New Work: Ruins of Dale
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Katherine Anne, The Ruins of Dale, 2014, 28.5cm (w) x 19cm (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 rocky outcrops.
The highlights of the mountain, where the light is cast, are not painted. The snow has been
represented without colour also. 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. The colour palette is minimalistic; it contains Paynes Grey, brown and
some lighter blues. The grey is used all over the illustration, while lighter blues is used on the
mountains further away. The brown has been used in the ruins of the city. 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 28.5cm (w) x 19cm (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. 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 1. 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 mountain. 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 used lighter blues to send the mountains backwards. In the photo, the city was a dusty brown colour, therefore I tried to place a little colour in my ruins to imitate the age and displacement of human remains in the stark mountain range. The use of colours in this work forms a deeper depth of field. The paper is this size, because I thought it would be enough to challenge myself and my techniques, after only working half the size previously.
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. 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 1. 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 mountain. 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 used lighter blues to send the mountains backwards. In the photo, the city was a dusty brown colour, therefore I tried to place a little colour in my ruins to imitate the age and displacement of human remains in the stark mountain range. The use of colours in this work forms a deeper depth of field. The paper is this size, because I thought it would be enough to challenge myself and my techniques, after only working half the size previously.
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