designer/customer.
As part of an internal commission the head of the canteen requested that some small 3 inch by 4inch canvasses be decorated. We were informed that we could do what we liked on these canvasses and used our own artistic flare to interpret the challenge. The decision was to paint the canvasses in pastel colours as these would be less obtrusive on the senses when deciding on food. However, the head of the canteen had other ideas and was not too keen on the colour choice. We used the colour of the walls as inspiration, as the canteen is called the "Blue Room", and mixed a midnight blue to match the walls. When we returned to have a meeting with her she loved the blue, but also decided that she liked the pastels as well for use on the cake stand. The final choice was a mix of the pastel colours and the dark blue. It is this kind of indecision that I can imagine experiencing with some designers, who are unsure what they really want. It is all about working with people through a problem to come up with the best outcome for everyone. On top of the canvas is placed a piece of black mount board with a drawing of different food using white, silver and gold pens in the corner. These cards are interchangeable depending on the dish that is being served. Doing a project like this can be difficult as you don't always get to do work that you like or enjoy, but you still have to do the best job possible as it is always about the designer/customer.
Tuesday, 29 March 2011
Work Experience: It's all about Logistics
DAY SIXTEEN:
It is alll very well and good producing a 3 x 2 meter painting until you have to take it home on the rush hour tube. Now there is a lesson learnt.
Using the roller method to paint over the Crystal Gel proved a really success. As a means of adding tone and texture, this was really affective. The Crystal gel adds instant depth to a piece once it is painted and also picks up hints of colour well. I used the roller lightly over certain parts, allowing the colour to only lay on the raised bits of gel. Some of the smoother bits of gel, on the bow for example, were a little hard to cover as it tended to resist the paint. However once one coat had been applied and dried then it was easy to build up on top of it.
The Paint Frame was very quiet as the painters were on a research trip to Brighton. The designer for "One Man Two Guvnors" has used internet images in the model box which have then been copied and blown up so are not of the best quality to work from. So the painters have been set the task of re-photographing the buildings and scenes that are used from Brighton.
Monday, 28 March 2011
Work Experience:
DAY FIFTEEN:
I have really been struggling with this painting as it is so far removed from my usual painting style. Despite this there have been moments when I have enjoyed the work, mixed in with moments of utter despair. I have been using a roller to paint this piece, as it creates a really nice affect and texture that works well to emulate the qualities of pastels. On the other hand the roller does create a whole other challenge in itself as it is harder to put in the finer details. I have also been having trouble with some of the colours for the skin as the when the colours used in the original sketch are translated into paint the dancer looks a little dead, so I have spent a lot of time applying layers and dry brushing to try and achieve the right affect.
Within the rest of the paint frame the work is only just beginning as they are starting two new shows "Cherry Orchard" and "One Man, Two Guvnors". Both the floors for these productions have been the first parts to be completed as they take up the most room. Once the floors are done then the rest of the set pieces can be brought through from the workshop. These two shows work well together as one is made up of flats and physical set pieces, whereas the second is all painted on cloth so will fit nicely into the paint frame.
I have really been struggling with this painting as it is so far removed from my usual painting style. Despite this there have been moments when I have enjoyed the work, mixed in with moments of utter despair. I have been using a roller to paint this piece, as it creates a really nice affect and texture that works well to emulate the qualities of pastels. On the other hand the roller does create a whole other challenge in itself as it is harder to put in the finer details. I have also been having trouble with some of the colours for the skin as the when the colours used in the original sketch are translated into paint the dancer looks a little dead, so I have spent a lot of time applying layers and dry brushing to try and achieve the right affect.
Within the rest of the paint frame the work is only just beginning as they are starting two new shows "Cherry Orchard" and "One Man, Two Guvnors". Both the floors for these productions have been the first parts to be completed as they take up the most room. Once the floors are done then the rest of the set pieces can be brought through from the workshop. These two shows work well together as one is made up of flats and physical set pieces, whereas the second is all painted on cloth so will fit nicely into the paint frame.
 |
| Roller Work |
 |
| Troubles with skin tones |
 |
| Painting so far |
Sunday, 27 March 2011
Work Experience:
DAY FOURTEEN:
As the drawing I am recreating is a pastel sketch I need to try and emulate that quality of colour and blending that you get with pastels. On the floor I used a mix of brushes and a sponge to get the seamless blending of colour you can get with pastels. To maintain a continuity with the colours I used the same base colours to mix those for the wall of the background. I was inspired to use a small roller to paint the background from observing some of the scenic artists using them to paint samples for "Two Governers, One Gentleman". This technique was really successfull as it allowed me to make a line that looked as if it could have been drawn with charcoal or a pastel. I am finding this painting a much bigger challenge than "Whistlejacet" as the style and techniques are so far removed from my usual painting style.
As the drawing I am recreating is a pastel sketch I need to try and emulate that quality of colour and blending that you get with pastels. On the floor I used a mix of brushes and a sponge to get the seamless blending of colour you can get with pastels. To maintain a continuity with the colours I used the same base colours to mix those for the wall of the background. I was inspired to use a small roller to paint the background from observing some of the scenic artists using them to paint samples for "Two Governers, One Gentleman". This technique was really successfull as it allowed me to make a line that looked as if it could have been drawn with charcoal or a pastel. I am finding this painting a much bigger challenge than "Whistlejacet" as the style and techniques are so far removed from my usual painting style.
 |
| Background |
 |
| Background |
Subscribe to:
Posts (Atom)