Summer Project
Tuesday, 31 August 2010
Roy Lichtenstein & Damien Rice
my favoruite song and one of my favourite artists!
The most striking aspect of this series is the graphic bold colours, swiftly followed by how he composes the images. The characters are squeezed into the frames which forces the viewer to read their expressions, which are paired down and simplified. He works on the obvious and most important lines in the face and leaves out any that don’t add drama. This inevitably leaves the frown lines and patches of shading which he draws as parallel diagonal lines. He has a habit of using primary colours however if he needs to accentuate something important he will use a colour with a high chromaticity. This will make the area of colour seem more pure and prominent.
Roy Lichtenstein!
"Roy Lichtenstein was the master of the stereotype, and the most sophisticated of the major Pop artists in terms of his analysis of visual convention and his ironic exploitation of past styles. The work for which he is now known was the product of a long apprenticeship.
"He was born in New York City in October 1923. His parents were middle-class and he described himself as having had a quiet and uneventful childhood. Though art was not taught as part of the curriculum at his high school, in his junior year he started to draw and paint as a hobby. His first subjects were jazz musicians (the product of a youthful enthusiasm for their music), and his work was affected by Picasso's Blue and Rose Period paintings, which he knew from reproductions.
"In his last year of high school, 1939, he enrolled for summer art classes at the Art Students' League under Reginald Marsh. His subject-matter was then strongly influenced by Marsh's own work. On his graduation from high school, Lichtenstein decided to leave New York and study art. He went to the School of Fine Arts at Ohio State University, but his artistic education was interrupted by the war. He was drafted in 1943 and served in Britain and continental Europe. During his time in the services he was able to do some work as an artist, particularly drawing from nature. Demobilized in 1946, he returned immediately to Ohio State University and gained his Bachelor of Fine Art in June. He then joined the graduate programme, as an instructor. In 1949 he gained his Master of Fine Art and held his first one-man exhibition at the Ten Thirty Gallery in Cleveland. At this time he started to introduce broad references to Americana in his work: in 1951 he had a show in New York consisting largely of assemblages made of found objects. He moved to Cleveland and worked on and off as an engineering draughtsman for various companies while continuing to paint and intermittently show his work in New York. His earliest proto-Pop work was painted in 1956 - a picture of a dollar bill - but it had no immediate successor. From 1957 until 1960 his work could, broadly speaking, be classified as Abstract Expressionist; he had previously passed through Geometric Abstraction and a version of Cubism.
"In 1960 Lichtenstein was appointed Assistant Professor at Douglas College at Rutgers University of New Jersey, which put him within striking distance of New York. He met and had long discussions with Allan Kaprow, and he also met Claes Oldenburg, Jim Dine, Lucas Samaras and George Segal. He attended a number of early 'Happenings', but did not participate in them actively. These contacts revived his interest in Pop imagery, and a more immediate stimulus was provided by a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; 'I bet you can't paint as good as that.' In 1961 Lichtenstein produced about six paintings showing characters from comic-strip frames, with only minor changes of colour and form from the original source material. It was at this time that he first made use of devices which were to become signatures in his work - Ben-Day dots, lettering and speech balloons.
"Lichtenstein took in his comic-strip paintings unannounced to the new Leo Castelli Gallery, and was almost immediately accepted for exhibition there, in preference to Andy Warhol, who had started doing similar work. His first one-man show with Castelli in 1962 launched him on a career which was thereafter uniformly successful. In 1963 he moved from New Jersey to New York, having taken leave of absence from his job at Rutgers; in 1964 he resigned from teaching altogether. In 1966 he showed at the Venice Biennale, and in 1969 he was given a retrospective at the Guggenheim Museum, which later toured America. He was elected to the American Academy of Arts and Sciences in 1970, and then moved to Southampton, Long Island, thus following a pattern set by many successful American artists.
"Lichtenstein's development as a mature painter was marked by his propensity for working in successive series or thematic groups. The later groups tended to be interpretations and to some extent parodies of earlier Modernist styles - Cubism, Futurism and Surrealism. In the early 1980s Lichtenstein created sculptural maquettes constructed from flat shapes as three-dimensional graphic imitations of German Expressionist woodcuts. These, like his series of painted or sculpted brushstrokes of the 1980s, painstakingly created an ironic suggestion of spontaneity. In the late 1980s and early 1990s he returned to the use of Ben-Day dots in a new and refined application of his earlier style. Roy Lichtenstein died in September 1997."
- From "Lives of the Great 20th-Century Artists", by Edward Lucie-Smith
"He was born in New York City in October 1923. His parents were middle-class and he described himself as having had a quiet and uneventful childhood. Though art was not taught as part of the curriculum at his high school, in his junior year he started to draw and paint as a hobby. His first subjects were jazz musicians (the product of a youthful enthusiasm for their music), and his work was affected by Picasso's Blue and Rose Period paintings, which he knew from reproductions.
"In his last year of high school, 1939, he enrolled for summer art classes at the Art Students' League under Reginald Marsh. His subject-matter was then strongly influenced by Marsh's own work. On his graduation from high school, Lichtenstein decided to leave New York and study art. He went to the School of Fine Arts at Ohio State University, but his artistic education was interrupted by the war. He was drafted in 1943 and served in Britain and continental Europe. During his time in the services he was able to do some work as an artist, particularly drawing from nature. Demobilized in 1946, he returned immediately to Ohio State University and gained his Bachelor of Fine Art in June. He then joined the graduate programme, as an instructor. In 1949 he gained his Master of Fine Art and held his first one-man exhibition at the Ten Thirty Gallery in Cleveland. At this time he started to introduce broad references to Americana in his work: in 1951 he had a show in New York consisting largely of assemblages made of found objects. He moved to Cleveland and worked on and off as an engineering draughtsman for various companies while continuing to paint and intermittently show his work in New York. His earliest proto-Pop work was painted in 1956 - a picture of a dollar bill - but it had no immediate successor. From 1957 until 1960 his work could, broadly speaking, be classified as Abstract Expressionist; he had previously passed through Geometric Abstraction and a version of Cubism.
"In 1960 Lichtenstein was appointed Assistant Professor at Douglas College at Rutgers University of New Jersey, which put him within striking distance of New York. He met and had long discussions with Allan Kaprow, and he also met Claes Oldenburg, Jim Dine, Lucas Samaras and George Segal. He attended a number of early 'Happenings', but did not participate in them actively. These contacts revived his interest in Pop imagery, and a more immediate stimulus was provided by a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; 'I bet you can't paint as good as that.' In 1961 Lichtenstein produced about six paintings showing characters from comic-strip frames, with only minor changes of colour and form from the original source material. It was at this time that he first made use of devices which were to become signatures in his work - Ben-Day dots, lettering and speech balloons.
"Lichtenstein took in his comic-strip paintings unannounced to the new Leo Castelli Gallery, and was almost immediately accepted for exhibition there, in preference to Andy Warhol, who had started doing similar work. His first one-man show with Castelli in 1962 launched him on a career which was thereafter uniformly successful. In 1963 he moved from New Jersey to New York, having taken leave of absence from his job at Rutgers; in 1964 he resigned from teaching altogether. In 1966 he showed at the Venice Biennale, and in 1969 he was given a retrospective at the Guggenheim Museum, which later toured America. He was elected to the American Academy of Arts and Sciences in 1970, and then moved to Southampton, Long Island, thus following a pattern set by many successful American artists.
"Lichtenstein's development as a mature painter was marked by his propensity for working in successive series or thematic groups. The later groups tended to be interpretations and to some extent parodies of earlier Modernist styles - Cubism, Futurism and Surrealism. In the early 1980s Lichtenstein created sculptural maquettes constructed from flat shapes as three-dimensional graphic imitations of German Expressionist woodcuts. These, like his series of painted or sculpted brushstrokes of the 1980s, painstakingly created an ironic suggestion of spontaneity. In the late 1980s and early 1990s he returned to the use of Ben-Day dots in a new and refined application of his earlier style. Roy Lichtenstein died in September 1997."
- From "Lives of the Great 20th-Century Artists", by Edward Lucie-Smith
Wednesday, 25 August 2010
Flooding at Glastonbury 2005
If this happened to me i would just quit and go home!! after saving the beer.....
Reading this year was torrential too, so that couldn't of been much fun! there is no way these people could have slept that night without a sleeping bag!
The Healing Field - Glastonbury 2009
I think these are the real deal! the actual hippies that really believe in spirtual awakening and all that! They are a pretty calm group till they start wailing.......when i was there we decided to have a nap but maybe that wasnt really in the spirit of it?
Please Take It Home
I do think its disgusting how people leave all that stuff! they used to give it away to charities but found volunteers difficult to get to clean it up so........landfill and seagulls!
Glasto this year
This is just the main stages and tents the lists would be too huge if you included all the little tents where people were randomly perforoming and jamming etc......
My response.....
For this I just took a fashion sketch and added colour to certain areas to give them impact. I used a variety of brushes to give the impression in was hand rendered. Verhoeven's work looks more modern but I still think I have the basic idea.
This is just a quick practice of her technique!
When I look at her work the first thing I see is the intricate details and light application of paint. She uses these smooth lines to frame her figures who are always ‘model like’ and demure. The elegance of the work is very effeminate and delicate. Sometimes she will use small areas of colour to accentuate an area and at other times have highly detailed collaged areas to compliment the faint figures. Her palette is usually complimentary as she doesn’t use clashing colours to jolt the viewer. Washes or oils are used to give the impression the work was down quickly, as if in a sketchbook.
This is just a quick practice of her technique!
When I look at her work the first thing I see is the intricate details and light application of paint. She uses these smooth lines to frame her figures who are always ‘model like’ and demure. The elegance of the work is very effeminate and delicate. Sometimes she will use small areas of colour to accentuate an area and at other times have highly detailed collaged areas to compliment the faint figures. Her palette is usually complimentary as she doesn’t use clashing colours to jolt the viewer. Washes or oils are used to give the impression the work was down quickly, as if in a sketchbook.
Julie Verhoeven
"PRACTICE MAKES PERFECT AND NO PAINS, NO GAINS."
"Julie Verhoeven has worked in numerous ways across fashion and design, from illustration to creative direction and design consultancy. She studied fashion at Medway College (now Kent Institute), and began her career as John Galliano's first design assistant. Verhoeven's love of drawing is always at the heart of any commercial work she undertakes. In addition to her collaboration with Mulberry, Julie has also done record sleeve design for such bands as Kasabian and has contributed to top publications including Dazed and Confused, Self Service, and The Face."
INTERVIEW
Ultimate collaborator: designer and illustrator Julie Verhoeven at her home in south London Photo: MAJA FLINK
Julie Verhoeven, 39, has collaborated with Louis Vuitton, Mulberry, Versace and Peter Jensen. Her latest solo exhibition, Fannying Around, is at the Concrete café in the Hayward Gallery on London's South Bank from January 9, and her work is also part of Voo-Doo, a group show at the Riflemaker Gallery in Beak Street, London W1, from January 19. She lives in south London.
Eye opener I try to get up between 6 and 6.30am, and if I'm treating myself, I'll have a McDonald's bagel with Philadelphia cheese and a black coffee on the way to the studio. If I'm not treating myself, I'll have muesli with fruit and tea.
The three degrees: the intelligent must-have of the seasonWork Two days a week I teach; at the Royal College of Art and at St Martins, which is nice because they're both different. If I'm not there, I potter along to the studio which is a 10-minute walk down the road. And if that's going really badly then I go to one of the London Institute libraries for research. I'm trying to move away from fairy tales in my work now and I'm becoming more painterly.
Childhood ambition I knew I wanted to draw in some capacity because there was seriously nothing else I could do. I loved fashion and I wanted to be remembered. Everybody really wants to be remembered, but whether they will admit to it is another matter.
Listening habits I always have the radio on as background noise, but when I'm in the studio and start to draw I line the CDs up.
My music taste is a bit of a contradiction. My favourite music is punk and new wave because it gets me started, but my favourite album is Fleetwood Mac's Rumours, because it makes me happy every time I put it on.
Books I've got tons of picture books, the more pictures the better. More than anything I like old publications and periodicals and that's what I spend a lot of time going through in libraries. I like a photography magazine called Zoom, which still exists, Graphis, from the 1960s, and L'Officiel, which was a poor-man's Vogue from the 1960s to the 1980s, with really dodgy shoots. I'm also reading Molly Parkin's autobiography, and the The Orton Diaries, by the playwright Joe Orton. I recently re-watched the film Prick Up Your Ears, which is based on his diaries, and which made me want to read the book. It was quite hard to get hold of so that makes it all the more exciting.
Favourite room I have a soft spot for the lavatory. Whenever I go to the library I make photocopies to have as references for my drawings. I have banks and banks of copies, so I thought it would be rather nice to choose a few and put them on the wall.
Films I've only recently got into films, so I'm catching up and going through all the classics. I really like Turkish Delight, which is one of the director Paul Verhoeven's early films (we're not related). He used to be really cool before he went all commercial.
Collections I don't collect anything consciously but I do accumulate junk. I think it's more about laziness because I keep putting off clearing out, so the area where I work and live becomes smaller and smaller. On the way home from the studio I pass four junk shops and inevitably buy something. I have lots of local finds, such as a vase that I've painted pink.
Best present received One of my favourite things is a guinea-pig poster which my friend, the designer Emma Cook, gave me. I used to have a guinea-pig and she didn't know that it had died when she gave me the poster. It makes me chuckle when I look at it because the guinea-pig had died literally two days earlier.
Shoes I've got a giant tennis shoe in my hall that I made from calico, cardboard and polystyrene for an exhibition. I've got a weird relationship with trainers – I hate them – and apart from the giant tennis shoe, I only keep one secret pair at my studio.
Art I've got a wall of art which I keep adding to. I've just started to swap work with other artists, so I have a picture from Lucy Stein and I've also got a pair of shoes made from Sellotape which Emma Cook made for her graduate collection. They are balanced on a portrait of a cat, which is a light and the eyes become very blue when it's on.
New Year resolutions To worry less and embrace being 40. I've also done a children's book with a friend, called Cicely Scissors, and we're trying to find a publisher, so that's on my list to attack this year. My friend wrote the story and I illustrated it. It was fun to draw – lots of animals and cakes.
"Julie Verhoeven has worked in numerous ways across fashion and design, from illustration to creative direction and design consultancy. She studied fashion at Medway College (now Kent Institute), and began her career as John Galliano's first design assistant. Verhoeven's love of drawing is always at the heart of any commercial work she undertakes. In addition to her collaboration with Mulberry, Julie has also done record sleeve design for such bands as Kasabian and has contributed to top publications including Dazed and Confused, Self Service, and The Face."INTERVIEW
Ultimate collaborator: designer and illustrator Julie Verhoeven at her home in south London Photo: MAJA FLINK
Julie Verhoeven, 39, has collaborated with Louis Vuitton, Mulberry, Versace and Peter Jensen. Her latest solo exhibition, Fannying Around, is at the Concrete café in the Hayward Gallery on London's South Bank from January 9, and her work is also part of Voo-Doo, a group show at the Riflemaker Gallery in Beak Street, London W1, from January 19. She lives in south London.
Eye opener I try to get up between 6 and 6.30am, and if I'm treating myself, I'll have a McDonald's bagel with Philadelphia cheese and a black coffee on the way to the studio. If I'm not treating myself, I'll have muesli with fruit and tea.
The three degrees: the intelligent must-have of the seasonWork Two days a week I teach; at the Royal College of Art and at St Martins, which is nice because they're both different. If I'm not there, I potter along to the studio which is a 10-minute walk down the road. And if that's going really badly then I go to one of the London Institute libraries for research. I'm trying to move away from fairy tales in my work now and I'm becoming more painterly.
Childhood ambition I knew I wanted to draw in some capacity because there was seriously nothing else I could do. I loved fashion and I wanted to be remembered. Everybody really wants to be remembered, but whether they will admit to it is another matter.
Listening habits I always have the radio on as background noise, but when I'm in the studio and start to draw I line the CDs up.
My music taste is a bit of a contradiction. My favourite music is punk and new wave because it gets me started, but my favourite album is Fleetwood Mac's Rumours, because it makes me happy every time I put it on.
Books I've got tons of picture books, the more pictures the better. More than anything I like old publications and periodicals and that's what I spend a lot of time going through in libraries. I like a photography magazine called Zoom, which still exists, Graphis, from the 1960s, and L'Officiel, which was a poor-man's Vogue from the 1960s to the 1980s, with really dodgy shoots. I'm also reading Molly Parkin's autobiography, and the The Orton Diaries, by the playwright Joe Orton. I recently re-watched the film Prick Up Your Ears, which is based on his diaries, and which made me want to read the book. It was quite hard to get hold of so that makes it all the more exciting.
Favourite room I have a soft spot for the lavatory. Whenever I go to the library I make photocopies to have as references for my drawings. I have banks and banks of copies, so I thought it would be rather nice to choose a few and put them on the wall.
Films I've only recently got into films, so I'm catching up and going through all the classics. I really like Turkish Delight, which is one of the director Paul Verhoeven's early films (we're not related). He used to be really cool before he went all commercial.
Collections I don't collect anything consciously but I do accumulate junk. I think it's more about laziness because I keep putting off clearing out, so the area where I work and live becomes smaller and smaller. On the way home from the studio I pass four junk shops and inevitably buy something. I have lots of local finds, such as a vase that I've painted pink.
Best present received One of my favourite things is a guinea-pig poster which my friend, the designer Emma Cook, gave me. I used to have a guinea-pig and she didn't know that it had died when she gave me the poster. It makes me chuckle when I look at it because the guinea-pig had died literally two days earlier.
Shoes I've got a giant tennis shoe in my hall that I made from calico, cardboard and polystyrene for an exhibition. I've got a weird relationship with trainers – I hate them – and apart from the giant tennis shoe, I only keep one secret pair at my studio.
Art I've got a wall of art which I keep adding to. I've just started to swap work with other artists, so I have a picture from Lucy Stein and I've also got a pair of shoes made from Sellotape which Emma Cook made for her graduate collection. They are balanced on a portrait of a cat, which is a light and the eyes become very blue when it's on.
New Year resolutions To worry less and embrace being 40. I've also done a children's book with a friend, called Cicely Scissors, and we're trying to find a publisher, so that's on my list to attack this year. My friend wrote the story and I illustrated it. It was fun to draw – lots of animals and cakes.
Tuesday, 24 August 2010
Year 2000 Glasto
2000 saw the return of the pyramid stage (the third pyramid stage) – 100 feet high and clad in dazzling silver. There was more camping space with the introduction of a special family campsite. A new outdoor dance venue among trees, christened the glade, was introduced and proved a great success. Once again Greenpeace, Oxfam and Water Aid were the major beneficiaries. This year saw a huge influx of gatecrashers – but even so the infrastructure stood up and people were treated to a weekend of diverse entertainment and fun.
Acts included Chemical Brothers, Moby, Travis, Morcheeba, Basement Jaxx and David Bowie. Licensed attendance 100,000.
Tickets £87 including programme.
I love how shabby the tent is.....like an old circus!
Old skool glasto!
The first Festival was held on the day after Jimi Hendrix died, over a two day period and before long “word had got around”. It was the Blues festival at the Bath & West Showground that had inspired Michael Eavis to begin a festival of his own although on a smaller scale.
Acts included: Marc Bolan, Keith Christmas, Stackridge, Al Stewart, Quintessence
Attendance: 1,500.
Price: £1 including free milk from the farm.
The Scenery
These are a few photos from just walking round.........they could be quite good starting points for the posters....like the unusual umbrella canopy idea and the underground sign too! there are plenty of crowd pics on the internet so images aren't going to be a problem!
Friday, 20 August 2010
More photos
This is the view from the pyramid stage when you dont want to be i a crowd and wanna lie down and see the screens........if you really dont want to be near anyone there is the hill, bit of a hike but worth it, since there were a few mini stampedes going on below. This is the Main stage and we were camped bout 20 metres away from it which was ok cos it doesnt go on all night long, not that we could sleep much anyway!
This random pole was in the middle of our campsite (our three tents so we bought a very gay flag and put it to find if we were lost.....worked out well. Plus our little area started attracting other gay campers!
This is in the kareoke tent where we spent the last bit of the night cos it was near our tent and pretty fun even if they did only sell rum :( These guys were dressed as foxes and so Pete has his mask on.....and even if i smile still looks like iam having a rubbish time!
These flags were pretty cool to they did have a whole field of them which looked like a scene out of lord of the rings or something (geek).
Me and my lot at Glasto
I like how the flags seem to be part of the tree, growing out of it....specail glasto tree. The flags are also similar to the prayer poles in Tibet and Everest area. Religous connotations?
The reason my face is painted like a sad clown is becasue I walked past the beauty tent and saw all the girls getting pretty flowers down there cheeks and so wanted to something completly opposite! so got a full clown......not the best idea on the hottest day and all you wanna do is splash water on your face. It was a funny day though and plenty of people were freaked out especially when i was walking out of the crowds and suddenly your faced with a clown. And Shaun HAD to have that indian head dress thing!?
P!nk
For this poster i was trying to make the image of P!nk look like it was made of something else. Using the filter gallery I played round with making it look plastic, material and sketched etc. but decided to make it look metallic and like how the filter picks up the highlights. There was a bit of editing though because some highlights made it look like she had huge lumps on her back. The background is ok.....not sure about it? I do like the mixture of capital and lower case type though.
Playing with curves
With this image I was just playing round with curves and found that cutting out around hair was tough! I used magic wand tool and others to take the bacground out and then just adjusted the curves to give this cool effect! Some parts of the hair were blocked off by other people so i had to use stamp tool to add in the extra sections and erase others. I love the opposing movement in the image!
Festival poster practice
This was a poster to try and make the character (my brother) look like the focal point whilst having an interesting background. I used a variety of paintbrushes like stamps to give a grunge look and took some time cutting him out so there weren't any dodgy bits of hair, or bits missing. I think the colours clash but it works well. I also like how there are parts of the background that are highlighed and corespond with the highlights on Tom.
Monday, 16 August 2010
Cubehenge
This was a really cool addition and it inspired me to try create light effects in photoshop so i produced the following piece and added some random quote to give the image some standing on its own. The area was really cool and hyped up the crowd, then later was just a light show that was pretty mesmorising.
The piece is called fireflies and uses stroke path the create the lines and outer glow effects to produce the glowing effect. The central glow was a a big paint brush mark with an added gradient so that it didnt take over the entire background.
Glasto football 2010 - national anthem
I added in this footage to show the spirit and atmosphere. The British aren't very patriotic unless its for sport and this was nice to see. Also the weird time when Germany scored and an entire field of people didnt start swearing but were numb! very starnge. Basically thousands of people on the hottest day of the year getting burnt to experience history together :)
Wasted Guy vs Flip Flop
I wanted to do a quick response to this video so made this picture and tried blurring a little but then thought about those "inspiration" "dedication" posters you get in offices so made my own quick version of that. nothing difficult in making it just quite fuuny. At Glasto it actually wasnt about people getting off their faces! There were more families and kids and people were drinking but just casually rather to cause trouble like some other festivals like Reading! Reading is more for hammered A-level results people out for the first time doing drugs and getting sick...
Florance And The Machine - Dog Days Are Over @ Glastonbury 2010
It's odd seeing the size of the crowd because when your in it, it doesn't seem so big! but there must have been thousands in just that area, let alone the hundreds of other things going on!
Electric Men Arcadia Glastonbury 2010
When I was watching this back it looked really futuristic and Id just been to see toy story three so made this little image. I wanted it to be a bit out of character and off beat and use font style that matched Buzz. I fuzzed up the outer glow and used filter galllery to make Buzz more vivid and interesting with his contrast and tones. I also added a little perspective making the text look a bit more Star Wars. I also had a red rubber duck background to add a little interest there too, plus they look quite creepy.
Dizzee Rascal performs Bonkers at Glastonbury 2010
The Dizzie Rascal performance was def my favourite I am a huge fan and know every lyric! so at this point I was having a lot of fun! I always think of old Tizer adverts when i see his Bonkers poster so might have a go at doing one myself. I used a fill on a seperate layer then used pin light layer option to make this effect. The contrast was increased a little too to give more shading then i just stole the letters right off the dizzie image.
Glastonbury 2010 - Stone Circle and Sky Lanterns
Just a very quick attempt of making it look like I wrote on a lantern. The chinese lanterns looked awesome with all the campfires and murmering of all the little groups. I had to catch a stray one from burning this girls hair off at one stage and ended up burning my arm but was a bit tipsey so it didnt hurt too bad!
Blam there he is!.mp4
This is a really funny group who i vividly remember dancing in their lycra :) !!
Photoshop Tutorial: iTunes Style Illustration
Photshop tutorial practice
I followed this tutoial by TUTVID and produced this image in the style of the ipod silhouette adverts.silhouette adverts. It was all about adding a grunge look to the backgrounds and how to make an image clean and bold by applying one colour to it. I downloaded a range of brushes and used these to add the dirty background and used an image of a mixing deck to give my image a urban feel. It reminds me of a club night poster. I tried to just play around with the tones aswell to keep the palette simple.
Kerry Roper
KERRY ROPER (http://www.debutart.com/artist/kerry-roper/work/5366)
Kerry Roper’s work is an amalgamation of photography, typography and traditional illustration. His work is made using a computer but still feels fresh and handmade. He has funny themes and uses layering to produce a collage defect. His work seems to be well balanced and there is a definite emphasis on composition which probably comes from histraditional artistic background.
Kerry Roper’s work is an amalgamation of photography, typography and traditional illustration. His work is made using a computer but still feels fresh and handmade. He has funny themes and uses layering to produce a collage defect. His work seems to be well balanced and there is a definite emphasis on composition which probably comes from histraditional artistic background.
The work seems messy and simple at times but then he produces work that is intricately blended and clever. The early work is quite satirical which is in stark contrast to some of his more emotive work later. The darker work has themes of anger and heartbreak. He often chooses a handwritten typeface and sometimes paints in the sections as if he used a fat crayola. His work is also quite observant of the time in the way he gives a commentary on society. 
Here I have produced a quick image in response to Roper’s “I love cake”. I used simple typography and clipped a background to the font to add simple layering. I used blending options to accentuate the type and diffused the image to look pointilised like Roper’s. Ihave called it "Course I'am fucking hungry". I like how the kid looks so depressing and the colours are washed out but how his facepaint hasnt washed off and the slushy is diffusing through the water!
Here I have produced a quick image in response to Roper’s “I love cake”. I used simple typography and clipped a background to the font to add simple layering. I used blending options to accentuate the type and diffused the image to look pointilised like Roper’s. Ihave called it "Course I'am fucking hungry". I like how the kid looks so depressing and the colours are washed out but how his facepaint hasnt washed off and the slushy is diffusing through the water!
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