Landscape composition

Landscape composition overview of conventional rules. Introduces key concepts:

  • rule of thirds
  • tonal planes
  • different shape paths like S, L etc for leading the eye into the image
  • triangulation
  • rabattement
  • repetition and use of odd-numbers

She also discusses examples from artists like Cezanne who broke the rules.

Golden Section

More about shapes to lead the eye into an image.

Iona Howard

http://www.ionahoward.com/

She has a studio in Cottenham in the Cambridgeshire Fens.

My prints explore the notion of time and landscape through a contemplative exploration of surface. The sources of my prints can come from working in the open air or expressing landscape filtered through memory…I am captivated by the ancient semi-natural landscapes typical of my native west Cornwall where a blurred line exists between nature and human activity. Recent works of the Fens focus on the meeting point of land, horizon and sky, their flatness altering the perception of distance. ‘

From interview with Iona in Cambridge 4th Feb 2017:

Her landscapes have a strong geometric structure of contrasting colours and textures. She mainly uses a combination of carborundum, drypoint and monoprint techniques. A mix of a binder (polyurethane varnish) and carborundum grit is applied onto the surface of a plate and sealed with the same varnish. The binder has to withstand a lot of working but should not be so thick as to hide the grit texture of the carborundum. To contrast the carborundum, drypoint is added to produce an incised line. The plate is then inked up using etching ink and copperplate oil with a brush or roller.

Originally she worked in black and white. Now she also works in colour from memory and notes. Colour is built up by layering carborundum plates or more often overlaid though monoprint. Dry ink can be added as a third pass. Ink can be laid on thickly for more embossing. She can use the same base plate but with different seasons. Editions of 40. Or 10-15. She gets commissions where people ask for specific colours.

The technique allows working directly in the landscape to paint on the carborundum and the drypoint plates, and large images can be produced. She prints  on thick Somerset paper, printing to the edge of the paper to “leave the composition as unconstrained as the landscapes from which I seek inspiration”. She mounts with  nonreflective glass.

 

Richard Bosman

Richard Bosman (B 1944) is an Australian artist and printmaker who has produced woodcuts and linocuts since 1980s.

Google images for Richard Bosman linocut

 

Many of his paintings and prints are concerned with tragedies in dark urban settings, on rough seas, and in eerily quiet woods.  They have been influenced by expressionist printmakers like Edvard Munch and Emil Nolde. Also Japanese printmakers like Hokusai.

Some of his work is very experimental. He printed Smokers (1982) with his wife in an edition of two rolls of paper towels.

Born in India, raised in Australia, and the son of a merchant sea captain, Bosman has repeatedly returned to the setting of the sea. In an exhibition “Death and the Sea” at Owen James Gallery he depicts different aspects of the South Pacific sea: volcanoes, moonlit voyages and farewells, small rowboats fighting gigantic waves – “mankind is fickle, life is fleeting, and that the ocean remains unconcerned with our plight”.
“There is a cinematic beauty to these works by Bosman.  We sometimes feel as though we are looking at a film strip stopped in time, somewhere between cause and horrible effect.  Works such as Volcano and Fog Bank are subtle in their ability to show the progress of time, but there are visual gaps in it, and it is in these gaps that much of the intrigue lies.  In Night Sky the effect is almost imperceptible.  Here, only the stars move, and in this movement we find we are disoriented. Both South Seas Kiss and Mutiny share the short-lived joy of shore-leave, as a captain is first enraptured by an island girl only to meet his demise once he turns his back.”
 

 

 

John Piper

John Piper was born in Epsom, Surrey, in 1903, the son of solicitor Charles Piper. He was educated at Epsom College and trained at the Richmond School of Art, followed by the Royal College of Art in London.[1] He turned from abstraction early in his career, concentrating on a more naturalistic but distinctive approach.

As a child, Piper lived in Epsom, at that time in the countryside. He went exploring on his bike, and drew and painted pictures of old churches and monuments on the way. He started making guide books complete with pictures and information at a young age. He studied at Epsom College. He did not like the college but found refuge in the art school. When he left Epsom College, Piper wanted to go to art school, to study to become an artist. However, his father disagreed and wanted him to be a solicitor. They agreed that John Piper would work for his father in London for three years, and then could pursue whatever career he chose. He failed the law exams and his father died soon after, leaving him free to become an artist. His work often focused on the British landscape, especially churches.

Piper was appointed an official war artist in World War II from 1940–1942.[1] The morning after the air raid that destroyed Coventry Cathedral, Piper produced his first painting of bomb damage, Interior of Coventry Cathedral now exhibited at the Herbert Art Gallery. Jeffery Daniels in The Times described the painting of the ruins as “all the more poignant for the exclusion of a human element”. It has been described as “Britain’s Guernica”.[2]

Piper collaborated with many others, including the poets John Betjeman and Geoffrey Grigson (on the Shell Guides[3][4]), and with potter Geoffrey Eastop and artist Ben Nicholson. In later years he produced many limited-edition prints.

Sir Osbert Sitwell invited Piper to Renishaw Hall to paint the house and illustrate an autobiography he was writing and Piper made his first of many visits to the estate in 1942. The family retain 70 of his pictures and there is a display at the hall.[5]

From 1950 Piper worked in stained glass in partnership with Patrick Reyntiens, whom he had met through John Betjeman.[6] They designed the stained-glass windows for the new Coventry Cathedral, and later for the Chapel of Robinson College, Cambridge. Washington National Cathedral prominently features his large window, “The Land Is Bright”. He designed windows for many smaller churches and created tapestries for Chichester Cathedral and Hereford Cathedral. He was a set designer for the theatre, including the Kenton Theatre in Henley and Llandaff Cathedral in Cardiff. He designed many of the premiere productions of Benjamin Britten’s operas at Glyndebourne Festival Opera, the Royal Opera House, La Fenice and the Aldeburgh Festival, as well as for some of the operas of Alun Hoddinott. In 2012 a major exhibition ‘John Piper and the Church’ examined his relationship with the Church and his contribution to the development of modern art within churches.[7] Piper wrote extensively on modern art in books and articles.[8][9][10][11] With his wife, Myfanwy Piper, he founded the contemporary art journal, Axis.

On 28 June 1992 John Piper died at his home at Fawley Bottom, Buckinghamshire, where he had lived for most of his life. His children are painters Edward Piper (deceased) and Sebastian Piper, and his grandchildren include painter Luke Piper and sculptor Henry Piper.

His auction record, £325,250, was set at Sotheby’s on 15 July 2008 for “Forms on Dark Blue”, a 3′ by 4′ oil painting made in 1936.[12]

Katarzyna Cyganic

Inspiration

Katarzyna’s work is extremely detailed linocut made of dot shading and very fine markmaking. It has a dreamy quality. I am not sure if this is partly done using etching techniques with bleach, or something like a mezzotint shader.

She also generally chooses dramatic composition – reflections, swirling sky and water. The compositions are often upside down reflections in water, or putting the dark area at the top right. This significantly increases the sense of drama and the unexpected even on apparently simple scenes of just trees and water.

website: http://www.linoart.eu is now subscription only

Reflections This is an amazingly detailed and well-obesrved linocut rendering of tree reflections in water.

Forest This shows leaves falling from trees with sharp contrast between the white leaf shapes against a misty background of forest trees.

 

Landscape  This shows a waterlily pond with beautiful contrasts between the dark round waterlily leaves, straggly thin stems and water.

Landscape This shows a seascape with swirling waves in very small marks. Though the scene itself is not so unusual.

More information

http://nydamprintsblackandwhite.blogspot.co.uk/2014/10/linocuts-by-cyganik.html

There is no biography or details of technique or size of the images on the website.