Archive | February, 2012

More drawings from Warham , Norfolk

29 Feb

Image

This drawing was made in the pouring rain , sheltering under a tree in the bowl of Warham camp, gradually the sky cleared to one side. Image

Again , a drawing made in quite adverse conditions !!( minus 2 ), sitting in a sheltered and  starkly sunlit spot , I was amazed by the sheer size and sculptural quality of the bank , to the side of the bowl.

Advertisements

Warham Camp, North Norfolk

22 Feb

Last week , I ( Miranda Creswell)  went to Warham camp in North  Norfolk  , a spectacular Iron age site , with Roman and Earlly Medieval occupation and activity.  In very cold and wild weather , with  mmany thanks to  Tom G and thank you to Julian and Polly and family , who were very welcoming on two days running, I found an  interesting  spot across the valley to draw from.. Here are a few drawings made on site, these will be used for larger works made in the warmth of the studio . The blue pencil denotes underlying known finds or human activity for the periods covered by EnglaID ( 1500 BC to 1086 AD ). Imagett the next day was very bright and with a high wind , I moved position slightly..Image

Here is a quick drawing , but it shows how Warham camp appears to spring out of the landscape, as one scans the horizon you gradually realise that the ridges of the earthworks are too regular and must be made by a human hand, a kind of low lying visual jolt that stays in ones memory.Image

 

INDIVIDUAL MAPS

15 Feb

ImageWhy is it that when presented with the same map , the same set of colours , 7 people will produce entirely individual colour experiments? the only visual information shown on the map was a light  grey  to highlight  case studies.

This shows the difficulty (and interest!) in choosing colour combinations for maps and visual information that everyone can respond to .

 

ImageImageImageImageImageImage

MAPS AND PAINTINGS

9 Feb

There are many colour ideas which could be applied to visual data, here are a few that were explored

last Thursday ( but with new images ! ).

MASS

using a visual contrast achieved by placing a large amount of one colour around a smaller amount of a different colour , the viewer will naturally look directly at the smaller amount : this could be useful if one wants the viewer to look at the smaller first , then the larger amount.

See , above  , a map created by Marcus Abbott ( copyright Cambridge Archaeological Unit , University of Cambridge ) , an archaeological evaluation of Roman remains at St Edmund’s College Cambridge , carried out in 2004.

Work by Miranda Creswell : ‘ Water Paper ‘ ( watercolour and pencil on paper ) 2011.

FROM PAINTING TO MAPS

9 Feb

Image

Last Thursday, EnglaID  held a colour workshop and talk ( led by Miranda Creswell ) , looking at the parallels between painting , visual information and maps.

The first thing to define was the difference between physiological and perceptual colour relations

(the illustration above shows the physiological colour wheel ).

One way to explain this, is to look at complimentary colours.

The physiological way of arriving at a complimentary colour is , for instance , to look at the colour blue , momentarily , then turn away and notice the after image as  yellow. However , for artists ( and any one else who looks at the perceptual colour wheel, for their colour relations), the complimentary of blue is orange . There is a small shift ..see below on the perceptual colour wheel.Image

 

Aside

[caption id=”…

3 Feb

 Chris has been looking at how to handle large data sets with 2km grid squares in the South West region, this is  based on EH NRHE data. The coloured frames are  to see if the viewer is more focused with these, the beginnings of colour coding ? we are still experimenting…

 

 

 

Image

IRON AGE

Image

ROMAN

Image

ROMAN

Image

UNCERTAIN

 

Image

EARLY MEDIEVAL

 

 

Image

IRON AGE

 

I

Image

Notes from the last meeting, 26th of January

2 Feb

Notes from the last meeting, 26th of January