Pencil crayon drawing of a soap composition

Radhia Firfirey,

Pencil crayon drawing of a soap composition,

2011.

42cm × 30cm, A3 size paper.

Crawford, Cape Town.
Price R30.

Pencil crayon is a type of media that you can use in drawing fine detail.  By using the thick pastel or charcoal media you will find that fine detail is very difficult to fill in. The pencil drawing of a soap composition is place together to show all the types of texture that you can represent in using a pencil crayon. In this soap parcel you find smooth textures like the packets, rappers and bottle. The basket & soap is coarse, the face cloth is soft and the scrub is a soft coarse net texture. To create the different textures you have to hold the pencil crayon at different angles. To give this piece of art work a three dimensional outlook you will need to use tonal value. Tonal value is created by form and placing tone on the surface will give the impression that the object has volume.

This pencil crayon drawing of a soap parcel is applicable to hang up in the bathroom or in the passage. The colour blue is a cold colour that will calm a person down if he or she does not feel well. The yellow and pink are warm colours. To form pink you will need to mix red and white. Yellow is a primary colour and pink is a tint colour. The cold colours and warm colours work in harmony with each other. The repetition of folds in the cloth shows depth in the basket that works in harmony with the item that is place in the fold. There is a strong emphasis on the colour blue with its detail. To add interest to my drawing I used the gestalt principle in it. The gestalt principle states that pieces of incomplete shapes can form a shape seen by the discerning eye. Try to see the shape in my drawing.            

 Firfirey, R. 2011. Pencil crayon drawing of a soap composition. Crawford, Cape Town. 

Painting of Kalima-E-Tayyib

Radhia Firfirey,

 Painting of Kalima-E-Tayyib,

 2010.

 60cm×44cm, A2 size paper.

 Crawford, Cape Town.

This paining is done in the Naskh Islamic style and it is placed in a landscape format. Naskh is another name for a Qurán script. Naskh was one of the first forms of scripts to be developed. This Naskh style is found in mosques all over the world today. There are many calligraphers that still practice this type of style. The text is the Kalima-E-Tayyib (Code of purity or declaration of faith) and it means “No one is worthy of worship, but Allah, and Muhammad (peace be upon him) is true and final Messenger of Allah”.

The language of this text is in  Arabic. Arabic is written from right to left. There are 18 distinct letter shapes, which vary slightly on whether they are connected to another letter before or after them. There are no “capital” letters. Islamic calligraphy is a visual expression of a highest art form for all the Muslims. This type of calligraphy literally means writing beautifully and ornamentally. Islamic calligraphy is the art of writing, and by extension, of bookmaking.    

I used blue paint as the background and place light green above the blue to bring the shapes forward. The yellow colour is the focal point of the beginning of the sentence. The letters are outlined in gold paint. The contrasting shapes work in harmony with the script and the different colours in the sentence.

Firfirey, R. 2011. Painting of a Kalima-E-Tayyib. Crawford, Cape Town. 

Painting of Bismilla-hir-Rahman-ir-Raheem

Radhia Firfirey,

Painting of Bismilla-hir-Rahman-ir-Raheem,

2010.

65cm×50cm, A1 size paper.

Crawford, Cape Town. 

The calligraphy style I used is the Naskh Islamic style. I placed the text within a geometric shape. Bismilla-hir-Rahman-ir-Raheem means: In the Name of Allah, The Most Gracious, The Most Merciful.  The aim of using the yellow colour is to bring the orange colour forward as a focal point. When looking at this painting a person gets a sense of the shape flying towards him. The aim of this painting is to bring the sentence towards the viewer’s eye. To begin this project you will need: 5 × tubes 75ml Acrylic colour paint, 3 × synthetic / bristle Artists brushes (2 flat, 1 round), 1×Artist painting palette, and 1× 200 gsm A2 Artist paper.

The Naskh style was one of the earliest Quránic scripts. It was designed during the 10^th centaury by Ibn Muqlah. The Naskh style has a very comprehensive system of proportion and displays a very rhythmic line. There have been many copies of the Quran written in this style and it is easy to read it. The proportions of this style are usually written with short horizontal stems and with almost equal vertical depth above and below the medial line. The curves are full and deep, the uprights straight and vertical, and the words are generally well spaced.

This painting is placed landscape format with the sentence as the for-draft. In the middle-draft a shape is place into the painting to create harmony and balance. The focal point is the Ba at the beginning of the sentence with which the shape links in harmony. The colours that are use in the painting are mostly warm colours. The word Ba is painted in a secondary colour, i.e.  Orange, that is camouflage with yellow. The red background is a complementary colour of yellow and green is a secondary colour that is complementary to red. Complementary colours do not camouflage each other and hence the words are emphasized. In this painting there is a sense of three dimensional perspective forms.

Firfirey, R. 2011. Painting of Bismilla-hir-Rahman-ir-Raheem. Crawford, Cape Town. 

Charcoal boxes and pumpkin family composition

Radhia Firfirey,

Charcoal boxes and pumpkin family composition,

2011.

60cm×44cm, A2 size paper.

Crawford, Cape Town.
Price R60.

The Charcoal boxes and pumpkin family composition is drawn on an A2 sheet of paper which is placed in a portrait format. This drawing was drawn from original items that were place in this composition. The drawing was captured from a bird’s eye view and it was drawn in the evening.  The whole idea of this composition is to study the forms and proportions of each item.  We use tonal value to create the forms of each item by using three different charcoal colours for example black, brown and white.  Form is created by the source of light that falls on each item to bring focus to the viewer’s eye. The shadow is used to show volume in the item.  This drawing would be applicable for a grocery store, kitchen wall and in a restaurant where the guest are situated.

These vegetables produce the same type of orange flower and have the same form of leaf. They grow on the surface like a creeper. They are all part of the same vegetable family. The texture of these vegetables has a smooth surface but the squashes are more round than the butternut and pumpkin.  The negative space and positive space works in harmony with each other.  If you are interest in buy this charcoal boxes and pumpkin family drawing then please contact me and I will even advise you as to how best to frame it.      

 Firfirey, R. 2011. Charcoal boxes and pumpkin family composition. Crawford, Cape Town. 

Oil Pastel fruit composition

Radhia Firfirey,

Oil Pastel fruit composition,

2011.

42cm×30cm, A3 size paper.

Crawford, Cape Town.
Price R 30.

Oil Pastel fruit composition,

2011.

42cm×30cm, A3 size paper.

Crawford, Cape Town.
Price R50.

This oil pastel fruit composition is landscaped. The different coloured fruit are placed next to each other to create a dominance focalization on the fruit. The transition of the fruit using tonal value gives the fruit a 3D outlook. To create the original colour of the fruit and to create the tonal value you need to mixed different colours. This drawing is appropriate to hang in the kitchen or in a restaurant where the guest are situated. It provides an appetizing backdrop to the scene you want to create and it could be a central point of conversation. 

When doing a composition like these two one may think that in order to emphasize each fruit one must place them next to a fruit of a different colour, but this is not always the case as tonal value may be used to emphasize two fruits of the same colour placed next to each other as seen in the second fruit composition. I think the volume also plays a big role in the composition. The shadow of the fruit is formed by using different shades and this creates volume in the picture. In the first composition there is a less strong light source and therefore paler shadows than in the second composition with a stronger light source. The coloured tablecloth under the basket of the first composition reveals less shadow than white tablecloth used in the other composition. Lines are created by dots and the shape is creating by lines.

To create this oil pastel composition you will need an A3 cartage paper, a board to draw on, and two clips to hold the paper and oil pastels. If you’re wondering what a pastel is it is a type of wax crayon. You find different brands of pastel for example Pentel and Marlin. This drawing is drawn from a real life fruit composition. If you are interest in buy these oil pastel drawings please contact me and I will even advise you as to how best to frame it.       

 Firfirey, R. 2011. Oil Pastel fruit composition. Crawford, Cape Town.

Charcoal tea set composition

Radhia Firfirey,

Charcoal tea set composition,

2011.

Colour photograph.

42cm×30cm, A3 size paper.

Crawford, Cape Town        
Price R50.     

The charcoal drawing is placed in a portrait layout. The portrait is divided into three quadrants namely the fore-draft, middle-draft and back-draft. This charcoal drawing of a tea set is composed in a way that works in harmony with these ceramic kitchen objects. In the back-draft of the charcoal drawing is the tea kettle and this is the central focal point in the drawing. The tea set is placed on the table and when looking at it from a distance will find that the propositions of this tea set will vary. Light and shadow play a big role in the formation of the three dimensional tea set. To show volume in an object you need to place a shadow at the bottom of the surface.

Each type of material will reflect different types of tonal value for example the gold spoon reflects more light and the white glass reflects tinted light. Shade does not only give form but the line also creates form. Do you know how a line is form? A line is formed by a number of dots. Each dot can form curve lines, straight lines and diagonal line. What is form? Form consist of height, length and breath. The material used in this project is A3 cartridge paper, white, black, brown charcoal and an easel.

Firfirey, R.2011. Charcoal tea set composition. Crawford, Cape Town.                  

3D Deco purge frames

Radhia Firfirey,

Magnolia flower,

2011.

Colour photograph.

385mm×345mm.

Crawford, Cape Town             

Radhia Firfirey,

Victorian Fantasy flower,

2011.

Colour photograph.

385mm×345mm.

Crawford, Cape Town             



Victorian Fantasy flower and Magnolia flower is made into 3 dimensional pictures to bring it out to the viewer’s eye. These picture frames can be placed in a front room, dining room or a bedroom where it would be a pleasure to look at. The colours of the Magnolia picture are brown, purple and green. The colours of the Victorian Fantasy picture are purple, pink and green. The colour of the Victorian Fantasy flower background is green with the use of a purple mounting; this brings it out more if compared to using a green mount only. With regard to the Magnolia flower the green mount stands more out than the purple and both these frame boxes has a silver border. The dimensions of these frames are 385mm length by 345mm breath.

The contrast in colour of the Magnolia flower is more dominant than in the Victorian Fantasy flower because the background is tinted pink that reveals the darker brown more easily. The Victorian Fantasy flower has a dark green background that hides the green stems. The focalisation of the Victorian Fantasy lies on the pink edging of the petals of the flower.  Silicon glue is use to lift the stages of each tiny peace of the segment of the flower to form it. The form is not only created by the glue that elevates the segment of each flower but the shape plays big role too. The curve line that is place by the use of angles creates the shape and gives depth to the image. The transition of colour gives off the senses of tonal value. Tone is created by shades that are light to dark from one point to another point.

With regard to the Magnolia flower there is more sense of texture in the brown stem than the green stem. The two 3 dimensional images has a balanced composition for example the Victorian Fantasy flower has two flower buds extended above the main flower and the Magnolia flower has one big flower dangly across with two small buds on each side.    

Firfirey, R. 2011.three dimensional Deco purge frames. Crawford, Cape Town.

Surface Design: Fabric printed handmade long oven gloves and coasters with original patterns.

Radhia Firfirey,

side image of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             



Radhia Firfirey,

Top view of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             



Radhia Firfirey,

side image of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

side image of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

side image of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of coasters,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of coasters,

2011.

Colour photograph.

Crawford, Cape Town             



These handmade surface design patterns are very original, something you will never find in the local shops. I chose these tinted and light backgrounds to bring the pattern forward and in focus. Each of these patterns is in different positional styles namely rotational position, half drop position, full drop position and mirrored position.

 In the lime green background oven glove flower pattern, I used the rotational style for the pocket and across the body of the glove I used the mirrored style.

The yellow background oven glove has a coffee pattern. I used the rotational style for the pocket of the oven glove. The body of the oven glove has the mirrored style that is centrally placed in red.

The turquoise long oven glove has also a coffee pattern. The coffee pattern is placed in a rotational style and the patterns are adjacent to each other. The body of the turquoise long oven glove is filled with groups of the pattern grouped in a square pattern.

 Only the pink long oven glove has a half drop pineapple pattern that is placed adjacent to each other on the body of the glove and the style is place centrally on the pocket.  

The binding colour was chosen on the basis of the colour of the pattern. This binding gives the products a neat and complete look.

The coasters are used for warm tea or coffee mugs so that your surface area can be protected. The materials consisted of calico material, different colour cottons, fabric paint, brush, sponge, transparent sheet, ante cutter, paper, marker, binding and, batting that is thin and thick. I used the best type of batting for the long oven glove that is the thick one. The thick batting last longer that the thin one that why my oven glove is best one to be purchase. When I finished the yellow oven glove I realised that it has a Chinese style to it. These oven gloves are aimed at to home makers and it would make a delightful gift to a friend that is fond of working in the kitchen.

Firfirey, R.2011. Fabric printed handmade long oven gloves and coasters with original patterns. Crawford, Cape Town.       

Art & Design: Fabric painted Kitchen wear (The purple rose theme)

                                                                                                                                                       

Radhia Firfirey,

Top view of tray cloth,

2011.

Colour photograph.

Crawford, Cape Town           

Radhia Firfirey,

side image of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Front view of apron,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

The purple rose kitchen set was designed especially for my client as a house warming gift to her best friend. The theme icon of these products is a two dimensional purple rose and this rose is placed on the cloth as a top view. The creeper in this product is an ivory creeper.

The composition of the tray cloth was designed to focus on the main purple rose. The three dimensional purple rose is in contrast with the main rose. These three dimensional roses have different colours that give this image a variety. The white rose is placed on the background of the green leaf to outline it. These roses add a cool effect to the design by use of blue, white and purple. The ivory creeper has a repetitive pattern of the leaves that adds rhythm.

The long kitchen glove has a focal point mainly on the ivory creeper. I chose the ivory creeper because of the purple flowers that are two dimensional. This glove is evenly balance with two symmetrical flowers. When you fold the long glove in half then the dominant colour is purple.

The apron is designed to direct the focus manly on the upper part of the body. The creeper is placed as a necklace to the apron. The two colour roses are there to represent a different colour contrast that is symmetrically balanced.  The angle of the leave shows movement and the leaves have different proportion. There is a variety of colourful flowers and big leaves that present a composition that works in harmony with this image.

I would recommend this kitchen set design for newly married couples that love roses and the colour purple.

Firfirey, R. 2011.Hand paint fabric painted kitchen wear (The purple rose theme). Crawford, Cape Town.

Arts & Design: March lily hand fabric painted tablecloth

Radhia Firfirey,

March Lily tablecloth,

2011.

Colour photograph.

1690mm×990mm table size.

Crawford, Cape Town             

Radhia Firfirey,

March Lily tablecloth,

2011.

Colour photograph.

1690mm×990mm table size.

Crawford, Cape Town             

Radhia Firfirey,

March Lily tablecloth,

2011.

Colour photograph.

1690mm×990mm table size.

Crawford, Cape Town             

The March lily tablecloth is suitable for an interior with a pink and brown theme for the dining room. This dining room table is the centre piece of the room. The viewer becomes amused when looking at it. The flowers look so real that they would like to reach out and touch them. The purpose of this tablecloth is to welcome the viewer to your home in a pleasant way.

The story behind this tablecloth is the brown rectangle shape is the ground and the 3 dimensional flowers bloom out to give a sweet fragrance off. The interior has a theme that is pink and brown which the March lily fabric painted table cloth goes very will with. In this project my client was looking at dark pink, brown, green and beige as colours to match the interior of the dinning room.

The idea of this design was to create a composition of a 3 dimensional design as a positive image with dark pink, yellow, purple, green, brown and mostly white. The composition of the tablecloth is balanced with a repetition of the March lily - a symmetrical look. The brown rectangle shape is the focal point of the tablecloth. The negative space is the March lily stem which is white that represents 2 dimensional designs.

The border of the tablecloth gives it a beautiful finish provided by the two green lines which worked in a harmony with the ribbon patterns that are pink and brown.  

Firfirey, R. 2011. March Lily hand painted tablecloth. Crawford, Cape Town.