Abstract Digital Bum

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Shaded Bums from Sculpture

This is fast becoming my favourite technique!! You can really break down the colours in an image and build it up to see each individual section.

Shaded Bums from Sculpture

Liz Wilson

I stumbled across these works by Liz Wilson on my reader. I loved them as soon as i saw them. Apparently they were created using the ‘Paper’ app that you can get on your ipad. I thought they were incredible and as the titles state, made me immediately think of Matisse.

matisse-like nude
1. Liz Wilson (Wilson, 2015)

The way the app joins up the sections that are being drawn is interesting because it creates big block sections, yet still allows the shape to be visible and take centre stage. The transparency of each section is wonderful as well, because it allows shapes underneath to be seen also.

2. Liz Wilson (Wilson, 2015)

I love every single one of these drawings and i really like that they are digital because it shows off a similar technique to that of Matisse’s in a different light. It shows how diverse it can be.

Each of the drawings show a very curvy subject with rounded hips. This shape is very flattering and feminine. Interestingly, the harshness of the straight lines from the individual shapes works well with the curves and make them more obvious.

just another nude
3. Liz Wilson (Wilson, 2015)

 

 

This image is quite different to the others as there are solid blocks of colour, but this one has a simple outline to add extra pieces of detail. It is very simplistic, yet so effective. My favourite bit of this is the solid white block in the centre. I like the way the coloured sections frame this piece.

 

 

 

 

References –

  1. Wilson, L. (2015, 20th May). Matisse-like Nude. [Weblog]. Retrieved 27 March 2016, from https://lizstrongwilsondesign.wordpress.com/2015/05/20/matisse-like-nude/
  2. Wilson, L. (2015, 20th May). More Matisse-like Nude. [Weblog]. Retrieved 27 March 2016, from https://lizstrongwilsondesign.wordpress.com/2015/05/20/more-matisse-like-nudes/
  3. Wilson, L. (2015, 20th June). Just Another Nude. [Weblog]. Retrieved 27 March 2016, from https://lizstrongwilsondesign.wordpress.com/2015/06/20/just-another-nude/
Liz Wilson

More Matisse (because you can never have too much Matisse)

I wanted to focus a bit more on Matisses other works as it is not something i have really looked at. His cut-outs are what have really made an impression on me, but i feel his creative style in other areas of his practice are really underrated.

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p189.

Another male nude!! (I don’t just want to focus on woman, but find it difficult to find male subjects. I’m not just being weird. Ha!) Although in black and white, due to the printing colours of the book, the work still remains very expressive. It could appear a bit block-ish in terms of how the colours blend together, but if you blur your eyes, they blend seamlessly. It is a very impressive skill!

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This piece is from the front view of the subject, but i really liked the style in which this piece was created. The lines are very simplistic, but accentuate the curves and shape, by nipping in the waist quite severely to reveal the full figure of the model.

 

 

 

 

 

 

All images from this blog post were sourced from –

Spurling, H. (1998). The Unknown Matisse, A life of Henri Matisse, Volume One: 1869-1908. United States of America: Hamish Hamilton Ltd.

More Matisse (because you can never have too much Matisse)

Matisse Nudes

The cut-outs are one of my favourite things. They are so simplistic in colour, style and appearance, when actually, they are extremely complex due to the process of learning about the figure and shape of the human body in order to understand it. It is phenomenal to then end up with these abstract outcomes that are saturated with knowledge and creativity.

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(from Left) Small Torso, 1929. Bronze, height: 9cm. Small Thin Torso, 1929. Bronze, height: 7.8cm. Forms. White Torso and Blue Torso (Jazz), 1944. Stencil. p10-11

The link between the cut-outs and sculpture is strong, and with these images, you are able to see the almost literal translation. It makes you wonder which had more of an influence. Was is the cut-outs that informed the sculpture, or the sculpture that informed the cut-outs? With the cut-outs themselves, it is quite nice to see the use of both the positive and negative space. (This method could also be used to produce prints)

With these images, you can see clearly the journey of constantly going back over a design; re-positioning and redrawing the same image in order to get the final result. It looks as though the contortion is being subject to an experiment. Trying to see what the body can do that looks unreal, almost unbelievable.

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Blue Nude IV, 1952. Gouache cut-outs, 102.9 x 76.8cm. Musee Matisse, Nice.

 

I love all of the Blue Nudes, but this one particularly stood out to me because you can still see the pencil marks underneath the final cut-out. These pieces always look very instinctive so it is interesting to be able to see the planning that went into the final image, and how the appearance altered over time as it was worked on.

 

 

 

 

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Standing Blue Nude, 1952. Stencil

 

 

The construction of the figures intrigues me because each body is divided up into separate pieces. ‘Standing Blue Nude‘ shows a very simple divide of body parts; the legs are separate, the torso and head are attached but separate from the arms. However, other examples show even more dissection. Layers are built up, overlapped and placed next to each other to reconstruct the new blue figure.

 

All images from this blog post were sourced from –

Néret, G. (2006). Henri Matisse: Cut-outs. USA: Taschen.

 

Matisse Nudes

Watching a drawing grow and preferring the first stage

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fine liner

I used my favourites of the traced bums images once again and overlapped them with each other. I wanted to be able to create a lot of movement through i kind of ‘collage’ effect.

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acrylic paint

I then used acrylic paint in 4 colours (i mixed some together to get different tones and shades) to highlight each section. I was inspired by cubism for this drawing  which is why i chose to divide up overlapping sections.

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outlined again

I am quite pleased with the end result but i really prefer the very beginning sketch. I don’t really know why either which is the annoying thing! I presume it is because it is cleaner and the lines are harsher, but i don’t know why i prefer that over the finished result.

Watching a drawing grow and preferring the first stage