Here are pages 14-15 of Loeb’s De Rerum Natura from which I have extracted the key phrase of ‘nil posse creari de nilo’, ‘nothing can be created from nothing’ (which even Julie Andrews understood). All I had to do was figure out how to illustrate nothing coming from nothing.
The corollary to that statement is that something always comes from something, i.e. that anything new is created from other things already existing, not out of nothing by divine intervention, and this is what Lucretius wants to emphasise.
I chose to illustrate this fairly simply, with abstract shapes and primary colours, which have mainly disintegrated to form shapes of secondary, tertiary etc colours.
I did try to use an app that I’d not used before but could not find one that would allow me to paint with colours and then erase them in a manner that suggested decay. Only Procreate had an eraser that could take on many forms (or might be edited into new forms). All the colours were built up in layers using either charcoal or paintbrush forms and then selectively erased using two forms of eraser. I have to say that I do love the way in which brushes (including the eraser) can be edited in Procreate. I can see that I’m going to find it difficult to use apps apart from this and ArtRage.
[And, yes, the primary yellow shape represents the sun (or, stars in general), from which all other elements derive, so is not as ‘destroyed’ as much as the other primary coloured shapes of red and blue. It might have been better representative if the whole base layer had been yellow and only lightly broken up, but the image would have been less ‘right’ for me.]
Here are pages 12-13 of Loeb’s De Rerum Natura that I have illustrated (the right word in this case: this image owes more to illustration than art). The theme of religious superstition continues, talking about how men fail to defy the priests because of their fear of everlasting punishment after death.
I saw this as a web of fear that we construct for ourselves and into which we are enmeshed. So, the spider’s web as part of the image came quickly. It was only after drawing the web that I thought of tying Da Vinci’s Vitruvian Man into the web. It seemed appropriate to contrast the web of superstition with an iconic image from one of humanity’s greatest thinkers and artists. What we might be if we could escape that web: which we can do with the help of Epicurus’ philosophy.
This has again been produced using ArtRage using the roller for the grey background and the fine marker tool for the web and Vitruvian Man. Both the web and the men were copied by importing photographs first and tracing over them.
This is the fourth set of pages from Loeb’s De Rerum Natura that I’ve worked on. It includes a description of what happens when people fall under the spell of religious superstition. Believing that Artemis has stranded the Greek fleet waiting to sail to Troy, Agamemnon sacrifices his daughter, Iphigenia, to appease her.
I can think of no more appropriate example of the stupidity of religious infatuation unless it is the story of Abraham intending to do the same to his son, Isaac. It took me along time to think of an image appropriate to this rage I felt and, in the end, I failed. I spent a long time trying to draw a sword with blood running down it in a form that resembled a girl’s hair. If I could have done justice to such an image, I might have persisted, but eventually gave up and went with this one of blood running down over the page. In a way, I think it might work even better. The brush strokes at the top do resemble the curling of a girl’s hair but aren’t too obvious. And having it run down makes it look almost as if it is pouring down from heaven and flooding the earth. If there are any gods, they would surely weep tears of blood at the way humans vent their own blood lust in their names.
The image was created in ArtRage with the square oil paint brush.
This is the fourth set of pages from Loeb’s De Rerum Natura that I’ve ‘adorned’. [Not sure what word is appropriate there; ‘illustrated’ would indicate that the text is left undisturbed whereas I’m definitely disturbing it, especially today; ‘ornamented’ too prissy; ’embellished’ implies I’m making them more beautiful; ‘adorned’ sounds too fancy but might be the nearest.]
This page touches on the debunking of religious superstition: that the world and its construction & phenomena are adequately explained by what we would call science, i.e. observation and deduction. I used a figure that I played around with some time ago. It began life as the Minotaur’s head and morphed into a much more stylised version of that. I thought it would suit here since the sacrifice of bulls is central to many ancient religions as a means of pacifying the gods.
Having the figure, I then tried a number of ways of adding it to the text with colouring the text, adding other figures etc. In the end, it seemed more appropriate to simply black out the text and carve the figure from that. Semi-fortuitously, the word ‘superstition’ was then revealed.
This one was created in ArtRage with a layer filled in with black added over the page and then the figure exposed using the eraser set to maximum hardness. The eyes and mouth were added using the chalk/pastel tool in another layer.
The third set of pages in this project, pp 6-7 of De Rerum Natura. This extract contains the first mention by Lucretius of ‘rerum primordia’, the ‘first-beginnings of things’: atoms. This concept is one of the parts of this work that I love most – from thought only, Epicurus (and forerunners) derived the nature of the universe as being composed of tiny particles in empty space. Later we get ideas such as elements, compounds and more of physics and chemistry. Truly marvellous.
This image is simple but took longer than the two before combined. I tried several approaches without success and settled on overlaying the pages with the latin words ‘et rerum primordia’ formed of atom-like blobs. Corny, I know, but I’m not yet artistic enough to make a better image for this debut of the theory of atoms.
The text was built using SimplyMPress, the wonderfully simplified version of LetterMPress (a Kickstarter-funded project of which I was a sponsor). The page and the text were combined using Procreate (page scan layer was dropped in opacity to make the text stand out).
The next pair of pages (pp 4-5) from De Rerum Natura have evoked an abstract image – derived, I think, from the image of Venus calming Mars:
This image was produced in ArtRage 3 fairly simply. I used only the oil painting brush with the above three colours, each colour in a separate frame and squared off using the eraser. This was the third attempt at such an image and, as might be expected, the simplest.
I’ve started another project. No idea how long it’ll last, almost certainly not through ’til the end.
I am going to annotate/illustrate each pair of pages of Lucretius’ De Rerum Natura as published in the Loeb Classical Library where the Latin text and English translation face each other. The methodology will be to scan each page pair, load the scanned image into one of my iPad art apps and overlay the page with some image that comes to mind.
The pitfalls are: I run out of steam after the first two or so images; I run out of ideas for images; my efforts are so woeful, even unto me, that I give up and erase these blog entries; Loeb sues my ass off (I’ll try to get a stack done then ask for permission: if they deny it, I’ll take everything down, but I want to have enough to show them first).
The first image is:
This image was produced in Procreate using three brushes: very thin Round Brush (in Painting set), Oceans brush (in Elements set) and a Carborundum brush which I created (in the Textures set) some time ago to plan and preview carborundum printmaking plates.
The actual image is 2000+px wide but I’ve scaled down the above and flickr images to protect my work and Loeb’s copyright.
Have got behind on my blog postings recently. There are two or three printmaking sessions I need to cover but, just to fill in, I thought I’d post a couple more iPad paintings. As before, these are done with the ArtRage app. I love the way it blends paint as in real painting. I’ve not painted in oils before so don’t know how accurate it is but the colour muddying produces some great effects.
First painting is an abstract from a seascape photograph I found somewhere and downloaded:
I like the blue/pink/yellow effect in the top half of the image and the rust effect on the lower right. The swirls in the bottom middle — taken from where, in the photograph, the sea washes against the pier — are less effective. The marks themselves don’t fit, they unbalance the mark making in the rest of the image. Might try erasing that part of the image and see if it is possible to repaint — like scraping back a real painting. Or, maybe just take the lessons forward and have another go at a similar image. I did do a second, darker, one but it was even worse. What would be useful in ArtRage is a notepad alongside each work where you can record thoughts as you go along.
Today, I wanted to mess around with more muddied colours, so had a go at the good old circle again — one only this time instead of a grid of them.
I really like this one. The brush marks, the textures, the blurring and muddying of the colours. I like the balance of the colours as well. Maybe I should stick to painting abstract circles 🙂
I wonder how this would work as a collagraph. Hmm…
I’ve been playing with ArtRage on the iPad, trying to get used to how the different tools work. There are LOTS of them. I tried doing something similar to the Kandinsky squares that I painted in class with Rod (see previous post). I tried a couple of times while on holiday in Scotland the last two weeks (it was soooo wet, I had lots of free time) but wasn’t happy with the results. This time worked better. It is even less like Kandinsky than my previous acrylic efforts and, believe it or not, took much longer, but I enjoyed the process. I wanted a restricted palette but there seemed no way to do this in the ArtRage toolset, so, in my first square, I loaded a limited set of colours and then used the colour picker to select the colour I wanted at any particular time. At the end, I erased those colours from the square and picked unblended colours from the other squares.
I’m going to have to do a lot more playing with the tools and features of those tools in ArtRage before I can produce decent paintings but it should be fun trying them all out.
For the last week or so, I’ve been working out an idea for a print using five collagraph plates arranged on an A3 size sheet of paper. Each collagraph will be abstract but based on shapes and colours from some of the thousands of photographs we took in New Zealand. Each plate is formed from a mountboard offcut so they’re different sized rectangles mainly (I bought a couple of bags of these offcuts from a framing shop in the Ferrers Centre (Ferrers Frames). I’ve been experimenting on scraps with cutting shapes, filling holes with plaster filler and pushing shapes into them, sealing with spray varnish etc. The whole thing will likely be a complete mess but I hope it’ll let me set a number of lessons into one print. Look out Leicester Print Workshop when I’m done: pity the technician on duty when I come in to try and make this work 🙂
Anyway, the reason for this print is that I wanted to try out an idea for one of the vertical strips of mountboard: a sort of waterfall effect. So, I’ve been scribbling on the iPad using ASketch and InspirePro (just discovered that Cmd-Shift-S on OS X takes a screenshot and sticks it into Evernote).
In ASketch, I drew the vertical shape and then sketched in the rock shapes. It is great the way the lines interact, bleeding from one into the other. Gives some great effects (which you’ll get a better idea of from the website than from my scribbles).
(The squiggle on the right was Vick’s contribution.)
Then, in InspirePro, I had a go at adding some colours to the sketch (by saving the ASketch to the photo album then using that as the canvas in InspirePro). Using a dry-ish brush and quite dark colours, I got an idea of what I want to achieve. InspirePro allowed me to upload the pics to Flickr.
It’ll be a long time sketching on the iPad and trying to realise the sketches in prints, before I know what will and won’t work, but I do love the learning process.
I have started trying out some art apps on the iPad. I’d downloaded a few but without seriously trying them out. But, since starting a local painting course a couple of weeks ago, I thought I’d see if any of those apps could help me in my painting. The two I’ve used most in the last week are ArtRage and ASketch.
With ArtRage, I tried importing a photograph as a transparent underlayer and then painting on top of that. This works to a point but you then need to do some serious painting on top of that. I have to say that using ArtRage is just as difficult as using real paint with the advantage being less setting and cleaning up and the wonderful Undo button! It is going to be a while before I can post any of these online!
ASketch is easier to use once you figure out the eccentric way of altering the sketching tool. This is, as the name suggests, an app for sketching only. You get a hard and soft pencil and eraser and that’s it. But it is wonderful to use. I tried copying a couple of b&w photographs from magazines and, while the sketches fall far short of representation, the app itself worked well. I’ll play with that a lot more and, if I get up the courage, may even take it out and do some live drawing!
Those two sketches are up on flickr: