Vincent Van
Gogh,
Sunflowers,
1888

Michael Craig Martin

Michael Craig-Martin

PIETER CLAESZ, A Vanitas, 1645

Tony Cragg, Eroded Landscape, 1992

Marcel Duchamp, Fountain, 1917

Pablo
Picasso,
Table with
Violin &
Glasses,
1913

Pablo
Picasso,
Guitar, 1913

Pablo Picasso,
Guitar, 1924

Pablo Picasso,
Large Still Life on a Pedestal
Table, 1931

Henri Matisse,
Vegitation,
1931

Georgio
Morandi,
Still Life,
1960

Claes Oldenburg, Giant
Hamburger, 1962

Your task

Looking again at these Picasso and
The Michael Craig-Martin still life images…….
Consider the quality of line making and the amount of detail that it has been necessary to use to describe objects accurately enough. Also the use of flat colour in selected sections.

Tear out objects from magazines

Trace the objects on to one piece of tracing paper – compose as you go – put objects in front of or behind other objects. Think does size or scale matter?
Michael Craig-
Martin doesn’t worry about having the smallest things at the back… should he?

Don’t throw away the images of the objects

All the objects you collected should then be cut out carefully and collaged in a different composition

Turn the tracing paper over to the ‘wrong’ side

Scribble with a soft pencil over the lines you intend to use.

P
Place the tracing paper ‘right’ way up on to your page – line it up accurately so if it moves you can line it up again easily.
With a hard point (biro is ideal) re-trace the lines
– the impression you make should show through on the paper below.

Use a FINE black pen to go over the traced lines
.

Watercolour tinting.

Top:
Michael Craig-
Martin, 1999.
Bottom:
Tristan Antoine,
2005

Using one primary colour and an adjacent secondary colour
(colour wheel) plus white, paint each area of the composition.

Using a limited colour palette
Van Gogh, 1888 Antoine, 2005

Re composition: by cutting up the image we can recompose and consider fragmented structures a bit like the cubist images seen earlier.

Picasso Antoine

None of these stages/images took more than 40 minutes each to complete.
Hopefully you can see how it is possible to respond to the work of other artists in terms of their technique and in doing so how your work and ideas become real.