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Pierre Bonnard ‘Nude in Bathtub’ (1940-1946)

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Pierre Bonnard ‘Nude in Bathtub’ (1940-1946)

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I tried to make a projector to project my image onto my canvas. It was really fun to make and it projected my image clearly. I found it challenging to align the projection with my canvas so instead I just drew my image freehand.

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Arranging my home items for my painting 

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Arranging my home items for my painting 

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Using only cut outs was challenging as I wasn’t able to use pen lines to finish my drawing but I enjoyed exploring a new way of drawing.

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For this drawing I only used materials that could be cut out. I placed some Jamaican drinks and foods on my kitchen table in Leicester and drew them capturing colours and forms. I think collaging my drawing worked well with my idea of combining identities as this technique symbolises how the different cultures have come together in my home lifestyle.

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For this drawing I used cut outs and a pen - drawing my objects from memory.

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Observational drawing

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A Somali baati or Dirac is a traditional dress that is typically made of cotton or silk and is worn by women in Somalia. It is a long, loose-fitting garment that covers the entire body and is often decorated with colourful embroidery.
I wore this dress for one of my close friends birthday celebration as her theme was traditional East African Dirac.

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For this painting I overlapped and arranged objects from my kitchen space that I believe to be closely associated with both Jamaican and British culture. I chose to realistically capture the colours and forms of these objects to visually represent the combined elements of my cultural identity.
The colourful lines around my objects were inspired by Joanne Greenbaum’s painting ‘Untitled’ where she used a variation of lines and colours to represent modern life.
Highlighting the mix of cultural identities I wanted to juxtapose representational and nonrepresentational elements.

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I wanted to include my East African house dress in my canvas painting to emphasis the blending for cultural identities. As the Caribbean has strong cultural connections to Africa I wanted to represent this using this fabric.

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I wanted to create this painting without an initial sketch so instead I went straight in with the paint. Compared to my charcoal drawing I think this made it more challenging  as I found it difficult to capture the proportions accurately at a larger scale. If i were to do another large scale drawing with paint focusing on tone I would first create a sketch and start with a smaller brush to capture more of the finer details.

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observational drawing of my brother using charcoal 

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observational drawing of my brother using charcoal 

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I created two drawings with two different mediums, cut outs and pen. I placed the pen drawing on top of my paper cut out drawing which I thought looked interesting because of the contrast in materials used.

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Observational drawing on cardboard using sanguine chalk 

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Observational drawing on cardboard using sanguine chalk 

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Wangechi Mutu ‘Histology of the Different Classes of Uterine Tumors’  2006

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Wangechi Mutu ‘Histology of the Different Classes of Uterine Tumors’  2006

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Collage on found medical illustration paper

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‘Wangechi Mutu's allegorical collages fuse references to beauty, consumerism, colonialism, and race. Born in Kenya, Mutu attended school in Great Britain and the United States and has lived in New York since the 1990s. Intertwining themes from her experience as an African woman and migrant, her work explores the influence of Africa on other cultures.’

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Coloured pencil and graphite on Dura-Lar

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Toyin Ojih Odutola ‘Streets Ain’t Ready’ 2020 

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Toyin Ojih Odutola ‘Streets Ain’t Ready’ 2020 

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Pencil and ink on Dura-Lar
- Ojih Odutola is a Nigerian American artist who uses traditional drawing techniques to create detailed portraits. Themes of gender and cultural identity are present within her work as she engages with the complexities of individual and collective identities.

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For my drawings and paintings I plan on arranging objects within my house that I think are closely associated with Jamaican and British culture - a visual representation that’s shows connection and contrast.
- including objects with historical / social significance
Cultural patterns
- traditional textiles, house dress
‘Including contextual elements in the still life composition can further enhance the representation of cultural identity. Backgrounds, settings, or backdrops can create a visual environment that reinforces the cultural context and strengthens the connection to the cultural identity being depicted.’

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I chose to paint these bottles within the context of my table setting at home to represent the blending of Jamaican and British cultures.

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Magnum Tonic Wine is an alcoholic drink produced in the Caribbean and was originally introduced to Jamaica’s dancehall scene in 1999.

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To tone the surface of the paper I mixed an orange shade of acrylics to apply before using oil paints. I chose this colour as I felt the orange would make it easier to establish the warm tones. I also think this was a good undertone choice for the darker brown bottles as I was able to use the orange to see highlights during the painting process.

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Drawing objects on my desk in the studio 

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Drawing objects on my desk in the studio 

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I used transparent inks to print layers of colour over my first dry points. I used a paintbrush to apply the inks and wiped away the areas I didn’t want the colours to print using a cloth.
I found the transparent inks slightly challenging to use as I couldn’t tell how dark/light the colours would transfer but I did colour swatch each colour before applying which made it easier.

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I used coloured pencils and water colours for this study. I found using pencils a lot easier than inks. For my larger drawing I’ll use coloured pencils when colouring the figures.

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Jake and Dinos Chapman ‘Do Not Recall Distinctly When It Began, But It Was Months Ago Il’ (2010)

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Jake and Dinos Chapman ‘Do Not Recall Distinctly When It Began, But It Was Months Ago Il’ (2010)

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This print portrays an imagined moment of a child’s mind which I think has been shown clearly. The artists juxtaposed a memory like image of a woman holding bunny’s with a monstrous image towards the left of the plate.
Representing both images, different variations of line have been used to depict specific feelings. I really like the amount of detail within this print as well as the different variations of line. The design has also been engraved taking up the whole surface of the plate which creates a full composition.

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A5 dry point design inspired by Bonnard 

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A5 dry point design inspired by Bonnard 

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For this drawing I scratched into the plastic and applied ink into the lines, wiping away the ink from the surface. I chose magenta similarly to Langberg’s use of bold colours.

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For the appropriation brief I’ve chosen to pay homage to Bonnard’s painting ‘Nude in a Bathtub’ (1940-46). Bonnard was a 19th century Intimist who painted domestic scenes and was known for his decorative style and bold use of colour.
- He inspired contemporary artists such as Doron Langberg to create ‘Bather’ (2021). I really like Langberg’s use of luminous colour, to challenge gender associated stereotypes, and would like to combine these elements in the process of developing my dry point and the ideas for my theme.

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Pierre Bonnard ‘Nude in Bathtub’ (1940-1946)

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Pierre Bonnard ‘Nude in Bathtub’ (1940-1946)

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Walter Gropius ‘The Theory and Organisation of the Bauhaus’ (1923)

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Walter Gropius ‘The Theory and Organisation of the Bauhaus’ (1923)

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He was able to use his background in architecture to help develop the ideas he had for the Bauhaus
- believed architects and artists should work together to combine functional elements with visual

- collaborative approah

- Concept of the total work of art where all the disciplines can be in harmony

Wanted to create a new visual language that reflected modernism

the mass production of weapons and the ways used to kill people - this allowed them to explore new ideas for art design and technology to progress instead of using it for conflict and war

The events of the war Changed the way he saw his previous life and wanted to - merge applied arts with fine arts

- war's aftermath brought a need for reconstruction and the provision of affordable housing, furniture, and everyday objects. - creating designs that were aesthetically pleasing and functional

- precedent - William morris already had ideas of combing all the different art disciplines

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Michael Armitage, a Kenyan born artist, creates large scale paintings and uses a traditional Ugandan cloth for the base of these. He uses a combination of mediums to make his colourful figurative paintings.
- the figures stand out despite not having literal dark outlines and the background blending into the figures is a style I’m trying to achieve in my drawings.
- explores themes of identity, culture and politics

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For this drawing I used coloured inks. Mixing the colours felt similar to mixing paints. If I were to do this drawing again I would pick a colour scheme and try not to over use different colours. I think certain colours like blue and purple can overtake the entire colour palette.

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For my larger scale drawing I started by drawing the outlines of the figures

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I printed my Lino design and I prefer the print onto a white background so I might think about presenting them this way or onto my Chine-collé prints I’m not sure yet

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I really like my outcomes for etching. I decided to work into them tonally by wiping away the ink In specific areas and then printing the plate to see the outcomes.
I would like to create some more using this plate and I would also want to make a larger etching plate using soft ground with a similar design

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I added coloured inks into my plate before printing to see the outcome as well as linking it back to my theme

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For this design I was inspired by my drawings in the studio. I drew abstract figurative forms into the hard ground using the different sized engraving tools which I really enjoyed. I wanted to create a contrast in marks so I left some areas empty and included more detail/mark makings into other areas.
- for shading I used cross hatching, the roller and continuous line

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The Dada movement aimed to reinvent visual art through experiments and anti aesthetic creation.
- Dadaist critiqued modernity by creating collages and using found objects within their work.

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Annie Besant & Charles Leadbeater ‘Meaning of the Colours’ Thought-Forms1901

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Annie Besant & Charles Leadbeater ‘Meaning of the Colours’ Thought-Forms1901

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Colour theory, from the Theosophists. This chart showing the spiritual and mental 'meanings' of colour adapted from Thought-Forms by Annie Besant and C.W. Leadbeater (1905)

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Putting my collaged prints through the press allowed the cut outs to stay stuck down to the paper instead of peeling off.

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Looking at my suminagashi inspired experiments, some of the marble patterns resembled distorted flowers. I might draw over the outlines or create a small lino cut to print over the top highlight the floral appearance

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I decided to rip/cut my previous Collagraph and screen prints to collage. I like how these prints look by themselves however I might use these for the backgrounds of my lino prints

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Suminagashi - Japanese paper marbling technique 

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Suminagashi - Japanese paper marbling technique 

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For this technique I mixed acrylic paint (instead of Sumi Ink or oil based ink) and poured the paint onto flattened shaving foam. Using a stick I swirled the colours in different directions to create a marbling effect.
I think I’ll pick 2 or 3 colours for my refined prints, which I plan on using as backgrounds for my etch design.
- I also want to fill the white areas with a solid colour or by painting them in

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Using water based crayons I recreated one of my drawings onto the screen to create a print.
I might create a greyscale print using crayons

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Use of line
- very detailed and gestural making the appearance of the painting look ‘busy’ and complex

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Cecily Brown ‘Seven Brides for Seven Brothers’ (1997-98)

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Cecily Brown ‘Seven Brides for Seven Brothers’ (1997-98)

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British artist Cecily Brown explores the human form through abstract and figurative formations. She has a very expressive style, using vibrant colours and gestural marks.
- explores themes of sexuality and power

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Charcoal drawing onto a pink background - I wanted to create a drawing onto a tonal background so I chose to use pink to play with the stereotype of colours being associated with different genders.

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For this drawing I tried not to rely on outlining the figure in black by adding more colours. I think this drawing blends more into the surrounding colours.

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For my next drawing I included colours that are more neutral and not typically gender signifiers. I worked with the white background incorporating this into my drawings as well as using more greys, blacks and browns. To portray a more fluid application compared to Neo-expressionists I used curvilinear lines to form abstract patterns such as circles and S-shapes.

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I completed my first drawing exploring the diversity’s of gender identity. I worked from the life model and then took my work to the studio to experiment.
- colour stereotypes
My initial ideas were to combine and contrast cool colours with warm pastel colours to challenge the expectations that colours have to be associated with different genders. I chose to distort the figures which were influenced by the artists of the Neo-expressionism movement.

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Man 20Ray 20On 20Photographic 20Realism 1 

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Man Ray ‘On Photographic Realism’ (1935)

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Man Ray ‘On Photographic Realism’ (1935)

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Man ray challenged traditional beliefs of reality by emphasising the subjective aspects of what photographs could be. Ray believed a photograph could capture more than just a documentation of reality and could also alter the viewers perception of what’s real.

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August Sander ‘Remarks on my Exhibition at the Cologne Art Union’ (1927)

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August Sander ‘Remarks on my Exhibition at the Cologne Art Union’ (1927)

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August Sander belived photography’s purpose was to strictly capture and document real life, photographing individuals and their societal contexts.

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When carving out the areas I didn’t want to print I thought about the direction of the lines I was cutting incase some of the lines still printed. I’ll print this design first onto plain paper to see which cuts I might prefer.

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For this design I used a drawing I made from the life session. I started by flipping the image on my phone and drawing the inverted lines onto tracing paper. I then placed down some carbon paper onto the lino and drew over the lines from the tracing paper to create a flipped print that I could then carve out using the carving tools