From the previous visual research I took some learnings and experimented in my sketchbook. As the project is about animals I took some animal poses from my sketchbook that I took in the context of exercise 1.
In reference to Garrett Phelan on his usage of line drawing together with marker pen. And a combined approach with colored areas in the surrounding space and over the object:
- The color makes either the object (in my case a sheep) stick out, or support the eye focus
Using marker pens for the sheep (I used some short marks) makes it quite dominant. Line drawn sheep without color around move towards the background, less dominant.
– to Garrett Phelan on is usage of ink with marker pen,
– to John Coker to his using a dominant dead part of an animal in a domestic environment,
– to Henry Moore for his scribbling line usage for form and depth.
and a combined approach of scribbled marks with marker pen and ink color washes:
- Making straight lines with a marker pen in combination with line drawn objects (here three cows) frames the objects as well puts them back (relationship), makes the cows a kind of vulnerable.
- The cow skull (from a photo reference) on a table with books is a kind of vanity theme in a domestic set up. This can trigger thoughts on the relationship animal-human.
- Using scribbled marks, either with short or a continuous line, let the object (sheep) moving out of the negative space do that they can materialize into a believable form.
Simple line drawing in combination with short marker pen marks brings up a pop-art appeal. With selective color washes, half overlapping with the sheep, makes a special atmosphere, more interesting, and opening up imagination of the viewer.
After doing above sketchbook studies I came on www.tate.org.uk across the Israel born sculptor and painter Menashe Kadishman. He worked in in the 1950s as a shepard in a Kibbutz. The theme of sheep became a red thread though his later works. At the Venice Biennale 1978 he even presented a flock of colored sheep as a living art. His work ‘Sheep Head A‘, 1979 got my attention as it interestingly resembles for me to my last study of the sheep with color washes (I did not know Kadishman’s work before)