DLK Blog: 2012

Wednesday 25 April 2012

Project 25 - war between type and image

Thursday 15 March 2012

Thursday 1 March 2012

Project 24 - Jazz Band

All the materials me and friends collected and shared to help make our own instruments

i took a small tray from the pile of materials and decided to put beads inside it

Covered the small tray and used a glue gun to stick it together and keep the instrument together

i decided to use a wire as an instrument tool to make my shaker more unique since traditional shakers only uses one or two hands to play the instrument

The final outcome

The Hand shaker

Friday 10 February 2012

Experiment with colour

Not going to use crayons for final piece

Thursday 9 February 2012

Photoshop/illustrator experiments

Tuesday 7 February 2012

Photoshop/illustrator experiments

Monday 6 February 2012

Photoshop/illustrator experiments

Sunday 5 February 2012

Photoshop/illustrator experiments

Friday 3 February 2012

Interesting things to me about Riley

Optical Art
Use of Egyptian colours

Bridget Riley is one of Britain’s best-known artists. Since the mid-1960s she has been celebrated for her distinctive, optically vibrant paintings which actively engage the viewer’s sensations and perceptions, producing visual experiences that are complex and challenging, subtle and arresting.

Riley’s paintings exist on their own terms. Her subject matter is restricted to a simple vocabulary of colours and abstract shapes. These form her starting point and from them she develops formal progressions, colour relationships and repetitive structures. The effect is to generate sensations of movement, light and space: visual experiences which also have a strong emotional and even visceral resonance.

Though her work is abstract, such experiences seem surprisingly familiar. During her childhood, when she lived in Cornwall, she formed an acute responsiveness to natural phenomena. In particular, the effects of light and colour in the landscape made a deep impression. Though her mature work does not proceed from observation, it is nevertheless connected with the experience of nature. Of her paintings, she has commented: ‘the eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift…One moment there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.’ This parallel relation between Riley’s art and nature has underpinned the development of her work, colouring the way it forms both an exploration and a celebration of a fundamental human experience: sight.

Riley’s work falls into phases or groups in which it is possible to see certain formal ideas being worked through. At the same time, however, her work has not followed a single, straightforward line of development. Rather, its course resembles a kind of musical progression in which different themes are stated, explored, combined with other ideas, and progressively transformed. The exhibition is therefore arranged in a broadly chronological order, and according to phases or families of related paintings. Within these groups internal connections can be discovered and ideas stated earlier can be seen reappearing in later works.

source: http://www.tate.org.uk/britain/exhibitions/riley/

In Cornwall, Riley had great freedom as a child and spent a lot of her time playing on the cliffs and beaches near Padstow where she lived. She spent hours watching the changing light, colour and cloud formations and stored away what she saw in memory. She has later said that these early memories have had a big impact on her visual awareness throughout her life.

source: http://www.op-art.co.uk/bridget-riley/

Optical Art

Optical Art or Op Art was born in the Sixties and due to the graphics repetition it has always been considered more a decoration form rather than an artistic movement. Actually Op Art, as any other artistic movement, is based on pre- determinate concepts. The idea beyond the Op Art paintings is to enabling the spectator to elaborate the geometric figures inside his/her brain. In this way, our mind becomes the author of the painting movement and of its three-dimensional development.

source: http://whospeaksforart.blogspot.com/2011/05/bridget-riley-lets-be-hypnotize.html

Bridget Riley speaking about her work

Bridget Riley Artwork

RA 2 - Bridget Riley 1981

The Egyptian Connection – 1981

In 1981 she visited Egypt and was enchanted by the colours used by ancient Egyptian art. ‘The colours are purer and more brilliant than any I had used before,’ she wrote.
In the ‘life-giving arrangement of colours’ the Egyptians had used for over 3000 years Riley had found a group of colours which worked perfectly as a colour scheme. They retained their individual brilliance and still generated new colours and light effects in the spaces between the colour groups. With these colours she felt she had found the intensity of colour and the shimmer of light she had always searched for.
Prior to this point the use of colour in Riley’s work was ordered and its progression could be followed across the canvas. The ‘Egyptian’ paintings mark the beginnings of free colour organisation, something that she uses to the current day.

Source: http://www.op-art.co.uk/bridget-riley/