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FMP Year 2 project- Classical Japan.

I decided to base my project on Japan, and the traditions it has behind its culture. Although I am yet to visit Japan, I am very fond of the way in which the Japanese live and feel about their lives, and have visited several exhibitions to back up my evidence, and take my knowledge on the country further.

WEEK ONE;I decided that the best way to get a feel of Traditional Japan was to look a variety of themes that link, and produce a range of outcomes to represent my knowledge, rather than one final piece for example. I am going to use a range of techniques also, building on my printing techniques, as the famous Woodblock Print was invented in Japan. I will use my fine art skills to produce a Japanese- style painting, influence by Japanese artists, and also those who have taken Japan as an influence into their own pieces. I will compare all the artists I choose to study, to get the best feel and strongest set of research I can to make the highest quality outcomes of my ability.

However, I could not start my project without brief information on the country itself, so I went to my local library and picked up some secondary sourced books; 'Japanese Art' by Joan Stanley Baker and 'DK Eyewitness' Travel Guide to Japan'. I also made a mind map of the themes I could possibly look into, the artists that fit into these themes and a list of possible outcomes and the materials that would be used to produce them. I used the DK travel book to give me some ideas. The book was very helpful and came with a range of photographs of the main cities and its attractions.  

I also looked at Pinterest, and created a board full of ideas (As shown below, funnily enough I was listening to Lovers in Japan!)

 

Using the DK book and some textiles I had collected from craft stores, I began to work onto an A2 sheet, and created a mood board of some items regularly associated with Japan's culture. I used watercolour and fine-liner, taking my images from the DK book. As I just began working on my project, I had little primary evidence, and as I was only basing my studies on Japan as a whole and no specific outlet ;I aimed to capture the essence, not necessarily with any personal meanings to it. Traditional Japan is made up of natural factors and they base their thoughts on a spiritual and tranquil level. I chose to include Cherry blossom, or 'sakura' not just because it is well-known, but plays a big part in Japan as the fast and large growth and beauty of the blossom and quick death symbolises mortality. It is also associated with the Japanese Buddhism. I also inserted a watercolour study of the Japanese Buddha I have painted from a figure I collected from Chinatown NYC next to it to show the correlation between the the subjects.

I included a traditional Japanese house, as the home is where the heart is, and a sketch of some fabric designed by them. I also created a small watercolour study of a koi, as Koi means 'affection' or 'love'. 

After creating my mood-board and discovering the meanings behind each object, I came to conclusion that the Japanese way of life is to find the symbolism behind each item they come to contact with. As they are about sanctity and tranquillity of life, they know which foods and natural sources will benefit their lives and which will hinder them.

From a recent trip to New York, I visited the 'Museum of Natural History' and came across a Japanese exhibit, which gave me the idea to study Japan for my major project. I took some primary photographs of the items they had on display, and took notes of the information they gave. It really gave me some idea of Japan's lifestyle and a chance to view them personally. As it was still looking into Japan as a whole, I took one primary image of some fans used by the Geisha girls when performing. I took sections from the image and made a few studies with pencil crayon and acrylic paint. As the image wasn't very clear after it had been printed, the studies made the image look clearer and easier to see what was included in the image.

I used the internet to look at a museum I had previously visited but had not taken any research, the V&A Museum in London. I found some images of some paintings from the 1700s and recreated one of a Geisha Girl. I used fine liner and applied a cross hatch motion, to create shade. Using a paint brush and water I blended the liners together and gave it a smooth appearance. You could still see the original line marks underneath which gave definition to the different areas of her kimono. To make my backgrounds I used brush-o inks and water, which i sprinkled onto my page, and blasted the hair dryer in circular motions like paint splashes to brighten up my page. I did the same thing on both sides, using yellow and red as my chosen colours. Red is a powerful colour in traditional Japanese society, representing strong emotions rather than ideas. As the colour of the sun in Japanese culture and on the Japanese flag, red is the colour of energy, vitality, heat, and power. Red also represents love and intimacy, including sexual desire and the life force and energy in people. Yellow however, In the Far East, a sacred colour; but it the West it can mean treachery. 

I gathered some information on Japan's classical period, such as the 'Enso' which means circle, and the Seigaiha pattern which is a common pattern designed by the Japanese.

WEEK 2;

After the first week into my project, I felt I had comfortably gained enough information about Japan's traditional cultures to start looking into various themes relating to Japan and its art. Using my photographs from New York I looked at the Japanese circle of life and some brief information about religion and 'Wabi Sabi'( わびさび), which is the way of living which finds beauty in all imperfections, and accepting the cycle of growth and decay. I used brusho inks and water with a sheet of thick card to produce my subtle backgrounds. Rather than creating a solid colour I wanted some texture, and leave a loose effect underneath, which blended nicely with my images.

I decided to look into Japanese fabric and textiles, and discovered the Japanese construct a fabric which they call Boro, which means 'Tattered rags'. I began replicating the effect they had by using acrylic and oil pastels, rubbing them onto the paper and onto scrunched tissue paper to appear rough and worn, just as the fabric looks. I also layered the mediums up in different shades of blue to look like the denim they use. I also experimented with puff binder and screens, and added the binder to some calico to make it appear worn and used. Using my results, I produced a piece of material similar to the Boro, but using calico in appose to denim and other fabrics. I used several mark making techniques to spread inks, acrylic, pastel and puff binder onto my calico, making the material look at worn as possible. I feel to improve however I could have ripped and cut the material into sections and possibly sewn it back together and layered It up to give an even worse for wear effect, rather than just using one sheet.

towards the end of the week I started putting together a sheet of photographs for my first artist, Okumura Masanobu.

WEEK 3

I began week three by researching more into some themes about Japan, and some of the countries traditions. Using a mixture of Google and Youtube, I watched some videos which gave me strong information from a woman who lived in Japan. I learned about the 'Hina Matsuri Festival' , where people pray for the health, protection and well being of girls; known as Girls Day. I also researched into Tachibana, which is important in Japanese society, meaning the symbol or object grows all year, and symbolises loyalty. Cherry Blossom (Sakura), is an example of this. 

I wrote down a list of possible outcomes for this project, so I had an idea of what to research. As previously mentioned I wanted to create a variety of outcomes to show the depth of Japan's culture, and the materials and processes they use, rather than focussing on one medium.

Expanding from my list of research, I wanted my first outcome to be based on the Japanese Geisha girl, as I feel she is a significant part of Japan's culture. I started by collecting some secondary images of Geisha and making an information sheet. I researched into the make-up they used and where it was applied and why. I also looked into where the Geisha originated from and what her purpose was. I chose to research this by using Google again, not only because I could not find any books that contained this information, but the internet provided me with a much broader variety of information. I used acrylic paint to produce an image of a Geisha, to coincide with my diagram from the back. 

Towards the end of the week I began to put together two mood-boards of artists that would influence my project. I decided to create these at this point so my information was all read to use and work on when I came around to producing some of my outcomes. I decided I wanted to make a Japanese style wood-block print, so I found two artists, one from Traditional Japan and one from Historical England to compare and take influence from to help me understand the concept of a wood block print.

I chose Okumura Masanobu, a Japanese Woodblock printer, made famous for being the first to produce a Uki-E print. I also looked at Thomas Bewick, an English Woodblock printmaker, who used a very different approach to the woodcut.

For both sheets I used a combination of watercolours and fine-liners to create the simplistic look and feel of a print. With my Thomas Bewick research I mainly used biro, as it gave off the effect of the small lines he etched into the tight grains of wood chosen. I also created one of his bird studies from  'A history of British Birds Volume I', on some wallpaper for some added texture. Although the ink bled slightly I enjoyed working on different papers. Using a secondary sourced animal image from the Guardian I created a study in the style of Bewicks work, using cross hatching and mark making strokes onto my paper just like he would. I expanded my research further by then producing a dry-point etching of a Koi Fish from my initial mood board. I had fun using the inks and dry point tool. You have to be very gentle and precise to get a detailed and clear effect.

For my Okurua Sheet, I contrasted by using much brighter colours like he would in his prints, and using water with my fine liners to blend together. I took a primary image of some water lilies on a pond from a recent trip to York, and painted, using watercolour, using similar techniques I assume Masanobu would have. I kept my colours flat and my range of colours to a minimum, as in this time the printmakers were just starting out, so did not have  as many range of colours as we would in the modern day. I made my background look old by using a brown very loosely into the spaces, which really brought out the cool green tones from the warm browns. I began to look at 'Shoki the demon queller', and created a study by etching out the lines into a piece of thick card. However, when  I came to print I was unaware that the card would soak up all the ink, and gave a very poor print. I elaborated on this by using my scribe to etch into the card where the ink was placed and created a much better outcome. It gave great texture and a lot more depth that a flat print would have.

WEEK 4

I began the fourth week of our FMP by looking into Masanobu's work on a smaller scale, and adding a few studies of his work. I also include dmy primary image from the painting I created.

 

Focussing back onto the Geisha Girl, I was kindly given the chance to model and photograph my friend Jessica, in the style of a Geisha (As you can see we had much fun!) I had all of the photos exposed and printed on a smaller scale to add in my sketchbook, and put together a watercolour study onto tracing paper, just to experiment how the pigmentation of the paint reacts with it. I made a plan and some sketches of how the make up would be applied and what items I would be using to help me along the way. I used a matte white cream for the base with red and pink shadows and lipstick for the contouring. I added flowers to her hair, which symbolise the current season. I used pastel colours to show it is spring. We also used a long scarf with floral detailing to make a kimono, which worked very well. Below are a few of my favourite photos from the day;

(Happy Chappy!)

WEEK 5

I began week 5 by moving on and researching into my next topic; Luck and Good Health. As I came to discover, the Japanese rely a lot on what things they should use and stay away from, due to them being good or bad luck. They look for good health and a healthy life as part of their living, so I felt it would be important to include this as a theme. I put together two sheets in my sketchbook of various objects and items they carry around or have in their home to bring good fortune to their family. I used a mixture of pencil crayon and collage to draw the Lucky Cat, well known for being a charm blessing, and the Sarubobo Doll, which is influenced by the monkey, known to have a smooth birth delivery. I also researched into the Seigaiha pattern and various foods which are known to ward off evil spirits. I previously owned a bracelet with small porcelain animals and symbols from Japan attached to it. I attached a Koi fish and the Lucky Cat to my sketchbook as these are both symbols for good fortune. One item which did take my interest was the Dharma, or Daruma Doll. Dharma dolls are a good fortune item placed in the home, and are modelled after the founder of Zen Buddhism. As I had previously researched into Buddhism I felt I should include this item to link into my research. The dolls were there to banish any accidents or misfortune and replace these sins with happiness. 

I wanted to recreate one of these dolls, so the best way to come about this I felt, was to find some in-depth research on how these dolls are produced and painted. I used Pintrest for my first port of information (as they always include better quality images than Google for example), and put together a sheet of experimented dolls. I aimed to use a variety of mediums and perspectives. I did a pencil study first, then followed on with a loose watercolour drawing. I enjoyed letting the fine liners bleed into the paper to show a bit of highlight, and give the image a rounder shape.  

I continued by using my print-making skills and produced a potato print. Although I felt it was slightly child-like at the beginning, I made it more difficult by cutting a lot smaller sections from the potato. As potatoes are quite porous, they collect water, so i had to make sure to blot it  every now and again, and be precise with my movements so that no potato broke off. I liked how the flat image from the potato contrasted with the shading of my drawings.

WEEK 6 

After finding out about the Dharma Doll's properties, I found out the larger scale dolls are made of porcelain, and made with a mould, to ensure that each model is exactly the same shape. However, I found out that farmers who struggled with famine made papier mache dolls to keep themselves financially stable, so I came to conclusion that making a prototype of the doll would make sure that my final result would be a much better quality one. Papier Mache makes an excellent material for model making as it is durable, and does not take long to ensemble. 

I collected a balloon, some newspaper, masking tape, and made a mixture 3:1 of water and PVA glue.

I then blew up my balloon to around 8x6cm, and then using my masking tape I pulled it tightly around the bottom of the balloon to make an oval-like shape. I then crossed the masking tape over the top to flatten the top, making it less round in shape.

After the tape was applied, I made a stand out of a toilet roll tube to stop the model from sticking, and then began ripping pieces of newspaper and layering them onto my balloon, once covered in the PVA mixture. I applied three layers of paper to make sure my model would be sturdy once dried. Once the layers had dried (image 1), I then added a layer of kitchen roll, following the same process as before. Kitchen roll is much easier to paint on that newspaper, and covers the print so you will not need as many coats. It then dried (see Image 2). As the dolls have a flat face on one side, I pushed the model inwards gently so that it didn't crack, and pushed in a circular pattern,so only one side was flattened. At this stage, the model still had a spherical shape to it. I realised that the masking tape had not stuck properly and the balloon moved back to its original shape. If I were to make another mache' model I would definitely have to work on making sure the shape was correct. I could go about this by either using stronger tape, duct tape for example, or using something other than a balloon. 

Once all had been dried, I painted my model with a bright red arylic, just as the video I watched had shown.

I then painted on a white shape for the face area. This step is achieved by a spray gun with the real models, but as this is only a small scale and I did not have a spray gun, Acrylic did just the job. using a stippling motion for the eyelids, I mixed a peach/gold colour and applied it in two oval shapes. Whilst my body was drying I worked on the stand,which I made of tightly rolled pieces of newspaper with masking tape. I attached four rolled up pieces together in an oval shape, and then painted with acrylic. As you could see I did not use kitchen roll over the top, which I should have, so it required a few more coats of paint to ensure none of the newsprint could be seen.

 

After all the sections had dried, I used a small nibbed paintbrush and some black ink to draw on the main features of the Dharma Doll. This part was the hardest part as I had to make sure both sides were identical. I kept by strokes light so that there were no lumps in any of the lines.I used red paint for the nose and mouth.

As I didnt have any gold paint to hand for the exterior, I used black acrylic to paint on the markings and Japanese symbols, to them go over with later on. I attached the foot with Double-sided tape so it made the attachment more discreet. Overall I am really happy with my prototype; it made me more confident for applying the paint onto my actual model.

WEEK 7

Week 7 began the start of my actual Dharma Doll. I ended up choosing MDF as my medium, because I felt porcelain may have been too fragile, and some smaller models are made of wood. MDF is a light, cheap alternative to any other wood, and is easy to work with on the lathe.

I began by cutting a square piece, and used the plane to plane off all four corners, ready for rounding out later on. I then attached my wood to the lathe, and using the rest, I placed my round lathe tool onto it, and in several long sweeping motions i moved it across, making sure my model was made even on both sides. Using a smaller lathe tool I then began to cut out whereabouts I wanted the body and foot to be. I pressed lightly to make a dent to make sure I didn't work past it when shaping my model.

Using the larger lathe tool from before, I worked around the model in a semi-circular sweep back and forth, making my piece a more spherical shape. I made sure to press on harder at the bottom, so this area was smaller than the top. After it had all been rounded off we worked on rounding the top area.

We had to be very gentle as we were working very closely to the lathe, and did not want to have any accidents. Brad gave me some assistance as we cut off the exterior, and made sure it was cut off safely. 

After smoothing down the edges of the foot and top, and then sanding with 180 sandpaper, I was left with this result. We then worked on creating the flat face at the front.

Using the Detail Sander and the Vice, on a tester piece of pine I was shown how to create the rounded shape. Pressing down lightly onto the wood in a round motion cuts away the wood wherever you wish for it to go. The only difficulty I had with using the detail sander is it being hard to hold. As it was such a small area I was cutting into I wanted to be precise, so I had to work slowly to ensure I cut the right areas.

I finished with this shape; making a round area, but keeping the hood of the top area. I then used sandpaper again to blend all the areas together, making the top fall smoothly into the caved area, and smoothed out the face ready for paint. I applied three coats of white emulsion to prime my model and make it smooth. Each time I applied the emulsion I sanded it down so the base became smooth.

 

I then painted my model the exact same way as i did with the prototype, apart from I used black fine liner to make the small lines, as I thought it would be more precise. I topped it off with two coats of varnish to give a clean, glossy finish. I am overall very pleased with my result. I feel to improve I would have produced a whole set of the dolls, in all the colours, although I chose the red model as they are the most well-known one. As I planned to produce other outcomes I did not have the time for any other models.

WEEK 8

I started Week 8 by working on my ideas and processes for my next outcome; a Japanese wood-block print.

 

I began to look at the woodblock, and made notes from an exhibition I visited in New York. Inside the Museum of Natural History, was a Japanese exhibit, and there was a section on traditional prints, which gave me the inspiration to produce one myself. I took some primary photographs of the exhibition and of the process. I found out the Japanese use up to 10 blocks of wood, all perfectly lined up and carved, and then printed together to create the image. I also found an article in Crafter Magazine about Japanese woodcutting tools. This became helpful, and showed me which specific tools to use for different parts of the cut.

Using the primary sourced images from my Geisha photographs, I made a composition with another primary sourced image from a trip to Horse forth Hall Park, Leeds. I used layers of tracing paper and overlapped them to show my steps, however I separated each step and placed them onto an A2 development sheet to show my working. I used watercolour and fine liner for my ideas as they are light and fast to work with when putting ideas together. For the background of my A2 sheet I added acrylic and scraped it down my page using thick card. I wanted an abstract feel, and used blues to look like the sky.

Before producing my final cut, I made a small print  out of the wood I planned to use, using an image from my initial sheets in my sketchbook. I used some spare wood I had around, which was a mixture of oak and plywood. The reason for using scrap wood was not for money reasons, but I wanted to be as economical as possible, and followed the Japanese rule of Wabi Sabi ( わびさび).  I accepted the natural cycle of growth and decay, realising that scrap wood can be just as beautiful and carry similar properties to higher quality wood, if you treat it well. I cut my design out using the wood cutting tools (Sadly I do not have an image of them but I will post a similar set below), making sure to plane away from myself, in smooth, light motions. I then sanded the edges to smooth everything down and remove and excess wood chips. As it was just a test, I decided not to varnish my pieces. Varnishing prevents the wood from warping, and lasts much longer.

To print my image, I used black oil-based ink (not water based as it dries too fast, and would soak into the wood very easily. Oil- based is much more viscose in texture, and makes the print more precise). I applied my ink to the work surface, and with a piece of card, spread it around to warm up and make it easier to apply. Before touching the ink I coated my hand sin Barrier cream, to stop any ink from sticking to my hands. Using my applicator tool (See right), I pressed into it so the ink stuck on. I then pressed it in dabbing motions around my woodcut, not spreading the ink or else it would sink into the wood and smudge into the grooves, thus making an uneven print.

I then rinsed my applicator, put my paper onto the print and re used the applicator, using the same motion to push the ink onto the paper. The first attempt I did not use enough ink, so I tried again. However the paper moved slightly,and the print came out elongated. I tried soaking my paper and then drying it and printing. The ink stuck perfectly onto my paper and overall I was very pleased.

WEEK 9

I took inspiration for my wood block from both Okumura Masanobu and Thomas Bewick, with inclusion of my own personal style. The two artists I studied vary very differently, mainly due to the area they are from and the materials they had available at their time. Masanobu's traditional style included very bright, earthy colours. He also used water-based inks, which gave off this very gentle, appealing finish. He kept his lines rather loose, whereas Bewick's work was heavily detailed, almost like a pencil drawing. He liked to use very tightly grained wood. Bewick's inspiration for using wood came from his first discovery of metal engraving, which he learnt in an apprenticeship. He then moved onto wood, which is much harder to engrave than metal so worked up his techniques on the metals first. Both artists styles differ, as Masanobu focussed on figures and portraits, whereas Bewick looked at natural landscapes and animals. 

I took Masanobu's bright colours and figurative style, alongside Bewick's love for nature, and created a scene, with a personal touch of my own images. In my sketchbook I put together a chart of all the colours I would need for my print.

Here are my three end result blocks. I chose to only cut three, as I had other outcomes, and these small blocks are very time consuming. As the wood wasn't best quality I had to work carefully. I feel I managed my time well, and completed them in enough time to print, although it was extremely time consuming. My blocks came out just as I had wanted them to, although my third cut (left), was challenging to cut as not only were the pieces small, the wood chipped and did not split nicely. I worked through it however, and sanded and varnished ready to print.

The only thing I could say about my prints is I really wish I had focussed more on lines than shapes, and kept it linear like a zinc etching, for example. I thought more about keeping whole shapes than using smaller tools. I definitely feel I should have used a fourth piece with linear patterns on to overlay my print.

Woodblocks aside, I began to look at Claude Monet, a French Impressionist artist, who created a line of images called 'Japanese Footbridge', about his Asian inspired garden. I visited one of his large collections in MoMa, New York. It was quite an experience being able to experience the beauty and vastness of his work in real life. 

I also began to look at Japanese Ceramics. I took information from the Japanese Art book, I collected in Week 1. 

 

I decided my next outcome would be a set of Japanese inspired plates. I created some brief designs, using all the research I have previously collected. Using a circle cutter and rolled out clay, I measured out 2 large circles and 2 small. I smoothed out the edges with my finger tips to give a natural finish. I then pressed them into a round mould and left to dry. Once dried, they resembled a plate-like shape. I then put all four into the kiln to dry. 

 

WEEK 10

Using the exact same process as before, I began to print my woodcut. I mixed my three colours; an earthy golden colour to show the old paper used in Masanobu's prints, a pale dusty pink for the roses of the Kimono, and Black for the tree and Kimono.

I applied my background first, which came out clear, although I should have been a lot more careful when putting the ink onto my block, as the inside of the figure has some marks in.

The pink however,did not quite match up which I found disappointing. However after a few more attempts, we managed to get the colour in the right place.

 

My first attempt with the black didnt come out greatly, maybe because the ink underneath was still wet, or because I left the ink on too long before printing. I know for any other prints I must think about time management to ensure I can achieve the best quality print possible. Using the same process from my Okumura Masanobu sheet, for the painting 'Shoki the Demon Queller' , I used a craft knife and acrylic paint to scrape off the paint and create a print. I did the same as before, cutting out the outline, rolling paint on and printing, and then with the image cutting out highlights. I felt it gave a rustic look to the image, which I really liked.

I finished my design sheet, by adding extra sketches of my print design, and one of the outlines of my print to show my development. I also added my first woodblock print to show how I developed from one block into using three woodblocks. To add a personal touch, I added Jessica's name in Japanese Writing onto my print, although when I came to cutting out my shapes It did not stay on, so I plan to write this on separately afterwards.

After all my plates had been fired in the Bisque fire, I went onto painting them using the inks. These become brighter in the kiln once heated. I planned on using oxides, which are a lot more earth-toned, however they come out darker once heated, and less pigmented. Here is an example of one of some sketches I made beforehand, to give me some inspiration. All the ideas were taken from images I had previously used and researched, to help link in. Above (left) is one of my plates (Rest will be shown when glazed and fired). I took inspiration from a primary painting in my sketchbook, and my initial woodblock print.

As I was unhappy with my woodcut print, despite putting a lot of time and effort into it, I wanted to back up my print and created a painting using the same design.

I drew out my image, and using thick card and acrylic, I scraped the paint, white and then blue, to create an abstract looking set of clouds. I wanted to express 'Ma (間)', which means 'Negative Space'. The spatial concept is experienced through intervals of spatial designation. In Japanese, ma, the word for space, suggests interval. The interval gives the viewer chance to experience the whole scene, or image in its full form, and makes it easier to understand what is going on, rather than a full, busy picture.

I then worked into the trees, using my primary images for source. I found it hard to mix the exact colours, although I came to mixing a warm brown which worked well. THe wood I used was from an old cupboard door I had lying around, which I used, again, for the Wabi Sabi theory.

I placed white down for the makeup of the face, and added grey for the shadowing. I also added my subtle colour in the lips and flowers.

I achieved the flowers by using a stippling motion. I added warmth into the face, so she didn't appear so wooden,  into the cheekbone area and down into the neck. I wasnt sure what to put into the right side, so I followed the wall on around her body. I could have added a few more trees to my image, to fill it up, but I liked the concept of Ma, so kept the space empty.

Final Painting. I added more warmth into her face, just to keep it from looking less flat.

WEEK 11

I visited Horseforth Hall Park in Leeds, as I was aware they had a Walled Japanese Garden. Luckily the day was beautiful outside, so I managed to take some quality photographs for primary research. For my final outcome, I planned on producing a painting, inspired by Monet (whom I had already researched) and the Japanese Garden. 

I found some brief information out about Japanese Gardens, and why they are important. I also looked at a collected Monet had produced called the 'Japanese Footbridge'. 

Here are a selection of the photographs I took on my morning in Horseforth (Taken using Sony Xperia Z3 20mp). I really loved the vibrancy of the Bridge, and how it stood out in comparison to the rest of the garden. As I visited in the spring, The plants were not at their best, although I still enjoyed the look of them, as the colours were not out standing, which made me feel at peace.

I took my photographs to work, and created an A2 design sheet  and some sketchbook sheets of all the image I took, plus one of Monet's Japanese Footbridge paintings, and a sample from 'Water Lilies' (1899). I kept my mediums simple, as I was only creating design sheets. I used acrylic for my A2 board is it was the preferred medium for my finished painting. I also added a sunset theme, because I wanted a contrast between the previous painting I had created, which was constructed with cool toned colours. 

I then got to work on designing my layout for my final piece. I played around with the colours and which images I planned to use. Although I liked the trees from Horseforth Hall, they didnt have the traditional Japanese look to me. I went to Google images and looked at 'Japanese Trees' and found a few images which had the sunset vibes I looked for. I also planned on using some of Monet's techniques, especially with the way he paints water, and as I had already had a go at copying some of his images in my sketchbook, I had a brief idea of how to achieve this impressionist look.

WEEK 12
I sadly did not have an imag eof my drawn outline, however I quickly set to work on my base colours. I blocked in the red bridge, and my tree branches, and made note of where my water would be.

I then Set to work on the trees leaves, and the water. I had started to work into some tree area in the upper left, but came to conclusion that It looked too crowded and lees like a scenery, so I left it. My Sakura tree was taken from Horseforth Hall Park also. I set to work on my trees using a flat large brush, and applying a stippling motion in layers from light to dark. For my right side tree, I applied yellow and red in blocks, then blended them together using the same motion, and adding small patches of white for highlight. I brushed the water in upward motions, keeping these colours earthy to show the light was not hitting it.

I then realised that the green areas did not blend in at all, so mixed together some autumn shades for my background shrubbery, and blended in swirling motions to look like tree leaves. I added some extra bushes at the bottom, and began to add some highlight in the water, possibly where the cherry blossom leaves had fallen.

I was really disliking my image, and realised I had no skyline or light to my image, and was looking rather closed in. I removed the background trees and added a sunset. I then reflected it into the water with white acrylic ever so lightly, and worked right into the water, to make the plants inside the pond stand out. I added the light reflections onto them, and blended everything together.

I began to add some highlight into my bridge, using a pale pink rather than a white to make it more subtle. I also felt my Sakura tree appeared to stand out too much, so added a light bit of red on the edges to give it a bit of depth. 

I finished off by adding a little more shrubbery into the foreground to blend everything in. I made the tree trunks look more like bark by using my flat brush and white acrylic, and swiping it across in loose motions for highlight.

Here is my finished painting. I feel I achieved the look of Monet's work, in the pond area, as I tried to blend as much as possible. I enjoyed sticking to two colours and working on creating the right shades to suit each section of my work.