AUTUMN

ARTIST RESEARCH:

L. S. Lowry research

Born in Stretford in 1887, Lowry was a visual artist known for his many drawings and paintings of Greater Manchester, a place he lived in for roughly half his life.

He gained the idea of painting the area after he missed a train and he took in the industrial landscape that surrounded him. Nowadays, you could find his works in ‘The Lowry’ in Salford, which was named after the famous painter. He currently holds a records of most awards turned out, with a knighthood being turned down by him in 1968, as he didn’t feel a connect for be socially recognised for his work.

He also spent the most part of his working life as a rent collector, to help make ends meet. Outside of painting and working, he was a huge fan of football and was fond of the ocean, with the seascape making it into some of his paintings.

In order from left to right: The Lake (1951), Going To The Match, Coming from The Mill (1917-1918), Yachts (Watercolour)

In order from left to right: Going To Work (1943), Hillside in Wales (1962), ‘Old Steps, Stockport’ (1969-1970), Tree in a Square (1969)

Tree in a Square (1969)

The artwork here is likely drawn from an area in Manchester, where Lowry lived and worked most of his adult life and a city where he took a lot of inspiration from in his long career.

Like I had said above, Lowry took a lot of inspiration from the city of Manchester.

The medium used for this piece was Lithograph on paper and the result here is an illustrative, almost childlike feeling to it, with wonky lines forming the base of the buildings and messy shading on the roof of the buildings. The colour scheme is also simple with the classic white or cream paper and the grey markings left behind from the lithograph method.

What I had learnt from Lowry’s art is that he enjoyed taking inspiration from the area that he lived in and he also doesn’t try to make his paintings perfect looking, what I mean by this is that not everything is as what it was in front of him as he was creating the painting, like with the wonky lines, the messy shading and the sketchy look, something I do in my own artworks. What I would like to take from his art style and implement into my own is the none-perfective look to it, as I’m a perfectionist and I would like to embrace the little mistakes of the artworks that I create.

REACTION

My first artist reaction for the scrapbook, where we have here is a digital drawing of a flower from Kew Gardens. What I did here was I traced the outline of the flower before crosshatching the sections inside the flower, using thicker hatchings to indicate a darker colour.

Building the section

In this video, I was creating the first page of the scrapbook. I decided to do it in the shape of a leaf as I feel like it would be very suitable for the autumn section and I covered the first page with oil pastels, to cover the page quickly.

[Unfortunately, my phone ran out of space during recording this section so the whole process wasn’t shown here, sorry about that]

So basically here, I was building the typical clothing page where I show typical clothes worn in autumn. I went for a rain coat, umbrella and wellies as I feel like autumn is a pretty wet season and these clothes help people to not get wet.

Now here is me designing and building the page where all the autumn events will go. As I did the previous page in oil pastels and stuck on tissue paper, I filled it in with coloured pencil.

Now that we’re nearing the end of autumn, I decided to create the transition over to winter and I did that by going from oil pastels to ink as ink will be prominent in the winter section, although I did the ink in orange so the transition wouldn’t be too drastic. But then at the end of the ink area, I added some blue paper, it being most bunched up the closer it is to the edge of the page. I tried to do it so that it would look like it was gathering up, like snow. Not too sure if that was successful or not, maybe white would’ve been better.

Pages: 1 2 3 4 5 6 7 8 9