Michael Craig Martin
PIETER CLAESZ, A Vanitas, 1645
Tony Cragg, Eroded Landscape, 1992
Marcel Duchamp, Fountain, 1917
Large Still Life on a Pedestal
Claes Oldenburg, Giant
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?
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.
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
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.
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.