In an attempt to understand the architecture, I've started on a low-res 3D sketch of the scene, and come to the conclusion that Piranesi may not have been entirely in control of his perspective. As such, there will be parts where I simply decide 'stuff it', and follow my gut/what looks good.
Wednesday, 16 January 2013
Tuesday, 15 January 2013
Or, 'good grief I had no idea how wonky the perspective actually is in these etchings'. Apologies for the roughness of the following sketches, I'll clean them up at some point in the future.
Monday, 14 January 2013
Did something a little different today. In the vein of the Technical Challenge in the Great British Bake-Off, where the contestants are required to use their baking knowledge and instinct to replicate a bare-bones recipe, I decided to make a very quick study from a painting - in this case, Carlo Bonavia's 'Shipwreck in a Rocky Inlet'. From there I no longer looked at the original, instead relying on my early sketch and my painting knowse to highlight what I did and didn't know.
Shipwreck in a Rocky Inlet - Carlo Bonavia, 1757
Thursday, 10 January 2013
First off, an unfinished Leyendecker study, per the suggestion of Phil.The text is there purely for my own peace of mind. The colour on this is fun, and I'll definitely keep dinking around with it until it's a bit more resolved. I'll tackle the fancy ironwork some other day, however.
'Couple Descending Staircase' - J. C. Leyendecker
And a photo study from a photograph by a gentleman going by the handle of 'Footleg'. Super loose first sketch...
And the final study. I learnt quite a bit about the structure of mountains (or at least, this particular mountain) and how snow sits on them. I left the figure out because, while it contributes to the original photograph, it's not much help in a study.
'Valley Frances Bridge' - 'Footleg' - Original
And now for that Piranesi thing. I've decided on the four plates I'll be using; I may not finish all of them, so I've ranked them here in order of priority, first being highest. I feel plates III and XIV best encapsulate the feel of the series, particularly XIV, so if I can only manage one then that will be the one I make.
XIV. Carcere, with a Staircase Ascending to the Left
III. Carcere, with a Circular Tower.
VII. Carcere, with Numerous Wooden Galleries and a Drawbridge
VI. Carcere, with Arches and Pulleys and a Smoking Fire in the Centre.
I initially considered a panorama, but attempts at stitching the images together were unsuccessful; this was the best panorama I could make, and, as you can see, it doesn't work. The pieces are simply not created to sit flush next to one another, and out of respect for Piranesi's work I am hesitant to improvise connections between them. Thus they shall probably be separate rooms, with the camera travelling between them.