At the beginning of this part I reminded myself of the feedback from my tutor for part 3 – ”If using colour, try to bring sketches and studies of colour into your idea development too, rather than sketching everything out in black and white and only adding colour when working on the final. This will help you to explore more creative and communicative possibilities which can come from adjusting your use of colour.
– Drawing with all colours: Explore how you can draw with different coloured materials to create interesting and expressive marks with them rather than using this to ‘colour in’ a black and white drawing” Russell, N (2020) Feedback I have begun to put this into practice in a small way and would like to do it more in further units.
Project 1 Fabric and form
Exercise 1 Drawing fabric using line and tone
15 minute sketch using line I drew this soft white cotton fabric with ballpoint pen and tried to keep the line moving and not stop too long look at any details. It is easier to focus on line when the fabric is plain.15 minute sketch concentrating on tone I was glad to have a time limit here as I could have kept drawing for a long time. As I was drawing I began to notice the different shapes that appeared – cones, triangles and cylinders. I had to look closely at where the dark tones became lighter towards a fold in the fabric.5 minute sketches of different parts of the fabric using different media. Here I taped a sheet of A1 to the wall and drew inside the squares focusing on a small area of the fabric. I tried different media and found I was able to create volume when using tone/shading and looking at the direction of the marks. When tones gradually move from dark to light next to a fold with the lightest area on the top of the fold this helps to create volume. I also found it good to look at the shapes that the folds had formed – cones, triangles and curves , which help to convey volume .30 minute sketch – A knotted piece of fabric drawn with charcoal pencil on pale pink pastel paper. The lightest tones are the paper , I sketched in the mid to light first and then the mid to dark tones.
Exercise 2 Emphasising form with cloth
Using graphite pencils B and 2B on cartridge paper I first sketched out some thumbnails and looked at the shape of the seated figure – an S – shape and then decided to draw the bottom right composition as a larger picture below – Using graphite pencil 4B on cartridge paper. Here I focused on the main body of the figure and the way the baggy jumper formed around the body. I’m not really happy with the arm as it doesn’t seem in proportion, I quite like the way the marks of the pencil are shaped down the back and do give some sense of three dimensional form.
Episode 2 looks at the Nude paintings in history and discusses peoples attitudes towards them. This is a very thought provoking documentary which I haven’t come across before and although made in the seventies I feel it is still relevant today. It seems to me that across the centuries the nude has caused controversy at various times. Some artists have challenged the opinions and religious views of their time. I think Picasso perhaps did this with this oil painting shown below – not only with the style ( cubism) but in showing the female form in a gritty way, unlike centuries before when nudes looked pure and sculpted.
Fig.1 Les Demoiselles d’Avignon (1907)
Project 2 Proportion
Exercise 1 Quick studies
5 two minute sketches drawn with 2B pencil on cartridge paper. It is really helpful to look at some basic shapes in the figure before adding detail. I can see the spheres, cylinders and cones throughout the figure.My first of two 10 minute sketches – The head looks too small for the body, the hands are difficult to draw quickly. I did try to use the pencil against thumb technique to measure the figure, it isn’t always successful.My second 10 minute sketch from a different viewpoint, again I tried using pencil against thumb to measure proportion, I think it is more successful in this sketch than the other. I neglected to add shadow across the figure and to show the light coming from the lamp in the background as I was so involved in getting proportion correct and showing the creases and folds in the fabric.Added some colour and texture to see what it looks like. Fig.2 Moss, C popular press(c.1958) I like the simplicity of this drawing with the chair lightly sketched. The white on coloured background stands out well and brings the subject to life. I would like to try this method.
Fig.3 Old man with woolly hat (2016)
I did this drawing by copying an image form a book and using a similar style to the Colin Moss drawing above. I chose this image of an old fisherman as I thought the bold green pastel paper would bring out the feeling of a life of hard work that shows in the etched wrinkles on his face. It was so interesting to draw a face with so much character.I first sketched four thumbnails as a plan for the drawing although the top left looks a bit out of proportion now. I then lightly sketched the outline with a 2H pencil. I drew in the outline and dark tones with black soft pastel, the support is the mid tone, and white pastel and chalk were used for the highlights. The chalk I used had a crisper, brighter white than the pastel. Overall I think it is quite effective to use black and white on a bold coloured support. Fig.4 Studies of a woman playing a guitar (1717) N.B remembering tutor feedback from part 3 and using colour in the exercises and not just final pieces.
Exercise 2 A longer study
I used conte stick on A3 cartridge paper. I have lots of this colour conte stick which I like using as they are quick to apply, soft like pastel and easy to handle. I made marks for the outermost parts of the figure. I think I have captured the characteristics of the pose but I feel the proportions don’t look right – legs look too short and feet look too small. I re-drew over the original to try to improve this but still the legs were too short. I am hoping that I will become more confident in time as I draw more figures.
Research point – Foreshortening
Self portrait drawn whilst lounging on the sofa- an experiment in foreshortening. This was an enjoyable exercise as I felt relaxed and wasn’t anxious about drawing someone else.
An example of foreshortening below-
Fig.5 Virgin of the Rocks (c. 1483–1485) Here is an example of where the artist has used foreshortening to emphasise the hands and make give them prominence in the picture.
Experiment in foreshortening
I first traced my hand onto a glass picture plane and then used grid lines to copy it onto paper that had been toned lightly with graphite and blended into the paper. I next used an eraser to lift out the highlights. The outline was sketched very lightly with a HB pencil . 2B graphite was added for shadows and darker tones. Lastly I erased the background graphite to help give a more 3D view to the hand. This method was suggested in ( Edwards,1999:97-98) Although lengthy, I enjoyed this method to look at foreshortening, it seemed to make more sense after trying this and I’m quite pleased with the outcome.
Project 3 Form
Exercise 1 basic shapes
Exercise 1 Basic form
I used ballpoint pen on A3 cartridge paper. I like the flow of ballpoint but i am nervous of not being able to erase it! In these 2 sketches above and the 1 below I have tried to connect exercises 1 and 2 due to the models time restraints. I began by sketching the basic shapes and noted the angle of the planes . There is a slight twist of the shoulder in the sketch on the left and a twist of the right ankle.
Soft pastel on A3 cartridge paper. I used the models top left arm as a measured unit which seemed effective. Here there is a twist of the left ankle and possibly some foreshortening of the hands on the keyboard. I wanted to emphasise the dark and light tones by using one colour in broad sweeps and letting the paper be the lightest tone. It was a challenge to focus on proportion and tone at the same time and I feel using pastel helps me with this. I like the way the legs sweep out over from the chair to the table showing the space beneath them.
Exercise 2 Essential elements
Above slideshow – 10 minute sketches – The challenge for me was the proportion of the hands and feet, sometimes I ran out of space for the feet and the hands were sometimes too big . Difficult to do in 10 minutes whilst trying to focus on a three dimensional form. I think the drawing on the left in purple biro gives the best sense of the pose. I have shown the model leaning and moving away from the central axis putting weight onto one leg more than the other and the arms raised with some foreshortening on her right arm to depict it drawn towards her body.
Exercise 3 Stance
Fig.6 ( Ambrus,1993: p112) Willow charcoal on A1 cartridge paper – First I noted the centre of gravity which is something new to me and helps me to focus on the figure. I placed points on the paper – head, feet and hands first and then shapes of the body. I then altered some parts to try to make them look in proportion but not very successfully. The top half of the body is a lot bigger than the bottom half. I need to practice finding a measuring point as a guide.
Exercise 4 Energy
Dynamic position Charcoal on A3 cartridge paper. Quick 5 minute sketch. The raised leg added interest to this sketch and I was able to note the negative space between the two figures. I have added some marks to the heel of the left foot on the raised leg after reading the last line of this exercise in the course book ( should have read it through earlier!) which suggest movement, maybe I added too many but it does show how a few repeated lines show a sense of movement in a drawing.Fig.7 (Barber, 2002:33) A4 found paper. I like the fact that this sketch has very few lines and yet we get a sense of the energy and movement.Experimenting with marks that depict movement. Mixed media on paper.Movement gestures – I used soft pastel on A3 black sugar paper and plastic loyalty card to pull out thin lines on top of the pastel. This was an experiment in painting to music. I listened to an energetic piece of classical music and drew along to it – wonderful experience!
Project 4 Structure
Exercise 1 The structure of the human body
To help me become familiar with the structure of the human body I have been tracing over a printed copy of a skeleton regularly and thinking about how the bones connect to each other. I have a small sketch book in which I have begun to draw my own body parts. Below is an example –
Focusing on the joints of the fingers and what happens when they bend. It was very interesting to look at the patterns on the palm of my hand, it could be used for a future drawing.Fig.8 Bridgman (2017:15) A page from a wonderful book by George B. Bridgman which at first glance seemed like a medical journal. This method of looking at the body in detail, should give me a greater understanding when drawing, as I have never really thought about the way parts are in relation to each other. So glad I purchased this book.
I looked at some of the anatomy drawings of Leonardo da Vinci , the link above is an example of the incredible detail he added to his work.
Below is an example of work by Sarah Simblet – a contemporary artist that I discovered when searching for ‘structure of the body’ artists. Her drawings are very detailed.
Model was standing turning slightly to her left and with light coming from high face on. First I did two, 2 minute sketches with HB pencil on A4 paper- top and bottom left above. The first one to look at alignment and shapes, second one to look at tone. The middle sketch was a 10 minute sketch using HB pencil on A4 paper with more detail added. I noticed that because the model was smiling her eyes were a slightly different shape with the lower lid slightly arched upwards. I observed the foreshortening of the arms and it helped to think of the bone structure of the hands and draw them with straight lines. The far right A1 sketch with 6B graphite is not in proportion, the head is too big and the hands and arms are too small. It is a challenge to draw on A1 and I need to practice more.
Lounging
I began with a 2 minute sketch on A4 paper landscape view to look at shapes of the figure and the area surrounding. The second 2 minute sketch was to look at tone and shadow created by light coming from above and facing the model. Third sketch on the right is a 10 minute sketch with more details of hands, feet and facial features. I’m still struggling with hands but I have noticed a slight improvement the more I observe them, although they are not in proportion in this drawing. I have chosen not to alter them as I can use this to learn from and see how I can improve. The top larger sketch was done on A2 drawing paper with HB mechanical pencil and took 45 minutes. I chose to darken the negative spaces particularly between the fingers as these did stand out when viewing the model and the way the hand restinf on the cushion caused creases to form. I like the result of the foreshortening of the raised knee.
Seated
This was my first time at a life drawing class and the experience challenged some of my preconceived ideas. Were a group of 14 with a tutor present if we needed guidance but mostly we were left to work independently. I began by sketching quickly in pencil in my A4 sketch book the basic shapes of the figure.A1 drawing paper with 4B pencil. Next I did another quick sketch to try to get the proportions looking believable. I used the thumb on pencil method to measure the figure but still had to re-sketch over the drawing. A1 drawing paper using charcoal I used soft pastels, charcoal and pencil on A2 pastel paper. I like the result of the soft pastels to show skin colour and depict some of the light ans dark tones. The result here is better in proportion than my first sketches, it is a thin , slight model and I did have difficulty drawing the shoulders and back. it helped to think about the bone structure for a while especially when drawing the legs and thighs to give them the correct shape . I would have liked to have had to chance to draw the model in different poses but we ran out of time.
Project 5 The moving figure
Exercise 1 Single moving figure
Using a mannequin
The images below are my first attempt at using a mannequin. I found this a helpful tool for looking at different movements, I added tone to the 3rd sketch. I still managed to run out of room for the feet every time!
10 minute pencil sketch to capture movement of 2 models. I have to remember not to worry about the details and focus on CAPTURING!This model was walking and wearing a thick jacket which restricted arm movements somewhat, which I tried to convey with the markings near the elbow.
Exercise 2 Groups of figures
A picture I found of a cafe scene – I sketched lightly with HB pencil on A3 watercolour paper, then masked some areas for lightest tones.
Next I used watercolour pencils and made hatching and cross hatching marks to depict mid dark tones.
After wetting a few areas of the watercolour pencil to draw out the colours I then removed the masking fluid to reveal the lightest tones. The figures here blend into the scene as I chose similar colours for figures and background. The chairs and tables are only’ suggested’ by the few lines and shapes but we can tell what they are immeadiately.
Fig.10 Oatly advertisement (18.02.2020) I experimented with these cut out pictures of different poses and copied next to each figure with fine liner pens and acrylic ink . I discovered this is a really helpful method of learning to observe different figures when live models are not available. It felt easier to draw next to an image rather than from a distance. In this picture I am attempting to retain an image of an audience in a large hall which I could see from the stage whilst I was singing in a choir recently. I pressed used, wet teabags onto cartridge paper. I built it up in layers and waited for each layer to dry before adding the next. I was trying to show distance with light, smaller marks for the people at the back of the room, gradually increasing in size and pressure of marks towards the front. I’ve added some facial features ( but not all ) with a fine liner pen. I wanted to depict the atmosphere of a crowd in close contact and how we often don’t take in details of every face but maybe a few stand out or stick in our minds and especially when viewed from above.
Project 6 The Head
Exercise 1 Facial features
Fig.11 (Edwards 1999:174) Drawing theses eyes was my favourite feature of the face!Fig. 12 ( Barber 2002:p.45) I copied a sketch by Henry Carr who used hatching to show tone. Copying from the masters really helps as I am limited in technical drawing skills for figure work. I do enjoy working like this and look forward to a time when I am more confident in sketching heads and features.4b pencil on cartridge paper Soft pastels on pastel paper copied from a found picture of unknown source.
Exercise 2 Your own head
Hb pencil on paper. The jaw here is too square to look like me.5 minute study of my self, in pencil on the back of an envelope. This jaw and nose are too long.My head in 4b and Hb pencil on cartridge paper. I actually coudn’t work out why the eyes looked so ‘starey’ then I read the exercise again I noticed the sentence about the shadows in the eye sockets either side of the nose. So I re-worked on this sketch as below.So when going back to rework the sketch I realised I had forgotten to draw any eyelids which would also give the eyes that over-staring look. After adding eyelids I put some shadows in the eye sockets and some cross-hatching on the neck. I also changed the iris and made it smaller and altered the pupil to make it look in a different direction. I have added some hatching to the lips as well so they don’t look so flat. The 4b pencil works well for showing the darker tones , I did some rubbing in to create some variation of tone without hard edges.
Colour plan for the self portrait below –
For this one I chose coloured pencils on A4 pastel support. The coloured pencils flow well on this paper and also do not saturate the paper thus leaving some of the colour of the paper showing as it has a ‘tooth’. This one is more of a likeness although the eyes are too close together. This is a good angle with my gaze looking away.
Research point- Artists self- portraits
Fig.13 La Pittura (1638-1639) I came across this self-portrait of a female artist called Artemisia Gentileschi .I like the strong ,determined look on her face and the way the light tones contrast with the dark tones of her hair, dress and room.Fig.14 Squid (1978) I like this portrait because of the different media used – Pencil, ball point pen, brush, black ink, grey wash, coloured crayon, watercolour and body colour. It’s a mix I would consider experimenting with.Fig.15 Always felt so alone (2018) IMAGE numberAPQ5977743TitleI Always Felt So Alone, 2018, (oil on canvas)CreatorPhang Gung Fook, AbigailLocationPrivate CollectionMediumoil on canvasDimensions150x100 cmsCreditI Always Felt So Alone, 2018, (oil on canvas), Phang Gung Fook, Abigail / Private Collection / Bridgeman ImagesFig.16 No(t)here 3 (2002) This image by the artist Julie Brixey-Williams is a photograph with photographic dye.Whilst not typically a self portrait it is a photo of the artist and then she has used dyes to create a figure drawing . It caught my eye as the quick white lines are so simple yet effective in depicting what is happening – telling the story of the artist moving and dancing.
Exercise 3 Portrait from memory or the imagination
I drew this portrait from my imagination and wanted to draw an older person. As I drew I did start to think of people in real life as a reference to how to depict an older persons features eg. wrinkles and crows feet. I enjoyed doing this exercise as I didn’t feel the pressure of having to portray what is in front of me. It definitely helps to have already drawn several features previously. I had difficulty in depicting the hair and tried to use some darker tones which somehow don’t look quite right. At that point I would have liked someone to look at!
Experimenting with the composition – view AExperimenting with the composition – view BPractising graduated tone ( aerial perspective )Broad sketch in light charcoal Broad sketch in dark charcoal With my A2 heavy cartridge paper taped to a board and surrounded by my preliminary drawings I sketched lightly in pencil where the main shapes and eyeline would be . I began with a layer of two shades of blue soft pastel and blended it in with a cloth.I then added layers of violet soft pastel and another shade of blue blended in with a cloth.I added several layers of grey and white soft and hard pastels for the clouds , violet for the distance and middle trees. The rooftops to the left and right are orange, red and dark brown soft pastels, white pastel pencil, terracotta drawing pencil. black watersoluble pencil and violet and grey soft pastel for the middle rooftop. A putty rubber was used to lift some areas of the clouds.For the final layers I added the the straight lined objects . For the closer trees I used dark, mid brown, yellow and green soft pastels. The chimneys and cross are done with orange, red , cream and brown soft pastels and terracotta drawing pencil. I added the shadows last using black watersoluble pencil.
Assignment 3
Reflection
Demonstration of technical and visual skills
Throughout this assignment I have constantly felt challenged and pushed to explore new skills in drawing. It has been the most difficult work so far and I have learned so much. Working with linear and angular perspective is something I need to work on, my rooftop drawings conveyed in some way the urban beauty I was attempting to show but the accuracy has weaknesses I feel.
I have been experimenting with using mixed media in my work and trying different supports but I need to do this more. My observational skills and visual awareness are improving although I am aware of sometimes drawing what I think I see rather than what is actually there. I have noticed that my design and compositional skills are increasing slowly as I work through the exercises and look at other artists work. I also am realising that the exercises are a guide and that I can use them to do further sketches beyond what is being asked.
The exercises with aerial perspective felt more enjoyable and I was able to demonstrate this more easily in the final drawing.
Quality of outcome
I can see that the quality of my work is improving and especially as I focused on using preliminary drawings to inform the final piece and present the work in a coherent way. This is especially evident in the assignment final drawing of rooftops. I also found the sketchbook walks exercise improved the quality of the outcome for the composition I did with acrylic inks. Discernment is developing with each project and conceptualisation of thoughts is something I want to develop as I become more confident and not worry about my drawings being carefully composed. I am seeking to communicate my ideas in a small way and this course is aiding that process.
Demonstration of creativity
I sought to demonstrate creativity particularly in project 3, ex 1, with experimenting in mark making to inform future drawings some of which I used for landscape drawings but not so much for townscapes. I tried to use imagination by recreating other artists work in my own style which I enjoyed and found helpful. The work for project 3 was my most creative and I experimented more with different media.
Context reflection
I have gained knowledge of other artists techniques through the research in these projects and made notes when finding a new technique that I want try in the future (this was recommended by my tutor in previous assignment feedback).
I am developing critical thinking and meeting up with local art groups, attending an OCA study event has been invaluable.
Project 1 Trees I am looking forward to this project as I feel trees will be such an interesting subject to look at and study. I Found this great drawing by the artist – J.Chrome which shows lots of mark making which I feel gives a sense of movement to the drawing.
Fig.1 Three trees (1812)
Exercise 1 – Sketching individual trees
We were asked to build up and sketch the overall shape and outline of the trees.This is a helpful way to start to observe the simple shape and will inform my future drawings of landscapes.
4B Pencil 4B Pencil Charcoal pencilThis drawing above was done on a canvas board and mostly copied from a found picture – possibly an old Christmas card or calendar. I used a HB pencil to sketch out the tree shapes , moon and path. I then used acrylic paint to add colour and tone. I like the repeated shapes of the fir trees as it makes it easy to observe the way they diminish in the distance. The pathway draws the eye to look from front to back and gives a flow to the landscape.
Exercise 2 – Larger observational study of an individual tree.
Large sketch– bottom- I drew this whilst sitting in the park on an Autumn day. A good season to be able to observe the branches without a lot of foliage. This was done in ballpoint pen. I enjoy the flow of the pen and smoothness of texture. Light was coming from the right – ballpoint is good for darkening shadow areas. I realise now that I forgot to note any shadow on the ground – must remember to look next time. The top left sketch was done using fine liner pen and drawn back at home using the first sketch for reference. Fine liner gives more of an illustrative look which I think suits the subject. The top right sketch was drawn from memory as an experiment, with charcoal pencil- I am pleased with the texture of the bark and even the abstract look of the branches.
Frottage of the leaves
Exercise 3 Study of several trees
Preliminary sketches for study on a group of trees
Final drawing
Tree experiments –
Left – experiment using HB pencil and Acrylic paint on canvas, copied from a photograph. Right – silhouette using pencil and soft pastels on sugar paper.
PROJECT 2 landscape
Research – Artists from different eras who use landscape as their main subject.
Fig.2
Left – Perseus and the origin of coral – Claude Lorrain 1674 Pen and brown ink, brush with grey and blue washes, heightened with white on blue paper. Right – My own experiment on blue paper using brown coloured pencil- firstly to practice quick light sketches of trees and clouds and secondly to try brown on blue paper – as I like the dramatic effect it gives.Fig.3The Watermill, 1495-97 (pen & ink, gouache and w/c on paper), Dürer or Duerer, Albrecht (1471-1528) / Bibliotheque Nationale, Paris, France I like the shapes of the foliage on the tree in the forefront with the light falling on the tips of the branches giving life to the picture, also the dark storm clouds contrasting against the lighter sky below give an intense atmosphere to the scene.Fig.4Road in the Alps, 1495 (gouache & w/c on paper), Dürer or Duerer, Albrecht (1471-1528) I like this theatrical atmosphere created by the viewpoint and the colour used. The shapes of the trees are simple but effective in showing the differences between the types of trees. The darker tones used to show the angles and shapes on the rocks put the work into perspective.Fig.6 Ash Wednesday 2004-2005 George Shaw enamel on board I feel so happy to have come across this artists works which show urban landscapes and gives us a chance to observe what we may think of as ordinary. Fig.5 Coming from the mill (1930) I chose to look at this painting by Lowry as it clearly shows – foreground , middle ground and distance. This is something I haven’t been too aware of before until studying this course.
Fig. 7 Somewhere 2007 pencil on paper in perspex box, 20 x 60 x 20cm Sarah Woodfine This is the first time I have looked at this artists work and I like the way she has used her drawings in a different way . I wouldn’t have thought of doing this kind of work but it has encouraged me to think ‘ bigger’ about using art to communicate to people. It also reminds me to observe in my drawings how to create 3D by using distance, middle and foreground.
Fig. 8 The Golden Bough (1834) Oil on canvas Turner JMW Looking at some of the works of Turner I came across this painting and was struck by the glorious light in the sky and the way the tree in the foreground stands out against the light. I like the depth in this picture and the way the background seems to go on and on to another land. Fig.9 Petra (1858) Pen and brown ink over pencil with watercolour and gouache on blue paper. ‘Edward Lear travelled widely and used pen sketches to record what he saw, at the end of his trips, back in the studio,he applies watercolour washes to the compositions based on colour notes. ( Julian Brooks, 2010, page 85 ) My own version of the above Edward Lear work, which helps me to see how sketches inform the artist when working on a final piece. This quick sketch holds lots of information to guide a future work.
This one below is in black and white which helps me to focus on the tones
Found this cloud tutorial helpful with some interesting techniques that I’m going to try. N.B Feedback from my tutor for Assignment 1 suggested making a note when I come across a new idea or technique that will inform my future work, so this is my aim as I progress. This is my version below – Theses clouds were drawn around 3 pm in early November. The sky was quite overcast, it was dry with a slight breeze. I used a 4B pencil and lightly sketched the shape of the clouds first then hatched in the sky which was darker at the top. I used a blending stump in moving in circles around the shapes of the clouds. I lifted the distant clouds with a putty rubber and tried to depict where the light falls. A paper towel was then used to lift up some of the marks.
RESEARCH POINThttp://www.vimeo.com/22299024 I watched this video of Vija Celmins describing one of her exhibitions. I like her approach to drawing as ” re describing ” what we see. I feel I could have this attitude with my cloud drawings and not try to produce an exact copy, particularly as clouds are moving and constantly changing. I take pleasure in the fact that art can be a way of telling a story. I looked at some images that she produced which show a great attention to detail – https://www.tate.org.uk/art/artworks/celmins-sky-p78334 we get the sense of a vast space with no beginning or end.
Cloud experiments from photographs –
Graphite and eraser, from a photograph
Oil pastel
Drawn outdoors
A few sketches done on the move with HB pencil and found paper
Exercise 2 – Sketchbook walk
I sketched 2 drawings of this scene, I did the top one first and then took a few steps back for the bottom sketch as I preferred the view with the larger tree in the foreground and the path with lamp- post giving more depth to the scene. 4B pencil on cartridge paper – Main point of interest is the disused building Foreground – larger tree, grass and patch of mud, middle ground – building and hedgerow and gate, background- trees and houses and sky. Hedgerow patterns are squiggles and swirls. foliage is stippled, lines for bark pattern, several rectangles and arches on buildings, wavy lines for branches, distant trees outline shapes, block letters for grafitti. Dark tones mostly on the left by the corner of the building and around the windows.
Drew this sketch looking through a window , very cold November afternoon, sun was low in the sky seems to be less obvious shadows, overall greyness. Light was coming from behind the buildings. My main point of interest for the left sketch is the pear tree in the foreground, the door in the middle ground and the factory in the background. Lots of rectangles here for the windows and door. Bark patterns on the tree and the tree stump on the bottom right of the picture. The right-hand sketch main focus is the window in the middle ground, the chair was difficult to get in perspective in the foreground and I don’t like the roof markings. Not sure here where the background really lies. Darker tones mostly underneath window ledges on both pictures and the negative space beneath the left-hand branches.
Exercise 3 360` studies
We were asked to choose a landscape where there is an open view in all directions- north, south,east and west. Then to use a viewfinder to help find a focal point and complete the 4 views in 15 minutes each. It was a very cold day and I chose a local park, this exercise enabled me to see the park in a different way and appreciate some beauty in an urban environment. Here are the 4 drawings below:
northeastwestsouth
RESEARCH POINT – Some artists I have looked at who have painted in series with the landscape –
As suggested in the exercises I looked at Nicholas Herbert’s work of landscapes and was amazed by the amount of different scenes drawn in the same location. I like the choice of media used ( graphite, colour pencil, soluble crayon, acrylic and pastel ) and will experiment in a similar way in my own work in the future.
Fig,10 Clearing below Sharpenhoe 2016 Fig.11 Landscape number 6241999 – 2000 John Virtue Black Ink and emulsion on canvas
Fig.12 The Boiler House 1993 Oil on canvas Peter Doig I really like the striking contrast of tones in the pictures above and below, the light draws the viewer in to look beyond the trees.Fig.13 Cabin Essence 1993 Oil on canvas Peter Doig
Whilst researching ‘series in landscape’ I came across the artist Mitchell Albala. I contacted him to ask permission to use some of his work titled ‘Rooftops series’ in my learning log. Mitchell got back to me with this quote –
‘ The inspiration for this series was found in my own “backyard” — the view out my studio window. For many years I didn’t consider it a “paintable” view because during daylight hours, all the shapes were an undifferentiated mass of similar values. Then one winter, a light snowfall accentuated the perspective formed by the rooftops. I began painting the scene in the late afternoon or dusk, when this perspective was most apparent, and now those rooftops serve as the foundation of each composition. Each piece reflects a different moment in time, a different color of light.’ (Albala, 2019) https://mitchalbala.com/rooftops/
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Fig.14 Rooftops 59th Street, Winter Dusk, 2019 oil on paper, Fig.15 Rooftops 59th Street, Last Light,2019 oil on paper, Fig.16 Rooftops 59th Street,2019 Cobalt Dusk, oil on paper, I was particularly drawn to theses pictures as I too live in an urban environment and look out over lots of rooftops. I sometimes think that living somewhere rural would give me more opportunity for beautiful landscapes , seeing these paintings by Mitchell has inspired me to find beauty in a built-up inner city area.
Fif.17 Sketch for View on the Stour near Dedham 1821 – 1822 – oil on canvas I enjoy looking at this painting by John Constable as there is so much to see as your eye is drawn up and down the river.
PROJECT 3 Composition
Exercise 1 Developing your studies
My thoughts on paper
Mark making experiments – I attended a study day in Oxford where Katy Taylor talked about her work and demonstrated a technique used her textile work . Below is a sample of what I did in her workshop which I thoroughly enjoyed and can see how I could incorporate this into my artwork. We place pieces of open lace onto watercolour paper and then sprayed over with water lightly, the lace was then carefully removed and whilst still wet we dropped Indian ink into small areas around the page. I like the effect a lot , it could be used for landscape – trees, plants, paths, sky etc.
Experiments with Katy’s idea for lace and ink patterns
I reviewed some of my preparatory drawings from project 2 and selected from the 360 degree studies a sketch to develop into a further drawing. Below is the planning for this :
Planning for the composition
Final drawing– I wanted to focus on the colour of leaf litter and the group of trees in the middle of an urban environment. I wanted to use the middle distance group of trees to lead the eye from the middle tallest tree, then along to the right of the picture and then to the half hidden buildings in the background. I stared with a background wash of diluted grey acrylic ink, when dry I used a 4b pencil to sketch the shapes of the buildings and outlines of the trees. I then added colour with acrylic ink , some wet on wet so that the colours blended in part.
Research point – Similarities – differences Looking at contemporary artists and who work with landscape and a range of viewpoints and comparing their approaches with those of earlier artists. Tacita Dean has some drawings on blackboard which look very dramatic and atmospheric as also does Seurat’s Landscape with houses below, both use light and dark to contrast and create depth. The most obvious difference between them is the viewpoint, Tacita’s mountains are immense and almost overwhelming. Seurat’s is more focused on what most people see around us.
Fig.18 Fatigues 2012 chalk on blackboardFig.19 Landscape with houses 1881-1882
Whilst researching for contemporary landscape artists I came across Adem Potas who is based in Istanbul. This painting is done in watercolour (it does not have a title or date that I can find.) Fig.20 2019
The skies here are particularly dramatic and portray a sense of power and fast changing beauty similar to Thomas Cole’s painting below of the sky after a thunderstorm. Both artists use light and dark contrasts and reflection to take our eye around the paintings. There is also the similar use of aerial perspective – Adem paints the distant clouds on the left in a light tone and smaller shapes, Thomas depicts the distant hills in pale violet with not much detail.
The difference between them is Adem paints in a more impressionist style whilst Thomas paints in a naturalistic way, almost like a photograph of the view. Both these paintings capture the thrilling and striking nature of the sky.
Fig.21 View from Mount Holyoke, Northampton, massachusetts, after a thunderstorm – The oxbow (1836)
Exercise 2 Foreground, middle ground, background Using the sketches below from sketchbook walk ( project 2 exercise 2 ) I wanted to develop them into a drawing to show Foreground, middle ground and background – see the image on the right. I worked with pencil, graphite, coloured pencils and water soluble pencils on watercolour paper. I used marks from previous experiments for the bark of the foreground tree and leaf litter. Adding detail to the bark helped to show that it was closer and leaf litter was larger in the foreground.
Project 4 – Perspective
Linear
Exercise 1Parallel perspective
One point perspective feels more comfortable to me at the moment as I learn to look at other types. I like the dramatic feel of the street as it merges together in the distance.
Exercise 2Angular perspective
For this exercise a pile of books were placed on a table. I was sitting at the table. All the vanishing points are off the paper.We were asked to copy a simplified version of Sir Muirhead Bone’s – Rome,1910 (pencil) and then to check the accuracy of the drawing by continuing the lines of perspective to the vanishing point. It was noted that this use of perspective will draw the viewers eye along the street. Drawing 1 , Drawing skills p75.Another example, the more I practice this I’m sure my drawings will improve.
Exercise 3 Aerial or atmospheric perspective
Project 4 exercise 3 Soft pastel on white paper – I worked in monochrome to focus on the gradation of tone- soft pastels work well for this and choosing blue as a colour creates an atmosphere of mystery.Project 4 exercise 3 – soft pastel on dark blue paper paper – Above drawing and this one are my own version from Artists Drawing techniques pages 106-107 and 256-257 – showing the distant hills in blue/grey and looking misty. Drawing on dark paper meant that I could leave some areas bare as in parts of the two tree trunks on the left and amongst some of the green in the foreground. This method brought these parts forward contrasting against the lighter green and yellow of the middle ground .
Project 5 Townscapes
Fig.22 Landscape No.739 Looked again at some landscape paintings by John Virtue and particularly like this ‘Townscape’ work in monochrome. it seems very simple but conveys a lot of drama about the city of London.The artist I find inspiration from for the next project is Mitchell Albala and the rooftops series- see research Project 2 Exercise 3 figures 14,15 and 16.
Exercise 1Sketchbook of townscape drawings
This is a quick drawing of what I think is the most interesting view.
After using a viewfinder I chose what I feel is the most interesting view for the final composition. I gathered all the preliminary sketches and photographs around me. I also looked out at the view again and drew on the window pane in dry wipe pen and traced some of the outlines of the roofs onto the glass to see if it would help me with the perspective. I’m not sure that it helped to then translate that onto paper as I still had to think hard about positioning everything. I drew the main shapes in 3b pencil onto A2 rough brown wrapping paper using thumb and pencil method to measure the lengths and widths, this was helpful. I used a ruler for the straight edges as I don’t feel confident doing a large drawing in freehand. I used soft pastels and conte sticks building up the layers of several colours and then blending with a soft cloth.
I like the colours in this final drawing and I’m quite pleased with the peeling paint patterns. The rough paper wasn’t easy to draw on but it added texture to the brickwork I feel. I found it a challenge to see the perspective correctly , possibly because the buildings are at different angles and the street bends slightly (I decided to omit the furthest chimney pots as the drawing was taking me so long to do – 4 hours plus – )
Exercise 2Study of a townscape using line. We are asked to make a preliminary drawing using two sketchbook pages. I went to the town centre close to where I live and found an interesting view of some old town houses that have been restored. It was a cold day in December so I took photographs to be able to complete the sketch at home. The sun was shining but not very brightly as it was hidden behind the buildings. I often prefer to draw scenes that show plenty of light and shadow. The focal point for me is the smallest lamp-stand so I centred this in the middle of the page. Ideally for me there were three lamp-stands which provided background, middle and foreground. I tried to provide enough detail to give information for the final working which seemed to be taking me a long time so I chose to detail only one or two windows in pencil to inform the later pen and ink drawing. Below is the preliminary sketch –
This is my drawing in progress with some black fineliner pen , I used 0.8 mm for thisThis is the finished drawing which I quite like, I used 0.5mm and 0.38 for the finer details, I also added some detail that wasn’t in the preliminary drawing but I observed when looking at a photograph e.g the foreground kerb stones. Getting the angles right on larger subject ( roof, house etc ) is very challenging and I sometimes feel frustrated . I would not have chosen to do a drawing like this before doing this course, so I know the challenge is good.
Exercise 3 A limited paletteUsing your sketches from the previous exercise, select a drawing to develop in colour. I chose to use conte sticks in 3 colours – grey, black and bistre- these were my middle and darkest values, the paper is the lightest. I also decided to experiment using smooth A2 cartridge paper. I wanted to work quickly and not get bogged down by too much detail consequently I missed out one of the chimney stacks! It was difficult to work with conte sticks to draw detail and also the smooth paper did not ‘hold’ the colour well. When I began the drawing I wasn’t feeling inspired by it at all, as it progressed and started to take shape I felt a little more confident. What I really like are the lamp-stands are their positions in the back,middle and foreground, also the swirling road/pathway. Were you able to create a sense of depth with your limited colour palette? I created some sense of depth by layering the colours to give more hues. I think I rely a lot on the dark tones to show depth and sometimes forget the middle ones. I used layers of grey for the roadway to try to show mid tones and layered it with black for the roofs.
Exercise 4 Statues
Statue of John Clare – a Northampton poet- This statue was sitting on a bench in an open courtyard. Light was coming from above and I tried to show this on his bald patch. It is made from bronze and I was very interested in the texture which I tried to convey in the frottage above. I sat next to the statue and viewed it side on. I did a quick sketch in Hb pencil then completed it in biro at home. This statue was in the same courtyard as John Clare- above. I stood in front of the statue and sketched quickly in Hb pencil and a few touches at home. I was interested in the folds of fabric and how it is formed and thinking I would like to learn more about drawing fabric.This statue is in the entrance of an art gallery in Dresden. I drew it from a photograph when I got back home. I wished that I’d had time to sketch it whilst there as it is so interesting and I like the angle (looking up at it) from which I took the photo. Light was coming from the left of the photo. It is quite weathered and the object being held in the statues right hand is broken, this creates interest as we don’t know what the object is as we draw. This is my first time drawing statues and I know my sketching isn’t in proportion always and I miss things out.
Figure. 4 Dürer A (1495) Road in the Alps [gouache & w/c on paper]At: / Monasterio del Escorial, Madrid, Spain / Bridgeman Images ://www-bridgemaneducation-com.ucreative.idm.oclc.org/en/asset/387385/summary?context=%7B%22route%22%3A%22assets_search%22%2C%22routeParameters%22%3A%7B%22_format%22%3A%22html%22%2C%22_locale%22%3A%22en%22%2C%22filter_text%22%3A%22albrecht+durer+landscape%22%7D%7D (Accessed 11.2019)
Figure. 8 Turner JMW (1834) The Golden Bough [ Oil on canvas ] At: [https://www.tate.org.uk/art/artworks/turner-the-golden-bough-n00371 (Accessed 21.11.2019)
Fig.9 Lear E (1858) Petra [ Pen and brown ink over pencil with watercolour and gouache on blue paper.] Master Drawings – Close-up by Julian Brooks Page 85 The British Museum 2010 ISBN 978 0 7141 2673 9
I painted a copy of Van Gogh’s ‘ Still life with yellow straw hat’ I used chalk pastel to map it out first leaving some areas to show the planning process, painted in acrylic on pastel paper.
Project 2 Detailed observation of natural objects
Project 3 Exercise 1 Still life using line
Project 3 exercise 2 Still life in tone using colour
Exercise 3 Experiment with mixed media
Still life – Vase of flowers – mixed media
Exercise 4 Monochrome
Project 4 At home
Exercise 1 Quick sketches around the house – see black A3 sketch book
Exercise 2 Composition – an interior
Exercise 3 Material differences – See also A2 piece for Finished drawing
Exercise 1 – Experimenting with expressive lines and marks
Notes
Calm – Happy to be drawing on paper without the
pressure of producing a picture. Thoughts came to mind whilst drawing across
the page, remembering stepping stones across a stream in Dovedale, the clear
sparking water not too deep and the feeling of security as the stones already
in place, take me across to the other side. I enjoy the moments and find my
shapes and strokes are mostly soft curves, wavy lines with not too much
pressure on the paper.
Joy – Great time drawing unbroken curves and swirls
feeling like I was dancing on the paper with lilting movements. Enjoyed doing
some splodges of ink with a stick. Liked the effects with charcoal drawn holding
it on its side.
Anger – I didn’t want to do this one at first as I was
afraid of the emotion. Once I started putting marks on paper it was easy to
continue. Most of the drawings were lines and shapes with hard edges. Also the
markings were darker as I applied them with more energy and pressure to the
paper to release the angry feelings.
Fear – With this drawing I noticed most of the
shapes and markings started at the top of the page and went downwards, often
beginning with light strokes and increasing in intensity as I imagined a
sinking feeling e.g. before a flight or public speaking. I also felt the fear
of seeing a bat flying at night or going into a dark basement without a light.
Exercise 2 Experimenting with texture
Notes
This was a very enjoyable exercise and I will try to describe some of the textures shown in the images above. I used a range of drawing tools – pencil 2B+6B, graphite stick, graphite pencil,chalk pastel, charcoal, drawing ink and writing ink.
Top left – Drops of drawing ink had a shiny surface when dry which felt smooth and crisp. The blue streaks were a stick dipped in ink which was difficult to control and so was more interesting.
Top middle – my favourite of all these experiments was the avocado with its wonderful waxy,rough textured skin which made an exciting frottage that would look stunning when incorporated into a drawing.
The image on the right shows my attempt to draw soft,silky fabric with graphite and a putty eraser plus some smudging. it wasn’t easy to portray the folds and I will need more practice at doing this. I also tried to depict markings on leather with graphite 4B, this was a challenge as there are so many marks and lines involved.
Project 2 Basic shapes and fundamental form
Exercise 1 – Groups of objects
Notes
I found this exercise quite difficult to begin with and wasn’t sure whether start drawing the objects at the back first or ones at the front. I read several books and watched videos about perspective and how to make objects look 3 dimensional – http://www.drawsh.com/fabric + How to draw fabric folds tutorial- youtube
The top left exercise was drawn in biro which I really liked and felt I could control the movement and detail.
The bottom right was the final drawing for exercise 1, I chose objects that were familiar and had a selection of shapes. I used brown paper and a charcoal pencil. We were asked to imagine seeing through the forms to the space inside , this helped me to focus closely on the drawing and try to connect the objects to each other.
‘His pastel drawings have been linked to the writing of Poe, Baudelaire and Mallarme, all connected conceptually to Surrealism…’ ( Betty Edwards,1999:243 )
Below is a work that Redon created which shows a lot of expression of dark and light using charcoal, and the picture opens the viewers mind to ask – ”what atmosphere is being depicted here?” The tone of an artwork is important in giving feeling and depth, also in telling a story and creating an atmosphere, thus transporting the viewer to another place in their mind.
Fig 1 Redon, Odilon Two trees ( 1875 )
fig. 2 Redon, Odilon 1895
In the drawing above, Redon used charcoal, black pastel, black crayon, stumping, erasing and incising on buff paper. – Head of Christ1895 The British museum- Master Drawings close-up – Julian Brooks. The dark charcoal tones evokes a melancholy feeling, in contrast to the light tones on the face and in the background – conveying a sense of expectation and hopefulness.
Exercise 4 Shadows and reflected light
I used charcoal and experimented with the pink paper first to see if it enhanced the shadows but I prefer the white paper for this exercise ( which is actually what we were asked to use ). We get more of a feel of the light and reflection with the black against the white and the lightest tone lifted with a putty rubber.
Art Journal 
