Animal Project - Profile of Peter Clark

             Peter Clark

solo shows	2012 2011 2010 2010 2009 2008 2007 2007 2007 2005 2004 2003 2002 2002 2000	'SHOWTIME' Rebecca Hossack Art Gallery, London 'HOTdog' Rebecca Hossack Art Gallery, New York 'Dogs are for christmas not just for life' Rebecca Hossack Art Gallery, London Paul Smith Globe Gallery, T5 Heathrow Showing off, Rebecca Hossack Art Gallery, London Here's looking at you kid, Rebecca Hossack Art Gallery, London ...What comes around goes around... Rebecca Hossack Art Gallery, London The New York Dogs, Paul Smith Shop, 5th Av. NYC LA Chien + Paul Smith Shop, Los Angeles Henley Festival of Music and Arts Bespoke, Rebecca Hossack Art Gallery Paul Smith Shop, Milan, Italy Michael Carr Gallery, Sydney, Australia Dogs and Other Garments, Rebecca Hossack Gallery Gabriele Skelton Ltd., London
group shows & art fairs	2012	London Art Fair London Original Print Fair Melbourne Art Fair, Australia Hamptons Art Fair, NY
	2011	20/21 British Art Fair AAF Singapore Art London London Art Fair London Original Print Fair Melbourne Art Fair, Australia Hamptons Art fair, NY Toronto Art Fair
	2010	LA Art Show, USA Holland Paper Bienniale 2010, Rijswijk Museum & Coda Museum, Apeldoorn, NL London Art Fair Affordable Art Fair, London Art, Jewelry & Antiques Fair, Palm Beach, USA Glasgow Art Fair Art Melbourne, Australia London Original Print Fair, Royal Academy Affordable Art Fair, NYC Art Chicago, USA San Francisco Art Fair, USA Hamptons Art Fair, NY
	2009	Open Art Fair Art Hamptons Henley Festival AAF Paris AAF New York London Original Print Fair 20/21 International Art Fair AAF Brussels London Art Fair
	2008	Art Miami Edinburgh Art Fair Art Ireland AAF Amsterdam AAF London Art London Toronto Art Fair Dublin Art Fair 20/21 British Art Fair Art Santa Fe AAF New York London Original Print Fair Glasgow Art Fair London Art Fair Art Moscow Palm Beach Art Fair, Florida Watercolour and Drawings and Modern Works on Paper, Royal Academy, London
	2007	Art Moscow AAF NYC Art Santa Fe, New Mexico Washington Art Fair USA Print Fair London Art Miami Florida Palm Beach Contemporary Art Fair Florida Watercolours and Drawings Fair London FORM Olympia London AAF London Glasgow Art Fair
	2006	New York Affordable Art Fair Bristol Affordable Art Fair Glasgow Art Fair London Print Fair Affordable Art Fair London London Art Fair
	2005	Affordable Art Fair- London Art on Paper- Royal Academy of Art London Art Fair- London Art Contemporary Palm Beach - Florida, USA Dublin Art Fair Toronto International Art Fair AAF - New York, USA 20/21 Art Fair, London Glasgow Art Fair
	2004	SOFA - Chicago, USA AAF - New York ,USA AAF - London 20/21 British Art Fair- London Hats and Gloves City Gallery Leicester National Touring Exhibition
	2003	Toronto International Art Fair - Rebecca Hossack Gallery Affordable Art Fair New York - Rebecca Hossack Gallery Paul Smith Shop Milan Affordable Art Fair London - Rebecca Hossack Gallery 20/21 British Art Fair - Rebecca Hossack Gallery Art London London - Rebecca Hossack Gallery Affordable Art Fair London - Rebecca Hossack Gallery "amor" mixed show - Charlotte Street Gallery London Watercolours and Drawings Fair London - Rebecca Hossack Gallery Art London 2003 Art Fair London - Rebecca Hossack Gallery Art 2003 Art Fair London - Rebecca Hossack Gallery Art Palm Beach USA 2003 Art Fair - Rebecca Hossack Gallery Art Miami USA - Rebecca Hossack Gallery
	2002	Michael Carr Gallery Sydney Australia Mystery Artists at Tate Britain for Macmillan Cancer Relief Subject of TV show - English Lifestyle - FUJI TV Japan Affordable Art Fair London - Rebecca Hossack Gallery Art 2002 - Rebecca Hossack Gallery Solo Show - Dogs and Other Garments Charlotte Street Gallery London Art on Paper Fair - Rebecca Hossack Gallery Affordable Art Fair Bristol - Rebecca Hossack Gallery Art London - Rebecca Hossack Gallery 20/21 British Art Fair - Rebecca Hossack Gallery
	2001	Art London - Rebecca Hossack Gallery Affordable Art Fair London - Rebecca Hossack Gallery
	2000	Exhibits at Gabriele Skelton Ltd Design Illustration
other work	1998-2001	Weekly illustrations Sunday Business Newspaper
	1999	Collage work for commissions and exhibitions
	1976- present	Freelance Illustration Advertising, Editorial, TV, Publishing Clients in UK, Holland Germany, Japan, U.S.A, Belgium, France, Scandinavia, Austria TV Graphic Design BBC Television, Thames Television, Granada Television
	1973-76	Stop Frame Animation (Manchester) Director of Animated films and Television and Cinema Commercials Character and Background designer for animation productions
	1972-73	Granada Television (Manchester and London) Programme Senior Graphic Designer
	1971-72	Cloud Studio (Amsterdam, Holland) Illustrator (Holland and Europe)
	1970-71	NBC (Los Angeles, USA) Illustrator and TV graphic design
	1966-70	Granada Television (Manchester & London) Programme Senior Graphic Designer Current Affairs, Drama, Sit-Coms, Childrens' programmes
education	1962-1966	Manchester College of Art and Design 1st, Class BA (Hons)
media coverage	2008	Stella Sunday Telegraph
	2007	Zino magazine, Belgium City magazine, London Canary Wharf magazine, London Evening Standard Property Vogue Sporting Shooter
	2006	Selvedge Time Out PQ Quarterly (Polo Quarterly) Femina (Scandinavia) U.S Architects Digest Grand Designs
	2005	Royal Academy Magazine Henley Festival Book Tatler Nadfas Magazine Elle Decor
	2004	Viewpoint Wallpaper Vogue Uk Lands End
	2003	Elle Lifestyle Italy marie Claire Italy Glamour Italy Flair Italy MF Fashion Italy Vogue Germany Grazia Casa Italy The London Magazine Casa D Italy Elle Decoration Italy
	2002	Weekend FT Country Life The Lady The Independent Elle Decoration The Times Magazine Raw House and Garden - Insider Lifestyle Fuji Television Japan - English Lifestyle One of Peter Clark's famous pieces of work.

Thursday 18th December 2014 - Evaluation

Evaluation

For this project I researched in only secondary format as I didn’t take any photos myself, they are all from google. I also used google to help me decide on who my historical artist was going to be. After looking at both of their work; both William Morris and Charles Rennie Mackintosh, I chose Mackintosh as I like his work using stain glass windows. The colours he uses are very effective for the purpose they are made for; (letting light in through windows). From my peer evaluation by Stevie Booth, I found that she thought that my secondary research skills were at a distinction level and a quote she wrote was as follows… “You’ve got a good range of photos. Well done :)” I am thankful for her thoughts but I think she has given me a level that may not be correct in my eyes. I think that my  research, as I didn’t do any primary, I shouldn’t get more than a pass at best but once again in thankful.

I put my mood boards together by first stretching a piece of paper and putting on a background. Then I went onto google and I found images for both my contemporary and historical mood boards by typing into the search engine all of the following… “Pop-art Artist, William Morris and Charles Rennie Mackintosh.” Then I printed them off by coping and pasting them from google on to a PowerPoint and then making the images a range of different sizes. Finally I printed the PowerPoint off and cutting up the images and gluing them on to two sheets, one for contemporary and one for historical.

To have been able to choose a single contemporary artist, I had to narrow the list down by looking at the movement they worked in. Then, choose who fitted well the most with my historical artist; Mackintosh. I looked at the pop-art movement as this has always appealed to me for a long time. I was going to look at my favorite pop-artist; Andy Warhol but I choose James Rosenquist. I did this as I wanted to explore other pop-artist apart from my personal favorite and the most well-known. The more research I did into Rosenquist's work, the more I wanted him as my contemporary artist for this project. I think that Rosenquist's work is a nice contrast to Mackintosh's work. This is because of the different media they both use. Mackintosh's work I have used is of stain-glass windows and Rosenquist's work I have used is paintings of ordinary house-hold items such as; lipstick, bottles, hair clips and nails. So due to this point I think that Rosenquist supports the theme of the arts & crafts movement as he uses house-hold items and the art & crafts movement also include house-hold items.

The experimentations that I did throughout this project consist of the following; a cardboard loom, a peg loom, hand stitching into paper, batik and puff binder. Firstly the cardboard loom. To do this, get a piece of cardboard for the “loom”. Using scissors make some cuts along two opposite edges. Take some yarn, and tape the end to the back of the cardboard, then fitting the yarn into the notches, wrap the yarn around the cardboard. To do this, you want to wrap around the cardboard tab, and then go down the opposite side to make the long lines where you will weave. Next, take a length of yarn and tape one end to the back of the cardboard loom. The other end will be threaded through the loom. Now start threading the yarn in an over under pattern, back and forth across the loom. When you run out of thread, you can continue with a different color if you’d like. I tied a new color to the end of the old color. After the weaving is done, turn over the cardboard, and take off the pieces of tape that are holding down the ends of the yarn. Now peel off the loops of yarn over the tabs along one side of the weaving. Then slide the other side of the weaving off over the other tabs. Gently pull the loops of yarn that were on the tabs, one at a time, so you can tighten down the edges of the weaving. Now tie a knot around each of the loose ends, and then cut off the extra threads of yarn. Health and safety for cardboard loom would be… when using scissors, take care. Also when using the needle, make sure that you don’t stab yourself or others.

Next is a bit more complex then cardboard loom, it's called a peg loom. With a length of yarn about 2½ or 3 times the length you require for your finished work. Thread one end through the hole in each peg. Pull through the hole until both ends are the same length, these form the warp of your work. Once all pegs are threaded and in their holes on the base, knot the ends of 3 pegs together along the length of the loom. Start your weaving a few pegs in from the side of the loom working to the edge. Go round the end pin then weave in and out of the pegs. When you have nearly reached the top of the pegs lift each peg from the hole and slide your work down the warp. Replace each peg as you go along the loom. Carry on in this way until your work has reached the length you require. Make sure you slide all of your work down the warp threads so you have no gaps. A gentle tug on the warp threads will pull them all through so they are laid flat and level. To finish, cut warp threads free from pegs and knot in the same way as the start of project. Any other loose threads you may find can also be sewn in to the weft threads (the ones that go from side to side) in the same way. Health and safety for peg loom is when you’re using scissors, take care you don’t cut yourself or anyone else.

Next, hand stitching into paper not fabric. With this process, it’s not that complex as it is the same as hand stitching into fabric you just have to be a little bit more careful as the paper rips quite easily. So you thread up your needle; with a colour that you want to use, and then tie a little knot at the end of the thread. (If you would like to double thread your work then make sure that the thread is long enough to; once you have threaded up your needle, you need to pull one end of the thread till it’s the same as the other. Then using both ends, tie a knot.) Next you begin your sewing. Once you have finished with a colour of you have run out of thread then all you need to do it knot the thread at the back with another already made stitch. If you need a new colour, and then just do the same thing again to thread up your needle and continue until you have completed your work. Health and safety for hand stitching would be when using scissors or the needle, make sure you take care that you don’t cut or stab yourself.

Now for the next technique that I used was batik. I did use this for one of my final outcome pieces. First I drew my design on to a piece of cartridge paper. Then Kat set up the hot wax for me. When the wax was ready I used the tjanting tool, (a bowl with a tap for the wax to come out) to go over the areas that I wanted the wax to go. This means that the colours didn't go there as the wax resisted them. Then once all the areas had been covered that I wanted to covered, I left the wax to dry. Once dry I made up some brusho inks and paint the areas that I wanted colours in them. Again, I left this to dry before doing then next step, using an iron to melt of the wax. Once all of the wax was off then my piece was complete. Health and safety for batik would be a bit more than weaving. When you’re heating up the wax, make sure that you don’t stick your fingers in the wax as it will be very hot. Also when using the tjanting make sure that your fingers stay clear of the bowl and tap area as the hot wax will have heated up the tool, making it more hazardous for the user. Lastly, always make sure you wear gloves when using the wax if you are pregnant as the chemicals can harm both you and baby.

Lastly I used puff binder. This technique is where you use puff binder to make a 3D effect on your work. I used both a paint brush and a lollypop stick to apply the puff binder to my design. Then I left it to dry. Once it had dried, I used a heat gun to heat up the puff binder to create the 3D effect I was aiming for. After this, I used acrylic paints to fill in the areas that I wanted colour to be applied to so that you could clearly see my pattern. Health and safety for puff binder will be when you’re using the heat gun, take care that you don’t touch the hot part of the gun as it can get rather hot in use. Also, always make sure you wear gloves when using the puff binder if you are pregnant as the chemicals can harm both you and baby just like the wax can. Moreover, the health and safety for all the workshops are that before you do anything, when you enter the room, sign in so that people know who is in the workshop at all times in case of a fire.

When I received my feedback from Stevie; my peer assessor, I looked through all her comments and found that she has given me a mixture of grades. I got 1 referral, 3 passes, 2 merits and 2 distinctions. Also she identified that apart from “primary research”, I have completed every piece of work to at least a pass standard. From her feedback I have looked though her comments and the next time I do a project I will try my best to add more of my on interpretations to all of my sheets. As well as this, I will also try to keep my work neat and in the lines I have drawn. Within my designs I have found that my strengths are mainly drawing shapes to a standard, painting and cutting & sticking photos I have printed off from google. These are being demonstrated within the following sheets; the contemporary & historical mood boards, the contemporary & historical artist research sheets, the visual sheets and also the final design.

If I was to redo this project again I would change how I have managed my time because I believe that I could have finished before the deadline if I did more work at home and asked for help when I needed it rather than just trying to figure it out on my own. Also I would have liked to try more experimentations than the four that I did. I didn’t have chance to try the textiles mark making as I was unwell during the time set for us to try this. When I have looked through all of my work I think that I have done well on most of my work but still could have done a lot better. For example; I think that my experimentations went really well but as I have not done any primary research, it was all secondary. So that could have been done better that what I did. If I could choose 2 sheets that I could improve on they would be my contemporary mood board and my first artist sheet. I would choose these as I don’t think that I have fully shown my skills to my full potential, especially on my mood board I should have done it the same as my other one and filled all the negative space and not shown any background.

 

Contemporary Mood board

 

Historical Mood board

 

 

Artist research - Mackintosh

 

Experimentation

 

Visual Sheet #1

 

Artist research - Rosenquist

 

 

Final Design

Final Outcome

Visual Sheet #2

 

 

Tuesday 16th December 2014 Final Outcome

Final Outcome

 

 

In my final outcome I have used 4 techniques that I have been looking at over the past 6 weeks, Batik, Puff binder, hand sewing and machine sewing.

Tuesday 9th December 2014 Final Design

Final Design

Tuesday 2nd December 2014 Visual Sheets

 Visual Sheet #1

 Visual Sheet #2

Tuseday 25th Novemeber 2014 Peer assesments

By Stevie Booth

Tuesday 18th November 2014 Arist research

 

Hand stitching, Cardboard weaving & peg weaving.

Tuesday 11th November 2014 Artist research

 Charles Rennie Mackintosh - arts & craft movement

 James Rosenquist - pop-art movement

Tuesday 4th November 2014 Moodboards

Contemporary mood board - pop-art movement Historical mood board - arts & crafts movement

Cardboard loom

1. Secure one end of the wool at the back of the cardboard loom. 

2. Weave the wool round the back and front using the teeth at the top and bottom of the loom. 

3. Now take another piece of tape and fix the other end of the wool to the back. 

4. Take another coloured wool and a weaving needle and thread it. 

5. Begin weaving your thread under one and then over one as so... 

Weaving (LOOM)

1. Cut X10 30cm long lengths of wool 

2. Thread your wool through the holes of the loom pegs 

3.plaxe the pegs in the holder with the end with the hole pointing down

4. Tie together the ends of the first three and last three. The two each in between 

5. Choose a second colour of wool

6. Starting at the left hand side, weave the new wool in and out of the pegs and reverse this from the right using the same wool. 

7. If you wish to change colour half way through then simply tie the end on one colour wool to another.

8. Then continue as you were before weaving the wool I and out of the pegs. 

9. When you have finished you will end up with something like this....

Evaluation - Drawing & Mark-Making

Evaluation; Observational Drawing & Mark Making Project

During this project I have faced some new challenges involving having to learn new skills for drawing and mark making techniques. The first home work I got presented the most difficult of the 5 tasks to complete. This was due to the standard I wished to achieve within this task. Also I have never really been good with tonal observational studies before, so I had no faith in myself to do well. Although I'm glad I gave it my best shot as the outcome was better than expected.

Within all 10 of my tasks; including the 5 homework's, I exploring different ways of applying media to create interesting drawing and mark-making techniques. I accomplished this by using a range of different media, both wet and dry. These include the following; pencil, oil pastels, water colour paints, colouring pencils, chalk, water colour pencils, felt tips and even acrylic paints. I used pencils (HB-2B) to produce (2X) study sheets, 1 using a key as my object and the other was a pair of pliers. On each sheet I used a normal HB pencil to demonstrate at least 3 techniques on drawing my chosen objects. These techniques are as follows for the pliers drawing; cross-hatching, tonal shading and a continuous line. For my key drawing I used 4 other simple, but effective which were; scribble, vertical lines, horizontal lines and erased drawing. All the techniques are very simple but all extremely effective and powerful to the eye.

The 4 studies that I have done on different backgrounds have been very successful. The 4 backgrounds we has were; ripped paper, brush-o-inks, white acrylic and bleach. The ripped background was the first one I completed and think that it turned out very well. This was because of the detail I applied on my drawing particularly on the watch. On the brush-o-ink background I found that my skills were definitely improving as by the time that I had finish the work, I saw that the detail I have applied on all the objects was much better than on the first background. On the white acrylic background I found that it wasn't as successful as the first two. I think this was because of the texture on the background and also the fact that I couldn't find the right colours to match the objects I was drawing from. For the last study, the bleach and brush-o-ink; I couldn't use the bleach because of health reasons so I used acrylic paints instead. This proved to be less successful on the brush-o-ink background as the paint kept mixing colours with the ink and made them the wrong colour all together. The outcome wasn't bad, it was okay but because of the colour situation the effect of the drawing was limited. So if I was to redo this one, I would not use paint on this background. The task which I have labelled E; the sgraffito drawing, in my opinion was very effective. This was because of the scratching technique using the sharp end of a compass the scratch away all the black paint to reveal the colourful oil pastel background. As I didn’t use just one colour to create the background the effect was very strong as all different colour showed through when the paint was scratched away.  

My homework which I have labelled; G, is the one which was the most successful. The way that I used my pencil to help me create different tones in my drawing and my rubber to make indications on all on the objects for highlights, worked really well. I spent 3 hours plus on this task which is why I think that the outcome was amazing. H also was very fruitful just like G. This was due to me completing the task on time and to the standard I was hoping to achieve. This task of using the technique of just line drawing to draw a pile of shoes, this task showed to be truly effective. I spent about an hour on this task which if I remember correctly was a bit longer than I was asked to spend on it. So when I sat down to take on the 3rd homework task I was expecting it to be more complex than it was. I have labelled this task I. This one was to draw in colour pencils a pile of crumpled clothes. So for this one I felt the outcome was first-class. The detail on the blanket I drew was really good and the colour pencils work effectively on the black background. I spend about an hour and a half on this task and I think that that was a reasonable amount of time on this task. The 4^th task; J –a biro drawing of perspective of a corner of a room, I didn’t work as well on this one as with the other 3. This was because each time I attempted to draw this; I felt that it didn’t look good enough. So I finally I decided to do a very simple corner in my room which, looking back on that choice, I think it was wrong. This was due to me only spending about 20 minutes on this task.

Over the course of this project I feel that I have definitely improved my observational drawing skills in some ways more than others. I have improved mainly in tasks that I have started and finished in time and not rushed. For example; the task of drawing on 4 different backgrounds showed where my skills have shone and where they have not. The first two boxes are really good in my opinion whereas the third and fourth were not a success. This was as I missed these weeks due to health reasons and had to rush to get them on the last day before my deadline. I'm not saying it’s an excuse but I would have preferred to have been able to complete them when I should have rather than rushing through them. Also I think that my variation of techniques have vast improved over the project. This has been shown on the first task; A1 &A2 (exploring 1 object in no less than 3 types of mark-making skills). Although some of the techniques I chose to use were simple, they were all very effective to others and also to me. Throughout this project I think that I managed my time very well and effectively apart from on two parts on task D. The last two I had to rush through as I have already mentioned. Overall, I think that I have used my time wisely and very efficiently. I feel I have produced the some of the best drawing and mark-making outcomes possible. I feel this strongly about tasks; A1, A2, C, some of D, E, G & I. All of the tasks I have listed I believe that within the time frame I was given, I have achieved the best I could. One other technique I would like to have looked at would be printing. Block and screen printing are techniques I am familiar with and enjoy doing. Also there are things such as mono-printing, pointillism, digital mark-making and also maybe even contour drawing. Overall throughout this project I have had the opportunities to try and improve my skills in observational drawing and mark-making techniques, because of this I have found that from all these different tasks I have try many things and accomplished tasks that I thought I could never have done in the past.   

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