Typography sheet
The top piece of typography is taken from the 1920's theme type writing, Iprinted out each letter individually and stuck them onto the sheet, Ithen decided to paint over the letters in 1920's colours and take off the letters Ihad sticked on, this gave me this sharp effet which Ithink worked well.
The second piece is very similiar to the first but Idecided to use different colours over my lettering, I hose the plain black and white look because I knew it would make the letters stand out better with this contrast.
The next one I decided to use more mixed media to present my word, I chose a plain black tie similiar to ones men wore back in the 1920's, I manipulated the tie to spell out the word 'art' and I believe it worked well making it easy to understand what the word is.
The final bottom one I decided to research art deco type faces for numbers, I chose this because I am a big fan of the art deco typography and it would work well with the contrast of the other letters.

Sagmeister

This is one of Sagmeister's piece from the 'take it on' project for SVA, I chose this piece because it stands out and is extremely well worked out getting the octopuses tentacles to spell out take it on, the guy behind the octopus is actually Stefan Sagmeister; I thought this was a great touch to use himself for one of his projects.

 

This is my response to the work of Sagmeister, I chose the idea of getting writing on my body like the music cover for Lou Reed by Sagmeister, however I decided to put my own twist on his piece by using some lyrics from a song I enjoy and is meaningful to me   

bibliography

Bibliography

Primary Sources

Formby
Pinewoods nature reserve (Merseyside)
Sefton coastline(Merseyside)

Liverpool
Walker art gallery(The ruins of Holyrood castle, counterpoint)Liverpool albert docks
(Museum of Liverpool, Tate, the colonnades, Britannia pavilion and Atlantic pavilion)

Seconady sourece materials

http://www.ianmurphyartist.com/

Artists and illustrations gernals

Formby pine woods

This is one of my favourite photographs from our trip to Formby pine woods, it presents a composition a low horizon and cruciform, creating a sense of  the photographer observing the tree from a lower position and giving the tree a feel of being dominant to the rest of the landscape

summary

Summary

My initial research of the contextual landscapes began with looking at Paul Cousins ‘Flying’ piece from 2007, an extraordinary and liberating coastline response. His love of flying brought to the canvas, which inspired me to try and create a similar feel to my piece. Like Paul I explored using acrylic; experimenting with ultra-marine and burnt umber to achieve that perfect colour for the coastline.

I then went on to explore both additional and contemporary work that responded to both the natural and urban landscapes. Exploring various art works, I noticed that I was drawn to atmospheric landscapes whether through architectural structures within a city scape or multiple perspectives within a grand natural landscape. I have been pertictually drawn to the use of light both natural and artificial within the art work by Albert Bierstadt, and in a contemporary sense the photographs of Gregory Crewdson, both artists although from different periods in time manipulated and recorded light with in the landscape to create a sense of drama and almost a narrative within the work.

Exhibition piece

Exhibition piece

I have chosen to develop an  observational response to the landscape from my onsite drawing and photography visit at Formby beach. The sense of scale that experienced first hand whilst standing on the sand really stayed with me and to capture that sense of scale. I decided to explore a panoramic composition with my camera; bringing that experience of being on the beach myself to my painting. When I returned to the studio, this wide angle that I captured from on top of the sandunes enabled me to see the edge of the steep dunes, the beach itself, the sea and the sky. I have chosen to  paint in acrylic  to allow me to devlop the tactile surfaces on the piece. Here I have been attmpting to layer the surfaces with a pallette knife and brushes, for the beach in a lighter umber and added more layers with darker and lighter tints to get the right depth and tone for the beach. Again I have tried to do this with the sky and clouds, it was a very windy day with a mixture of weather fronts. Here I have experimented with ink and white paint to get a darker grey to express the feel of being at the beach yourself and the power of the weather.

ian murphy
the pogoda in the summer palace -2003