Lan Treagus © Auki Henry Photography 2012
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| Lan Treagus back in the Studio |
Model: Lan Treagus
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: April 2012
Lens: Canon EF 70-200mm f/2.8 L
Lan Treagus Back In the Studio
Lens: Canon EF 70-200mm f/2.8 L
Angus Henry Chronicles - Part 2
The Angus Henry Chronicles - Part II | Sgraffito
This is the second part of the series, Angus Henry Chronicles, the interview deals with Sgraffito (sometimes scraffito), this excerpt of its meaning is taken from wikipedia.
"Another use of scraffito is seen in its simplified painting technique. One coat of paint is left to dry on a canvas or sheet of paper. Another coat of a different color is painted on top of the first layer. The artist then uses a palette knife or oil stick to scratch out a design, leaving behind an image in the color of the first coat of paint. Sometimes a first coat of paint is not needed and the wet coat scraped back reveals the canvas. This technique is often used in art classes to teach the scraffito technique to novice art students."
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| "The Cricketer" was an early general exercise piece to convey some variety of flesh and materials |
What was it used for and why were you taught the technique ? Angus Henry: Until computers came along ,the only way to print a photographic reproduction in a book was to print the photographs separately and bind them into the book, or paste them in. The only illustrations which could be printed along with the hand composed or machine composed type were those which used the same relief process, like woodcuts and lino-cuts, mounted to the same height as the type font; i.e. no greys were available, only solid black or white. With early photographic developments it was possible to photograph a black & white line drawing and process that into a relief block. Then process engraving was developed using the half-tone block - a photograph was taken through a fine grid of diagonally crossed lines, resulting in a picture made up of tiny dots - all black and white, but the eye made the illusion of shades of grey. These half tone screens (still used) are in different degrees of fineness, very coarse ones used for newspapers, as on coarse paper the ink would blot all over fine dots, and fine ones for quality work giving much better definition. You can see the separate dots if you look closely at the paper. However there is still a 'greyness' about such illustrations, and for a really emphatic result scraperboard was invented, giving the pure black and white effects and using a variety of hatching and dot techniques to give the effect of greys; it was used in commercial art a lot as it was cheap to do and the result made into a relief block with excellent definition. It was usually white (plaster) on cardboard with a black surface, or sometimes just white and the artist painted on black indian ink as required; errors could be repaired within quite broad limits by painting over mistakes, but there has to be a layer of white plaster left to scrape through to, or the clean effect is gone forever. The scraping was done with a very sharp fine steel point.
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| "Portrait of a Man" this is Maurice Chevalier, the work is taken from a photograph, the exercise was to translate a grey, blotty photo into a crisp, attractive likeness. |
Once mastered is it more or less time consuming than painting ?
Angus Henry Chronicles - Part 1
The Angus Henry Chronicles - Part I | Oils
This is the first of a series of interviews done with my father Angus Henry. The series was first published in 2008 for the art site grandinferno.net as a feature for their contemporary art audience, it briefly detailed his history and experiences being raised in an artistically inclined family and shows some examples of his formal education in the classical graphic art disciplines of the era. Angus Henry was born in 1934 in Uddingston, Scotland to Bill and Maud Henry. Bill being an artist himself and also a theatre producer and Maude being one of Britains leading ladies of the theatre of the day, my father found himself growing up in a creative environment. Educated at the prestigious Hamilton Academy during his younger years he received a hard, intensive and thorough education before continuing on to the Glasgow School of Art from 1951 to 1955 graduating with a 4 year Diploma in Graphic Art (honours equivalent). From this Angus went on to Jordanhill and West of Scotland Teachers College for the Secondary Graduate Teacher's Certificate to impart his art knowledge to others. The first 2 years at art school were generalist art studies, which by todays educational standards would be considered quite intensive. Studies included drawing, painting, sculpture, modelling, architecture, history of costume, history of design, history of art, life drawing, silversmithing & jewellery, bookbinding, weaving etc. The last two years were specialised in areas relevant to the qualification. Angus did Commercial and Graphic as it was the only one which required a high level pass in both design and craft skills AND in fine arts (I.e. drawing and painting); the course consisted of life drawing (compulsory all through art school), lettering, auto-lithography, hand type-setting, flat-bed printing, and all aspects of basic advertising and promotional design involving fine hand lettering, posters, labels, book jackets, advertisements, magazine illustrations, scraperboard, screen printing, linocutting, material montage, etc. In this, the first installment of my father's work I have chosen 3 of his earliest oil paintings, created at the age of 17. This brief interview highlights some of the main points of interest behind these paintings. Click Images to Enlarge
Early studies in real life Oil Paintings. Angus Henry at 17 years old. Were these done as projects? If so what was the aim? What techniques or equipment were you required to use to accomplish the project? Angus Henry: All three were just course work; the male model was an oil painting done in life class; the other two were still life set pieces done as homework; all in oils. We worked VERY long hours compared to Uni students. Classes from 9 am till about 5 pm and often evenings as well, besides assignments to be done at home. (Plus an hour each way on the bus every day.) How long roughly would you have spent on each of these (if you can remember)? Angus Henry: Anywhere between 3 and 8 hours roughly - the wee one with the bottle would have been the quickest. As they were done when I was 17 or 18 my memory is not too fresh! Do you like working with oils for painting? If so why? Angus Henry: I did - but I haven't painted for years. I liked it for the strength of colour and wide physical variety obtainable, from thin oil washes to thick impasto. In your opinion are there any pro's or con's when working with oils? Angus Henry: It is messy, with linseed oil and turpentine to mix with the paint (my old palette which hasn't been used for almost half a century still smells strongly of them. Very slow drying, unless you overdid the turpentine, in which case the work would dry out and start cracking in a few years. Since acrylics came in most effects achievable in oils are approximately achievable in acrylics and they are cleaner and faster drying. You cannot get the same play of tint and light that you can with watercolour, but watercolour is a medium which depends almost entirely on a personal technique. My father did a lot of it, a few of my sketches are in it but I was never very enthusiastic. Gouache or poster paints (water based but solid colour, and not thick 3D like heavy oils or acrylic) are what most of our presentation design work was done in and I think the habit and training stuck, because it is the obvious choice for design projects like badges posters, etc. Are there any insights into your early years of art that might be of interest to the casual observer? Angus Henry: Can't think of anything as I am not either famous or a practising artist. I evidently had enough promise for Marc Chagall to ask my parents when I was about 10 to let me go and grow up with him and his wife in his studio in the south of France, but my parents said "no, finish your formal education first". Not being a bohemian by nature I think they were right.
Auki & Maddison Ash @ Vodka Bar
Maddison Ash © Auki Henry Photography 2011
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| Maddison @ The Vodka Bar |
Model: Maddison Ash
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: November 2011
Lens: Canon EF 70-200mm f/2.8 L
Noni Abraham © 2012 Auki Henry
Noni Abraham © 2012 Auki Henry
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| Noni Abraham, Sunset at Lee Point Beach - Darwin, Australia |
Model: Noni Abraham
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: April 2012
Lens: Canon EF 24-70mm f/2.8 L USM
Makeup: Insatiable Colour
Noni Abraham
Noni Abraham © 2012 Auki Henry
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| Noni Abraham Darwin Sunrise |
Model: Noni Abraham
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: April 2012
Lens: Canon EF 24-70mm f/2.8 L USM
Makeup: Insatiable Colour
Noni Abraham
Auki © 2012
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| Noni Abraham © 2012 Auki Henry |
Model: Noni Abraham
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: April 2012
Lens: Canon EF 24-70mm f/2.8 L USM
Makeup: Insatiable Colour
Mel Bridge - Staged Shoot
Auki © 2012 .
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| Mel Bridge |
Model: Mel Bridge
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: April 2012
Lens: Canon EF 70-200mm f/2.8 L
Makeup: Insatiable Colour
Mel Bridge - Staged Shoot
Auki © 2012
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| Mel Bridge © Auki Henry Photography 2012 |
Model: Mel Bridge
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: April 2012
Lens: Canon EF 70-200mm f/2.8 L
Makeup: Insatiable Colour
Darwin Evolution HDR
Auki © 2012
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| Evolution Apartments HDR - Darwin, Australia © Auki Henry Photography 2012 |
Subject: Darwin Evolution Apartment Building - HDR
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: April 2012
Lens: Canon EF 24-70mm f/2.8 L USM
Asher De Rouffignac
Auki © 2012
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| Asher De Rouffignac © Auki Henry Photography 2012 |
Model: Asher De Rouffignac
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: March 2012
Lens: Canon EF 70-200mm f/2.8 L
Makeup: Insatiable Colour
Asher De Rouffignac
Auki © 2012
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| Asher De Rouffignac © Auki Henry Photography 2012 |
Model: Asher De Rouffignac
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: March 2012
Lens: Canon EF 70-200mm f/2.8 L
Makeup: Insatiable Colour
Asher De Rouffignac
Auki © 2012
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| Asher De Rouffignac © Auki Henry Photography 2012 |
Model: Asher De Rouffignac
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: March 2012
Lens: Canon EF 70-200mm f/2.8 L
Makeup: Insatiable Colour
Darwin Waterfront HDR
Auki © 2012
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| Waterfront Precinct HDR - Darwin, Australia © Auki Henry Photography 2012 |
Subject: Darwin Waterfront Precinct - HDR
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: April 2012
Lens: Canon EF 24-70mm f/2.8 L USM
Darwin Moon
Auki © 2012
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| Full Moon in Darwin, Australia © Auki Henry Photography 2012 |
Subject: A Darwin Moon
Photographer: Auki Henry
Location: Darwin, NT, Australia
Date: April 2012
Lens: Canon EF 70-200mm f/2.8 L