A FEW PIECES FROM JANE

JANE is bringing along most of her new work to our get-together on December 6th (be there, or be square!!).  
However, there are a couple she wants to share now, so here we go.  She says :"The images of Wellcome Below are worked up to the size I will print. They are still roughs. I have also attached my original roughs from which I have made a few changes. The colours have come out better on the original roughs."

Wellcome Below I

Jane, I think you only sent these two Wellcome ones.  Send the others if you wish.

Basically, what we have here are two interpretations of the same design, taken from looking through to a lower floor with the spiral stairs.  Great bit of drawing.  It has that quality which I first remember noticing and Samuel Johnson's House, where you have flat planes and 3D planes in the same space - very clever!

'Wellcome Below I' is, in essence, a tonal picture, using a fairly narrow range of a pair of complimentary colours - blue and yellow.  The tonal design does the really hard work, and the pops of colour add a frisson to the image.  The greys are beautifully judged and set the whole thing off.  Those floating blue bars at the top are brilliant, and definitely come forward, creating yet another space.  I cannot fault this piece.Very nice indeed.

Wellcome II

I could add to the last sentence   ".......but quite safe".  
'Wellcome Below II' takes more risks.  Many more.  It uses colour in a far more powerful way.  The difficulty is the tone of the colours (oh yes, here we go again!!).  The lovely mustard yellow is a LIGHT colour, even though it is very strong and vibrant.  The red and purple are dark colours, even though they are very strong and vibrant as well.
So we have that old, old problem of how to read it - do we read the colour, or the tone?  For example, the dark red/aubergine colours of the two curved forms in the lower left, against the yellow.  These are very dominant, and rather squash the yellow.  Which is more important - the yellow, or the dark forms?  As it is, the eye tends to jump from these dark curves across to the light 'steps', and pay less attention to the yellow.

So, if it's the tonal forms you want, maybe reduce the yellow a bit.  If it's the colours you want, decide where your main tonal blocks of light and dark are going to be, and tie the relevant colours into that.  This all comes back to your original intention, and ...... where do you want the eye to go?!

This is me being very picky though.  They are both really good in different ways.  I especially commend you on the way your are playing with 2D and 3D.  So clever.

I hope that helps, and see you on Dec. 6th.  I hope you will bring these along too?