New Work: The Ruins of Dale 2
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Katherine Anne, The Ruins of Dale 2, 2014, 38cm (w) x 28cm (h), Watercolours, Ink pens
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My illustration Ruins of Dale 1, from Peter Jackson’s movie; The Hobbit: The Desolation of Smaug,
was created using watercolours and ink pens. The watercolours form basic shapes, which make up
the shadows of the mountains and the shadows cast in the ruins. The watercolours were used to
make thick blotches of colour, and smaller thinner marks for some details on the mountain faces
and the bridge. The highlights of the mountain, ruins, and bridge, where the light is cast, are not
painted. The details of the mountains and ruins are made with ink pens, which form vertical
hatchings. These marks cover and darken the shadows and some mid tones on the mountains and
ruins. There has been added watercolour over the ink pens, resulting in darker shapes and details.
The covered marks look smooth and blurred while the marks in the ruins, which are untouched by
water, are crisp. The colour palette is minimalistic; it contains Paynes Grey and indigo. The grey is
used all over the illustration, while indigo has been released from the ink pens. The clouds behind
and in front of the ruins have been scratched away by a dry brush. The paper is very thick and very
sturdy. The size of the illustration is 38cm (w) x 28cm (h).
The reasons for using these marks and colours are justified in the following points. For example, I have used the watercolours to show an approximate of the shapes in the real image. In contrast to the large spots of watercolour, I have used the hatching marks to bring structure to the mountain range and ruins. I decided to experiment with more water over the hatching marks, resulting in very dark blotches I was unprepared for. I kept the ruins crisp as a point of focus in the piece. I added much more detail in The Ruins of Dale 2 than in The Ruins of Dale 1, because I was creating a library of marks I did not have in The Ruins of Dale 1. Artists such as Albrecht Durer and Michelangelo Buonarroti used hatching marks in their figure studies. Though they used these marks differently, I have applied similar techniques in my own work, The Ruins of Dale 2. In the course of studying hatching marks and the forms of mountains, I have found the vertical hatching marks to be best for illustrating mountains and hills. The colour palette I chose is minimalistic, because I wanted to focus on studying the mountains and ruins. The grey is used all over the illustration, to create some cohesion. In addition, I used Paynes Grey because I feel confident with the colour’s texture and control. I liked the indigo that came from the pen’s ink so I made sure there was more of it at the front of the image to create a deeper depth of field. The paper was cut this size, because I thought it would challenge myself and my techniques.
The reasons for using these marks and colours are justified in the following points. For example, I have used the watercolours to show an approximate of the shapes in the real image. In contrast to the large spots of watercolour, I have used the hatching marks to bring structure to the mountain range and ruins. I decided to experiment with more water over the hatching marks, resulting in very dark blotches I was unprepared for. I kept the ruins crisp as a point of focus in the piece. I added much more detail in The Ruins of Dale 2 than in The Ruins of Dale 1, because I was creating a library of marks I did not have in The Ruins of Dale 1. Artists such as Albrecht Durer and Michelangelo Buonarroti used hatching marks in their figure studies. Though they used these marks differently, I have applied similar techniques in my own work, The Ruins of Dale 2. In the course of studying hatching marks and the forms of mountains, I have found the vertical hatching marks to be best for illustrating mountains and hills. The colour palette I chose is minimalistic, because I wanted to focus on studying the mountains and ruins. The grey is used all over the illustration, to create some cohesion. In addition, I used Paynes Grey because I feel confident with the colour’s texture and control. I liked the indigo that came from the pen’s ink so I made sure there was more of it at the front of the image to create a deeper depth of field. The paper was cut this size, because I thought it would challenge myself and my techniques.
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