Welsh Art landscapes Clwyd Fine Art Trust and

Welsh Art - landscapes Clwyd Fine Art Trust and Joint Area Museum Education Services (JAMES)

Contents: Discussion Drawing Monoprints Printmaking More Pictures Images courtesy of Clwyd Fine Art Trust and Joint Area Museum Education Service

1. Discussion Landscape is one of the main images found in art over the centuries and we are going to look at examples of landscapes by some of Wales’ most famous artists. Here we see a landscape by Sir Kyffin Williams. By placing a road in the forefront to draw us in to the image, he has created a perspective effect. His subtle use of ink and wash has produced density of tone and texture, which creates effective shadowing and distance. Sir Kyffin Williams Rhwng Dwy Afon Cyffylliog / Hendre

This painting of Penrhyn Quarry by Peter Prendergast clearly shows how an effective choice of corresponding colours can reproduce the atmosphere of a place. By contrasting and reflecting the light colour of the sky beside dark blue, purple and black the artist has emphasised the huge scale and solidity of the rock. The image evokes feelings of awe and dominance, which truthfully depict the experience of being in the Welsh mountains. Peter Prendergast Penrhyn Quarry

Here we see another image of a quarryscape, this time by Graham Meredith, which shows a completely different style. The composition of both paintings is quite similar but Graham Meredith is much more subtle with his paint which created a lightness and beauty, words not usually associated with quarries. Graham Meredith Quarryscape, Minera, 1978

This landscape picture by Elis Gwyn is full of Autumn colours, and the dark sky suggests that a storm is on its way. The artist has chosen to show the texture of the hedges and surface of the land by scratching into the surface of the paint, giving depth to the scene. Elis Gwyn Tua’r Gorllewin Elis Gwyn’s combination of colour and texture creates an image that is not only interesting, but also very effective.

Look at the landscapes by Sir Kyffin Williams and Peter Prendergast. Talk about the pictures using words to describe the: Lines and marks e. g. thick, thin, fast, soft etc. Image e. g. effective, dominating, detailed, cold, funny etc.

Where do you think the artist made this work?

Do you think the artist made sketches before making this work? Why do you think this?

Do you think the artist works quickly or slowly? How can you tell this?

How does the artist's technique influence the way he portrays the landscape?

What does the artist's use of dark and light tell us about how he felt when making the work?

Do you think the artist's technique helped him capture the essence of the landscape? In what way?

Think of different techniques that you might use to create a similar effect.

Where do you think the artist made this work?

Do you think the artist made sketches before making this work? Why do you think this?

Do you think the artist works quickly or slowly? How can you tell this?

How does the artist's technique influence the way he portrays the landscape?

What does the artist's use of dark and light tell us about how he felt when making the work?

Do you think the artist's technique helped him capture the essence of the landscape, in what way?

Think of different techniques that you might use to create a similar effect.

What is similar about the works?

What is different?

Which do you like best and why?

What is different about the colours?

Why do you think they chose these colours?

How do the pictures make you feel?

2. Drawing Materials needed: Sketch book or paper and drawing boards, charcoal, pencils (2 B or softer), white oil pastels In the classroom, get to know your materials Pencil • With a sharp pencil make light thin lines in your sketch book. • Starting with a thin pencil line, press a little harder to make the line darker. • Does the line look thicker as it gets darker? • Use the edge of your pencil to make thick grey marks. The harder you press, the darker the mark is. Use this technique for tone in your drawings. • Use crossing pencil lines to create tone – this is called cross-hatching. The closer together the lines are the darker the tone will be.

Charcoal • Charcoal is a very fragile material, press too hard and it will shatter. It is made out of burnt wood and smudges very easily, a bit like chalk. • Use the edge of your charcoal stick to make thin lines. Press very lightly for faint marks, a little harder for darker lines. • Use the circular end of your charcoal stick to make thin, black lines, holding the stick upright. • Use the side of the charcoal stick to create large areas of tone. Now experiment with the charcoal, pencil and white oil pastel using a combination of marks. See worksheet 1

3. Printmaking: Monoprints Materials needed: A 4 laminated sheets (or sheets of perspex), rollers, brushes, pencils, A 4 drawing paper, printing ink, scrap paper, tissue paper and water pots. Follow the instructions in worksheet 2 to make your monoprints

4. Printmaking: Block Prints Materials needed: Pencil, smooth card, tissue paper, scissors, string, black water-based printing ink, bits of rag, paper, water pots, brushes Follow the instructions in worksheet 3 to make your block prints

Sir Kyffin Williams Hill Farmers

Elis Gwyn Pencoed