NEW WORK FROM JANE

Due to a complete mix-up on my part, Jane didn't make it to our meeting at the RFH a couple of weeks ago.  Such a shame, and I do apologise, Jane.   However, what this means is that we can ALL see her work, and share in what she's achieved - a real bonus I'd say!

She says :  After battling with the heat etc here are my images of Wellcome Below prints and Granary Square painting.



Granary Square



Wellcome Below III



Welcome Below I

Welcome Below II

What a truly lovely set, Jane.  I think the Granary Square piece is absolutely brilliant.  The balance of colours and tones, the arrangement of shapes - SO super.  The things I would specifically pick out are :
*Those strong reds.  Fabulous.  Especially the small one in the middle (in fact, RIGHT in the middle, is it?)
*The echoes of shapes (the stripes in the foreground, in the little blue 'fence' and in the distant gasometer)
*The change of scale of shapes - the big shapes compared to that section in the middle of compact, small shapes.
*The clever limited palette - all colours related to the blue and the red in some way.

It is SO good Jane.

Wellcome Below III works very well.  It is entirely a study in tones.  So the eye ripples through all the contrasting tones and shapes.  the most important bit, I think, is that triangle at the bottom, and then echoes of that dark tone throughout.  That leads the eye through.  Very nicely balanced and constructed.

Wellcome Below I is a very different visual journey.  Worth everyone really understanding this.  The eye goes through the blue/grey spaces to the golden spaces.  So, it is a 3D experience, wheras no.III (above) is a 2D experience - the eye bounces across the image, and it's only scale and overlap which gives the clue to there being one space beyond the other.  The thing you've done so well, in no. I, is you've controlled the tones of the intense blue and the deep grey, meaning that they sit together, humming gently.  Then the golds and blues in the centre are a bit more varied in tone, creating a fizz of interest to look at in that space.  Very good Jane.

Now, no.II   I find more tricky!  The central area contains gorgeous colours, no doubt about that.  Then, the area at the top is very tonal (like piano keys).  That creates visual conflict.  Which is most dominant?  The eye is drawn to the colours, but those strongly toned bars drag it away and say 'look at me', with a stamp of their metaphorical feet!
The solution?  I think you have to prioritise.  Decide which visual voice is going to be the dominant one, and then work the image around that.

It's quite nice to know you're fallible, Jane.  The first three are so good, and this last one is great in parts - it's just they don't sit easily together.

What do others think?  You can always comment below, or do an email 'reply all' to make a contribution.

Thank you Jane, send through any future things you want to share.