Edward Percy was a gentleman both in manner and appearance, and his handsome person, uncommon command of bearing, and polished understanding made him respected for a while by all his wide acquaintance.
- profligate and dissolute habit, a dark revengeful disposition, and a constitution formed to bear much, yet break not, soon threw Mr Percy into a wild whirl of riot and extravagance.
- handsome figure and commanding intellect had secured him the love of a young lady of high birth.
- extremely proud and haughty
- never gave one farthing in charity
Lady Helen, her countenance- now still majestic but then eminently beautiful- expressing not dark, brooding pride but stately and queen-like condescension
- looked very haughty, but with this look there shone intellect and grace
- she directly made me feel myself at ease and at home
Alexander Percy- the youthful heir of Percy hall
- slender but active boy, tall for his years and possessing a countenance whose constant play of varying expression showed in every light its eminently handsome features
- conscious of his aristocratic beauty and rather disagreeably vain of it- his expressions were struck with an effeminacy and girlishness
- the expansive forehead, the anxious eye and the sensual lip
- the hasty abruptness of his general manner and the harsh, daring tone of his conversation
- tended to shew them a proud, handsome, ill-tempered, and indulged boy, one who, it seemed, could dash though life and oppose all who opposed him.
-As for the ladies of Wellington's Land- his natural elegance was the perfection of grace; his extreme passionateness of temper, his fiery animation. His utter melancholy was indeed the quality which placed the capstone of his character, the halo which shone round him and deified him.
- "Hang me, am I turned fool myself"
- "No. No, I am entered at last on what men call the Ocean of Life; and if every anyone had a sailer, a rudder, or a chart or compass, I have none- nor shore or harbour, either."
Lady Augusta. Her character had none of this surface of lightness and vanity.
- her almost solemnly musical voice, her serious earnest smile, the expression of her dark and lustrous eyes, all most vividly showed forth a character far indeed removed from the everyday silliness of frivolity and giddiness
-she knew that Alexander Percy had a spirit far too like her own to be enslaved by nonsensical airs of goddess-like caprice and disdain.
Miss Harriet O'Connor- a handsome girl with red hair and commanding features
- her father indulged her, and her mother treated her harshly; for the first she felt grateful, the last she laughed at and forgot.
-she was totally without the restraint of pride, and animated and cheerful but sometimes blunt and sudden in her address.
- many erroneous and unusual notions which she constantly repeated, sometimes offended those who did not know her.
-but the friendly look of her eye and the odd way in which she shook her acquaintance so heartily by the hand, with her evident pleasure in seeing again those whom she had seen before, forced many to feel toward her otherwise than harshly.
-she was possessed somewhat of vanity and thought well of herself, her plain frock and pearl necklace most seldom intruded itself on others.
-she was not altogether what she seemed, for underneath lay a heart filled with strong impressions, a mind overgrown with eradicable errors, habits of constant thinking which always en in thinking wrongly.
-her mind was of the highest order but rendered useless through want of training to the right.
Tuesday, 23 October 2012
Monday, 22 October 2012
'Better' Sketches
Have a note on my tutorial sheet from last week which just says 'make better'.
Used
my graphics tablet for these. Realised I haven't used Photoshop in an
awkwardly long time- spent a good hour retouching the wrong layer and
then had to have a short break while I contemplated throwing my computer
out of the window.
Not angry though.
My women pictures are slightly better though so its been a week well spent I reckon.
Sunday, 7 October 2012
Monday, 1 October 2012
Portraits from the era
This is a painting of 'Lavinia Spencer' by Sir Joshua Reynolds, 1780
Joseph Ducreux 1769 portrait of Marie Antoinette
Finden's Illustration of The Countess of Jersey
Portrait of a Lady Georgina Buckley by John Hoppner British
Self-Portrait by Angelika Kauffmann 1780-1785
Portrait of a lady with book- Antoine Vestier- 1785
Continuous Line Drawings
I decided to use these pictures as inital studies to try out my idea of using continuous line drawings.
Rationale
For this brief I want to work in metal and produce a series of pieces which are all to a professional standard.
To do this, and to achieve a high standard of work, I will have to decide quite quickly on what I want to do to avoid rushing the making process at the end.
I want to do further research on The Tales of Angria by Branwell Bronte and also on the books which influenced his writing.
I want to create a series of pictures which illustrate the characters in his work in metal. I want them to be metal portraits which embody Branwell's way of writing- his continuous lines of text and the patterns within it.
I am not certain how long it will take me to make each metal portrait- but if each one takes me a week and a half to make and I make three in total (not including Reading Week) then I will have to start making at the beginning of November.
To do this, and to achieve a high standard of work, I will have to decide quite quickly on what I want to do to avoid rushing the making process at the end.
I want to do further research on The Tales of Angria by Branwell Bronte and also on the books which influenced his writing.
I want to create a series of pictures which illustrate the characters in his work in metal. I want them to be metal portraits which embody Branwell's way of writing- his continuous lines of text and the patterns within it.
I am not certain how long it will take me to make each metal portrait- but if each one takes me a week and a half to make and I make three in total (not including Reading Week) then I will have to start making at the beginning of November.
Tales of Angria
Angria is set in a fictionalized Africa- romantic pastoral landscapes, natural fertility.
The harshness of Etrei shows the contrast between the Africa of that time- rich in natural resources and then as a wasteland inhabited by savages.
VERDOPOLITAN UNION- consisted of a number of kingdoms each with its own capital.
Angria lay to the east, Senegambia to the west, Frenchy's land (with the capital of Paris) was on the Island east of Angria.
Verdopolis= the old capital of the Verdopolitan Union.
ADRIANOPOLIS- centre of Angrian society
Heroines- one a fair vision of aristocratic elegance, the other a dark-eyed peasant girl. Each, differently beautiful, bears a close resemblance to an engraving from 'Finden's Illustrations of the Life and Works of Lord Byron'- that the young Charlotte had copied in her teens.
Final confrontation between Zamorna and Northangerland, with its ironic reminder that these swaggering heroes are simply puppets of the mighty Genii - 'Blow me up, and I shall live again.'- p439.
Branwell Bronte handwriting was incredibly small- perhaps to keep the work a secret from his aunt who lived with them. His sentences have hardly any punctuation in them, or capital letters. They are a stream of consciousness and thought.
The harshness of Etrei shows the contrast between the Africa of that time- rich in natural resources and then as a wasteland inhabited by savages.
VERDOPOLITAN UNION- consisted of a number of kingdoms each with its own capital.
Angria lay to the east, Senegambia to the west, Frenchy's land (with the capital of Paris) was on the Island east of Angria.
Verdopolis= the old capital of the Verdopolitan Union.
ADRIANOPOLIS- centre of Angrian society
Heroines- one a fair vision of aristocratic elegance, the other a dark-eyed peasant girl. Each, differently beautiful, bears a close resemblance to an engraving from 'Finden's Illustrations of the Life and Works of Lord Byron'- that the young Charlotte had copied in her teens.
Final confrontation between Zamorna and Northangerland, with its ironic reminder that these swaggering heroes are simply puppets of the mighty Genii - 'Blow me up, and I shall live again.'- p439.
Branwell Bronte handwriting was incredibly small- perhaps to keep the work a secret from his aunt who lived with them. His sentences have hardly any punctuation in them, or capital letters. They are a stream of consciousness and thought.
Bronte Brief
Visions of Angria
Consider the role of illustration/graphic art within a gallery context
Your work needs to engage an audience with Branwell's writing and encourage visitors to investigate the rest of the exhibition. How is this done?
Provide new perspectives of the original content through image making and visual communication approaches. Consider the appropriateness of your working methods.
Brief
Plan and write a proposal for a piece of illustration in response to Branwell Brote's writing for an upcoming exhibition at the Audrey Burton Gallery. Once selected, research, develop, refine and deliver your final work to a professional standard by the end of AVC. As always, we expect you to be as ambitions and inventive as possible.
Tailor your proposed approach to the piece keeping in mind your own specific visual process, tone of voice & preferred working media. Your proposal should be written but potentially could include working drawings/contextual references these will be reviewed and selected by the curator of teh exhibition Your pitch needs to sell your proposal to the curator, make sure you're proposal clearly explains the potential of your ideas and your visual approach.
Pitch submission is Monday 8th October. Submit roughs/example images along with a written proposal (300 words max) as a pdf.
Although there is limited wall space, we are keen for you to consider the format, size and production method of your artwork in the pitch. Would large scale be more suitable or something tiny and minute?
It is also worth considering the brief as an opportunity to engage with a wider public network. There may be the opportunity to sell your work.
Content
Produce an illustrative interpretation of a set piece of text: Visions of Angria. What you choose to illustrate or respond to is up to you, though you may want to consider the following: Characters- the period- the environments described- atmosphere/tensions- structure and patterns in the language.
Consider the role of illustration/graphic art within a gallery context
Your work needs to engage an audience with Branwell's writing and encourage visitors to investigate the rest of the exhibition. How is this done?
Provide new perspectives of the original content through image making and visual communication approaches. Consider the appropriateness of your working methods.
Brief
Plan and write a proposal for a piece of illustration in response to Branwell Brote's writing for an upcoming exhibition at the Audrey Burton Gallery. Once selected, research, develop, refine and deliver your final work to a professional standard by the end of AVC. As always, we expect you to be as ambitions and inventive as possible.
Tailor your proposed approach to the piece keeping in mind your own specific visual process, tone of voice & preferred working media. Your proposal should be written but potentially could include working drawings/contextual references these will be reviewed and selected by the curator of teh exhibition Your pitch needs to sell your proposal to the curator, make sure you're proposal clearly explains the potential of your ideas and your visual approach.
Pitch submission is Monday 8th October. Submit roughs/example images along with a written proposal (300 words max) as a pdf.
Although there is limited wall space, we are keen for you to consider the format, size and production method of your artwork in the pitch. Would large scale be more suitable or something tiny and minute?
It is also worth considering the brief as an opportunity to engage with a wider public network. There may be the opportunity to sell your work.
Content
Produce an illustrative interpretation of a set piece of text: Visions of Angria. What you choose to illustrate or respond to is up to you, though you may want to consider the following: Characters- the period- the environments described- atmosphere/tensions- structure and patterns in the language.
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