Category Archives: Drawing 1

Drawing 1 reference list.

Andrews, M (1999) Landscape and Western Art. First edition. Oxford. Oxford University Press

Anning, A,  Garner, S [ed] (2012) Reappraising young children’s mark making and drawing in Writing on drawing: Essays on drawing practice and research First edition

Bristol. Intellect books

ARNDT (2015) Susan Turcot available here:

http://www.arndtfineart.com/website/artist_1946_image [accessed on 20 April 2015].

Atkinson, J (2015) Streptocarpus, 1982, charcoal on Arches paper. Salisbury: Young Gallery

Berger J, (2008) Ways of Seeing. Reissued 2008. Great Britain: Penguin Group

Battistini, M (2015) Symbols and allegories in art. Forth edition. Los Angeles. Getty Publications

[Anon] Cezanne: 1839 – 1906 First edition. Hoo, nr Rochester. Grange books

Clark, K (1986) Landscape into art. Reprint from the new edition 1976. London. Butler & Tanner

Cooper, J (2012) Growing up: The young British Artists at 50. First edition. London. Prestel Publishing Ltd

Cooper, S et al(2015) Great British drawings. Oxford: Ashmolean

Creffield. D (2016) Windmill on the isle of wight [n.d.] [charcoal on paper]

Degas, E (1879) Miss Lala at the Cirque Fernando [pastel on paper] Available from:

http://www.nationalgallery.org.uk/paintings/hilaire-germain-edgar-degas-miss-la-la-at-the-cirque-fernando

Bryson, N (1995) Looking at the overlooked: Four essays on still life painting. Reprinted. Hampshire Reaction Books LTD

Dexter, E, Jana, R (ed.)(2013) Vitamin D: New perspectives in drawing: Themes. Reprinted.  London. Phaidon Press

Edwards, B (2008)The new drawing on the right side of the brain  fifteenth edition London. Harper Collins

Edwards, S (2013) Art & Visual Culture 1850 – 2010: Modernity to Globalisation First edition. [nd.]Tate Publishing

Forman, Z (unknown) Deception Island, Antarctica (soft pastel on paper)

http://www.zariaforman.com/ [accessed 18 October 2015]

Garner, S [ed] (2012) Writing on drawing: Essays on drawing practice and research

First edition Bristol. Intellect books

Galassi SG, McCully M (2011) Picasso’s Drawings: 1890-1921 First edition. New York. Yale University Press

Garrould, A [ed](1996) Vol 1 complete drawings: 1916-29 First Edition. London. The Henry Moore Foundation.

‘Maggi Hambling’ (1991) Making their Mark: six artists on drawing BBC Available at:

http://www.bbc.co.uk/programmes/p02t7k03 [Accessed 2015]

Hambling, M (unknown) Self portrait (charcoal on paper) private collection

Hammwohner, D (2013) Untitled 2004 [pastel on paper] in Vitamin D. London. Phaidon Press 2011

Harrison, C (2008) Cezanne in: Reputations: Book 1 First edition. Milton Keynes. The Open University.

Hope, B – Outdoors”. Benjaminhope.net. N.p., 2016. Web. 9 Nov. 2015.

Hughes, R(1991)The Shock of the New First edition reprint. London. Thames & Hudson

Jover, L [n.d] Chinatown walk, [ink on newspaper][online image] Private collection. Available from:

https://www.saatchiart.com/art/Drawing-china-town-walk-SOLD/284005/2386342/view [Accessed 9th April 2015]

Julie Brixey Williams (2015)  Available here:

http://www.juliebrixey-williams.co.uk/uploads/1/1/7/9/11793339/7040878_orig.jpg [accessed on 20 April 2015].

Julie Brixey Williams (2015) One second ballet Available here:

http://www.juliebrixey-williams.co.uk/  [accessed on 20 April 2015].

Kostic, N (2015)Melanholic portrait`s (charcoal, pastel, ink, acrylic, found papers on paper) Available on https://www.artfinder.com/artist/nevena-kostic/artworks/?collections=p__all-artworks [accessed on 7th February 2016]

Languir, E (2010) A Closer look: Still Life. First edition First published as Pocket guides: Still Life in 2001 London. National Gallery Company Limited.

Livingstone, M Papadakis, AC [ed.](1992) Patrick Caulfield: Paintings 1963 – 1992 First edition. London. Art & Design

Mark Preston (2016) http://www.markprestonartist.co.uk/index.html [Accessed 9 November 2015]

Marr, A (2015) A short book about drawing. First edition [s.l.] Quadrille Publishing Ltd.

Meryman, R (1996)Andrew Wyeth: a secret life, First edition. New York. Harper Collins

Moore, H(2011) Blitz and Blockade: Henry Moore at the Hermitage. St Petersburg. The State Museum\

Musgrove, J (2000) From expressionism to post modernism First edition. [s.l.] Macmillon Reference Limited.

National gallery (2015) John Virtue residency available here: https://www.nationalgallery.org.uk/learning/associate-artist-scheme/john-virtue [Accessed on October 20 and December 5 2015]

National Portrait Gallery (2016) Dante Gabreil Rossetti portrait. Available here: http://www.npg.org.uk/collections/search/portraitExtended/mw05462/Dante-Gabriel-Rossetti [accessed on 7 February 2016].

National portrait gallery (2015) Still Life: An Allegory of the Vanities of Human Life: available here:

http://www.nationalgallery.org.uk/paintings/harmen-steenwyck-still-life-an-allegory-of-the-vanities-of-human-life

[accessed on 13 June 2015].

National Portrait Gallery (2016) Lusien Freud portraits. Available here:

http://www.npg.org.uk/freudsite/  [accessed on 7 February 2016].

National Portrait Gallery (2015) Still life with a lobster. Available here:

https://www.nationalgallery.org.uk/paintings/willem-claesz-heda-still-life-with-a-lobster [accessed on 13 June 2015].

Nicholas Herbert (2016) https://nicholasherbert.wordpress.com/ [Accessed on 20 October 2015]

Ondak, R(2003) Drawn retrospective [Coloured pencil on paper] pp233. in Vitamin D. London. Phaidon Press 2011

Petrelli, M (unknown) Chinese girl (acrylic and charcoal on paper) Available at https://www.saatchiart.com/art/Painting-chinese-girl/297487/2334829/view [accessed on 7th February 2016]

Pettibon, R (2003)Pages 248- 251 in Vitamin D. London. Phaidon Press 2011 Peyton, J (2003)Julian [pastel on paper] in Vitamin D. London. Phaidon Press 2011

Philip Pearlstein (2016) Available here: http://philippearlstein.com/figure-oil http://www.tate.org.uk/ [Accessed on 23 August 2015]

Piper, J (2016) Sandown Isle of Wight c.1954 [watercolour on paper] The romantic thread of British art Southampton. Southampton city gallery. 5 February – 4 June

Pratchett, T(1987) Light fantastic. First edition. [s.l.] Colin Smythe Ltd

Rex Preston (2016) http://www.rexpreston.com/index.html [accessed 9 November 2015)

Rijksmuseum (2016) Self-portrait with beret, wide-eyed, Rembrandt Harmensz. van Rijn, 1630. Available here: https://www.rijksmuseum.nl/en/collection/RP-P-OB-697[accessed on 7 February 2016].

Rosenberg, T, Garner, S [ed] (2012) New beginnings and monstrous births: Notes towards an appreciation of ideational drawing in: Writing on drawing: Essays on drawing practice and research

First edition. Bristol. Intellect books

Rubin, SG (2007) Dennis Hopper: Painter of light and shadow First edition. New York. Harry N. Abrams.

Saatchiart (2015) Locationotation available here:

https://www.saatchiart.com/art/-loctationotation/91093/396898/view [accessed on 20 April 2015].

Saatchiart (2015) Pair of horses Drawing by Mandy Racine available here:

https://www.saatchiart.com/art/Drawing-Pair-of-horses-heads/502689/2010810/view [accessed on 12 August 2015].

Saatchi Gallery (2015) Gary Hume exhibited at the Saatchi gallery

http://www.saatchigallery.com/aipe/gary_hume.htm [Accessed on 14 June 2015].

Saatchi Gallery (2015) Zak Smith 100 girls and 100 octopus’s. Available here:

http://www.saatchigallery.com/artists/artpages/zak_smith_girls_detail10.htm [Accessed on 23 August 2015].

Southgate, V (1964) Cinderella. First edition.  [s.l.] Ladybird.

Stokes, A (2016) Still life [n.d.][oil on canvas] Romsey: Mottisfont Abbey.

Stokes, A (2016)Still Life: Last Eleven (No. 10) [1972] [oil on canvas] available here: http://www.tate.org.uk/art/artworks/stokes-still-life-last-eleven-no-10-t03585 [Accessed on 30 May 2016)

Sujo, G (2016) Architectural drawing [n.d.] [unknown] Romsey: Mottisfont Abbey [n.d.]

Susan Turcot (2015) Susan Turcot drawing available here:

http://susanturcot.info/wellington.html [Accessed on 20 April 2015]

Sweeney, D (unknown) Figure as a landscape 3 [paper collage and charcoal on canvas on board] Available to view at: http://www.debrasweeney.co.uk/index.html [accessed on 21st February 2016]

Tanner, R (2015) Page from Sketchbook, Pencil sketch [n.d]. Salisbury: Young gallery

Tate (2016) Abstract art available here:

http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art [accessed on 7 February 2016].

Tate (2015) Fernand Leger: Still life with a beer mug 1921-1922 available here:

http://www.tate.org.uk/art/artworks/leger-still-life-with-a-beer-mug-t02035 [accessed on 14 June 2015]

Tate (2016) Medium. Available here:

http://www.tate.org.uk/learn/online-resources/glossary/m/medium {accessed on 7 February 2016]

Tate (2015) Paula Rego: War 2003 Available here:

http://www.tate.org.uk/art/artworks/rego-war-t12024 [12 August 2015].

Tate (2015) Paul Caulfield: Still Life 1976 available here:

http://www.tate.org.uk/art/artworks/caulfield-still-life-ingredients-p05413 [accessed on 14 June 2015].

Tate (2016) Self Portraits available here:

http://www.tate.org.uk/learn/online-resources/glossary/s/self-portrait [accessed on 7 February 2016]

Tate (2016) Symbolism available here:

http://www.tate.org.uk/learn/online-resources/glossary/s/symbolism [accessed on 7 February 2016]

The book and paper group annual (2015) A technical investigation of Odilon Redon’s pastels and noir available here:

http://cool.conservation-us.org/coolaic/sg/bpg/annual/v14/bp14-08.html [accessed on 6 May 2015].

Ticho, A (2016) Landscape of an area in Isreal [n.d.] [graphite on paper] Romsey: Mottisfont Abbey.

Virtue, J (2016) landscape no. 34 [n.d.] [Etching] Romsey: Mottisfont Abbey [n.d.]

Whistler, R (2016)  Gothick mural [1938-1939][unknown] Romsey: Mottisfont Abbey.

Wikiart (2015) Odilon Redon two trees. Available here:

http://www.wikiart.org/en/odilon-redon/two-trees-1875 [accessed on 6 May 2015].

Wikiaart (2015) Severed head available here:

http://www.wikiart.org/en/odilon-redon/severed-head-1878 [Accessed on 6 May 2015].

Wikipedia (2016) File:Gustave Courbet – Le Désespéré.JPG Available here: 

https://commons.wikimedia.org/wiki/File:Gustave_Courbet_-_Le_Désespéré.JPG

[accessed on 7 February 2016].

Woods, K , Richardson, CM, Lymberopoulou, A (eds.)(2007)Viewing Renaissance Art. First edition. London. Yale University Press.

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Assignment 5 Tutor report

Overall Comments

You have produced work of a high standard in this final assignment.  . You have completed all that was required of you. Since you are submitting your work for formal assessment I have suggested certain work issues that you need to implement however this is a good folder of work and together with your blog provide good evidence of your ability to take your creativity further.

Assessment potential

I understand your aim is to go for the Painting/Textiles/Creative Arts*) Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, and providing you commit yourself to the course, I suggest that you are likely to be successful in the assessment.

Feedback on assignment

You have gained confidence as you have worked your way through the assignments.

Your visual investigation of the cathedral has been researched in many different ways. You have experimented with different media. You have explored the effects of changing light. You have profited by the accidental and you have sourced this building from diverse information points.

You have understood the building and its grandeur and produced rather monumental sized drawings.  For you the building needed such a scale and it has worked well.

You have explored ways of looking at the architecture and you have explored viewpoints. In some of your drawings you have built up on a rather haphazard mixture of media. You have created interesting textures using these methods. There is a freedom and looseness to your approach – expecting the accidental and capitalizing on it.

Not only have you investigated the building but the power of such a building within its environment. You have simplified the roof tops- drawn the trees and revealed the cathedral in the background rising out of this urban landscape-(a drawing in your sketchbook).

You have experimented with materials which even involved the cooking one of your sketchbooks!-

You have interpreted the building as a whole and you have picked out patterns and repetitive forms that contribute to the more decorative parts. You have isolated certain elements of the architecture to investigate further.

There is a bravery and adventurousness to your drawings. You have attempted to understand the power of this building- not only from the exterior view but from your investigative studies of parts of the interior. 

“The prisoners of conscience window”— I feel that your general abstraction of this pattern is perceptive- it puts me in mind of one of Patrick Caulfield’s minimization of interiors. This drawing could have been taken further I think.

The Chapter house has an overpowering presence.

You mix very delicate media- pen and yet you include massive sweeps of expression which work side by side.

Your use of collage works and your choice of thick water color paper was absolutely right.

Your pastille drawing -2point5.

You have been influenced by Monet. I would have liked to have seen more looking at the effect of light on this drawing. Light would definitely have introduced different color on the brown tones of the cathedral. There would not have just been that monochrome brown color. The outside of the building would have taken on adjacent colors – and the color of the sky – however dreary that was. See how Monet introduces light by seeing how color affects the building. Check out the colors of the impressionists – they did not see black as part of nature – but used only the complementary colors to darken tones.

The large tonal black and white pastille has much potential. You have reinforced the pattern of the ceiling using gesso and newsprint in another sketch of this view. I would have liked to have seen smaller studies experimenting with these patterns – together with other decorative elements and repetitive forms that you discovered as you sketched.

All in all an impressive selection of drawings.

Sketchbooks

I would like to have seen more evidence of day to day sketches- arbitrary drawings that you have created during the day to express your own personal voice. You do need to include work other than what is prescribed by the OCA exercises.

I cannot stress the importance of evidencing your thought process with working drawings which should be in a sketchbook. I read about your ideas but you must evidence the stages of your work.

Do complete these working drawings- they must be thumbnail sketches in the same proportion as your final drawing and enclosed within a rectangle. It is imperative that you show good working habits so do take this advice.

Preparatory drawings show how you are aware of balance- harmony – composition. They show that you are aware of these pictorial issues.

You can then experiment further- simplifying more of your images and recreating patterns and shapes found within the cathedral without worrying about a “finished image. “ You can experiment further in a small scale using the decoration of the windows- the centre of the interior – just playing around on a small scale. This will lead to all kinds of new images and inventions. It is a less self-conscious way of pushing your boundaries and it gives you the opportunity to take you into rather uncomfortable territory.

Try mixing different perspectives together and see what shapes you invent building up your composition this way.

Learning Logs or Blogs/Critical essays

These are fine up to a point- you have documented your progress and included thoughts and ideas born from your development. These working logs account for 20% of your marks. You need to show analytical – objective approach – you need to show research into different painters- and not merely express likes and dislikes. For instance – do include more information about Monet- and other artists that you have mentioned and been inspired by.

Suggested reading/viewing

You have reworked some of your previous drawings and they do present as stronger images.

You need to research the submission criteria for the formal assessment. The choice and selection of final drawings is important. 

Have a look at the work of Patrick Caulfield and Trevor Winfield. They reduce the image to flat patterns and intermingle them with inventive shapes.

Try and use traditional perspective of the Cathedral  on the same drawing as parallel perspective- experiment with the different ways of representing the three dimensional form and just see what shapes you can create with this mixture. The cathedral presents you with so many ways of seeing – it is a beautiful building full of complex forms imagery and colour.

Do include sketchbooks which reveal how day to day sketching has become a habit now.

Pointers for the next assignment

Your final drawings are impressive. Do back them up with preliminary drawings as suggested. Try and explore more imaginative ways of understanding the architecture.

One suggestion- Cut up an image of the cathedral (not too small) – turn the pieces over. . Re arrange them (without looking) and then turn them to the front again. Stick them down as they are. Then start analysing these new shapes and the different relationships they now have with each other. Just see how these accidental jigsaw pieces can reveal a whole new way of perceiving the building.  This is just one suggestion for your sketchbook investigations- you do not need to implement it.

You have worked well throughout this module. You are a committed student. You must now make sure all the sections of your work are up to the appropriate standard. Take up my suggestions – back up your final drawings with visual evidence of preparatory work. Make sure your learning logs are more informative and be more critical.

I wish you well – it has been a pleasure to review your work. 

Working out which pieces to send for formal assessment was a bit of a nightmare. Sending what I consider to be the best bits does not potentially show my technical ability. I spoke to a gentleman who runs a local gallery and he looked at the pastel cathedral side and said technically it was really good, but as a piece to frame and put in a gallery it didn’t work, so does that mean as it ticks more boxes for exercises I should send it in?

I’ve been updating the blog to refer to artists work with more background biography, I am still learning the language to pick apart what I like about other peoples work, I’m hoping the next course I’ve enrolled on will help, Visual Studies 1. This next years course is partially self defence in that the house is in a state of uproar while we squeeze a downstairs toilet in, mostly by kicking my art stuff into the long-grass (middle of the lawn actually, we’re installing a log cabin with big north facing windows) so dedicated space to create art isn’t guaranteed to be available till the cabin has leccy, water and is fully insulated/heated and furnished.

My extended learning path continues….

Assignment 5/ D1 overview.

My progression throughout this course has been one of deconstruction. My representational drawing skills were already well informed before I started the course, my ability to interpret this information into a more expressive piece was lacking.

My major concern, was the ability to create a sketchbook of work to put into a final picture, I felt this was my weakest area, it is still something I need to work on. I am still coming up with ideas and experimentation on the final picture, but it would not be as layered a response if I had not done a tight sketch that showed me what the major lines of an image interested me enough to do the picture in the first place.

I have come to accept my mistakes as potentially happy occurrences rather than the ending of a picture and by mixing up the mediums I’ve used to create with I have played with a colourful mess which has really ruined the lounge rug. But I hope long term will look good on the walls of friends and families who have followed my progress in the last year on my Facebook timeline.

My use of language to describe what I am attempting to convey has progressed well, an understanding of the major art movements was never going to be instantly learnt but every artist that I’ve looked at and and read about in this last year has fascinated me and taught me more. having moved out the bedside table before Christmas to fit in a bookcase, I find I am yet again in need of another to clear the floors of 2 rooms.

I haven’t seen as many exhibitions as I would have liked, as much as my children don’t have a particularly low boredom threshold, my purse isn’t bottomless, I have to be able to bribe them with a trip to the attached shop every time and London is an expense too far,. However I have discovered some well curated sites at an acceptable drives distance that have afforded me a chance to look at work close-up so I can assess techniques and steal like an artist (not a long book, but it whiled away some time and a glass of wine at Waterloo, waiting at my one and only train trip to London on an OCA drawing trip)

The ability to immediately look up an artists back catalogue online the moment I’ve finished in a gallery has helped me further, good quality photos exist and contemporary artists who list their work online have this handy how it looks in a room feature attached so you can judge the effect of a piece, even if you aren’t able to be in front of it.

Which finally leads us on to Assignment 5. I don’t have a final picture that sums up the whole of my efforts. I could quite happily keep on producing pictures of the cathedral ad-infinitum. I originally planned to work around the outside, but this is England and it gets a bit soggy so sometimes when I got to draw there, I headed inside, then I worked out I was kind of spiralling in from a distance anyway, the view from the A36 with the road signs is probably as close to a Dennis hopper as I can say I got, the view from Culver street car park places it in its surroundings well, but I sparkled it up so much I think it lost the simplicity of Hoppers work.

The closer views inside the close are more reminiscent of Monet, the views I picked, the pastel version being the best, without going for a lot of repeats in different lighting situations.

I think I succeeded in my initial desire to achieve pictures of the cathedral that are a step removed from a (to me) tired sketch back along the old town path where the cathedral rises from the water meadow. I think I have given my pictures energy, the side door up to the roof being a major favourite of mine, as are the gate to the close and the altar pictures. My exposure to a near constant stream of John Piper pictures at various venues has kept me on task to look at my use of line and shade to add a sense of depth. This I feel is most apparent in the long view of the altar in blues and greens, the arches repeat themselves over and over.

The chapter house has been a joy to work from, the light inside and out through the glass creates merry hell on the contours of the building and roof which I have enjoyed.

Which brings us on to scale. I realise my work has gotten a bit big with this assignment, the building is itself not small and producing something that gives a sense of sheer size and weight to the stone meant going large. the final picture as delicate lead-work just did not need to be bigger than A2, so it isn’t.

The work in part 5 certainly would not exist without parts 1-4 being before it and only picking up to 15 pictures to represent my growth throughout the year is going to be hell.

Assignment 5 pt 9

I’ve finished the assignment, if not I think the pictures I will create, of the subject I picked in the end.

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The prisoners of conscience window at the top end of the cathedral is a glorious mix of deep colours which adds to the sobriety of its subject. I like the contrast in light coming through the glass and reflecting off the altar centrepiece. I also liked the abstract pattern the lead in the window creates when you aren’t close enough to understand the image.

I went for a portion of the cross rather than the whole thing, I think its a recognisable enough symbol to take it.

I wanted to keep the background abstract in the final piece (which ended up being significantly smaller than the last 2 pictures).13344813_10155006997708079_3223031802986792384_n

A deep blue wash which was a mix of 2 colours of ink (Prussian and aqua marine) then indian ink marked over. White gesso formed the basis of the cross, with successive layers of yellow ink and a mix of yellow, orange and a drop of black. I didn’t think I had rushed this, but I think its why the blue is coming through the gesso, a pleasant happenstance, to me it makes the cross look less permanent.

I also didn’t put in the decorative gate that is directly behind the altar, I felt the lead pattern was enough.

 

 

 

Drawings at Mottisfont Abbey May 29th 2016

A lot of this collection is on loan from Southampton gallery, some is from the collection at Mottisfont and all of it is un photographable due to copyrights and ownership. There is no exhibition catalogue and no postcards, so my only take home reference was memory and info cards I asked to photo. I didn’t have time with an entire entourage of family to sketch anything, so this is my record going back through the image info I liked with the help of google and my memory.

The pictures that stuck in my memory where;-

Dennis Creffield Windmill on the isle of wight, a large loose charcoal with movement and energy, what was rubbed into the sheet of paper was as important as the marks that went over or remained from the scrub off.

2 John Virtue etchings landscape no. 34. These represent a lot of lines that lead to a place, you can’t define what or where it is however from the marks. As an emotive response these provide a dark view of somewhere that makes me think John didn’t want to be there either. However this is my first view of Virtues work up close and it was informative.

Glenn Sujo Architectural drawing was a large piece informing on a building with pastels and charcoal, the use of pastels made the image softly appealing without huge amounts of detail

Anna Ticho Landscape of an area in Isreal. the land was un populated and stretched into a pale coloured set of hills. I liked this because of the use of colour under the black marks, I think I want to learn more about lithographs.

Adrian Stokes Still life of bottles in an oil painting is kind of fascinating to me as I am still avoiding starting to use oil paints. I look at pictures now and try to work out if they are wet on wet or glazed, if they where allowed to dry between coats. the tone used on the pallet and the amount of colours in any given area of picture.

I’m still not sure I have the patience to work in oils and thats probably what is putting me off…

There is a Henry Moore sketch there as well as a Barbara Hepworth and they both display beautifully the sculpting credentials of the artists. The medium creates lines that wrap around the form in a way to make that elusive 3rd dimension on a flat plane.

As part of the permanent collection in the house there is also a small degas sketch of a head that I liked (whats not to like about something that looks as if it was created effortlessly) and a small John Piper that tells you all about a piece of landscape involving rocks plants and a brook, I can look at his work for hours.

Of course Mottisfont also has an entire room of trompe l’oei from the central sun in the ceiling, down the curtain sconses and decorative walls. All painted by Whistler presumable the year before he went to war. Having painted murals on walls I have a lot of respect for this space although I wonder at the fact it took a year, a lot of the patterning is on top of a plain colour and only produces shadows?!?

 

Assignment 4 Tutor report

Overall Comments

You have taken a good leap forward in this exercise despite the fact that you feel as if it was the most challenging assignment- well- done.

You have completed all that was required of you. Many of your drawings have reached a deeper level of observation. Experimentation is clearly visible – and evidence that you have purposely ignored your comfort zone and voyaged into unknown territory is becoming clear.

I would suggest that you redo one of the exercises – just because I am positive that you can improve on the final drawing that you have submitted.

Assessment potential – After assignment 4

Select one of the statements below:

*delete as appropriate

I understand your aim is to go for the Painting/Textiles/Creative Arts*) Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, and providing you commit yourself to the course, I suggest that you are likely to be successful in the assessment.

I do believe that you will be successful if you decide to submit your work for formal assessment.

Good selection of work is of great importance- so do consult the student advice from the OCA on this subject.

Feedback on assignment

You technical skills have progressed well in this assignment. You have explored different mark making.

Exercise 7

This has a vitality and a freedom to it.

Your self- portraits show good understanding of the face. In one you look as if you have a round face – in others you appear to have quite a long face- however it is the positioning of your head I think that makes this noticeable. Perhaps it is the media that you choose which changes your interpretation. You have worked hard on these sketches. You have investigated the structure of the face and searched for                                                        different positions – often quite hard angles. You have broken down the detail of the face and created different shapes.

Exercise 13-

The portrait research sketch has interesting possibilities – you have taken a step away from imitation and taken your investigations into a different way of perceiving the face. I would have liked to have seen the same collage experiments continue throughout the whole drawing so you built up the form using the strips of paper to completion.

Your many sketches and more intense drawings of the male form evidence a persistence which is to be admired. You can capture a pose and you can grasp such elements as balance and proportion.

Exercise 11- A lovely line drawing of the child on a chair.-but maybe a variety to the  type of line might have introduced a more interesting and creative element?—- Do try and be discriminating between strengths of line opposed to areas of the design that is noticeably weaker and therefore requires a softer line.

Exercise 3

There are some very sensitive areas in this image. In this drawing you have succeeded also to give form and a feeling of solidity to the form. There is a tranquil feeling to the pose- and you have taken your observation to a more intense level to achieve this.

Exercise 13

You have produced a very strong portrait. There is real form- real drama to this face. You have included different – very inventive media which works well. There is an understanding of light – reflected light and you have captured the expression well. The addition of different media result in a creative result- a more inventive and adventurous way of seeing.

Exercise 1

  I do feel that you are capable of producing a better result to this exercise. You do need to observe more pictorial issues which will strengthen this exercise. You need to be braver to produce a more creative drawing.

For instance – I do think that using complementary colors and perhaps not using black would have created a richer feel to the composition.  Perhaps enlarging the image would have produced a stronger result too. It would have forced you to consider the relationship of the objects  to the edges of the paper.

You need to study the effect of shadow on your arrangement. You are capable of producing stronger work. Do consider this option of redoing this exercise.

  The three dimensional feel to the fabric is missing- the tones are too few. The shoes do not seem to be part of the image. There would be clear indication of the shapes of the chair underneath the fabric- you would be able to describe the planes – the solid back of the wooden frame would be more apparent. The light would change. There is not enough investigation into the shapes – weight – tones of the folds and how they fall onto the chair and how they follow the shape of the chair.

I do hope that you can see this

The small pencil sketches of folds could also be taken further- perhaps using a 4B pencil might force you to commit yourself to the darker tones? Try and observe the folds as abstract shapes that break the surface of the paper so forcing the viewer to see them differently. Isolating parts of the fabric and enclosing them within a rectangle encourages you to distance yourself from just describing the fabric. You can capitalize on this isolated square to look at the fabric in a different way.

Your technical skills have improved with this exercise but do persist further in applying your craftsmanship to more experimental interpretations- more creative ways of seeing. Keep up what you have already started.

Sketchbooks

You have completed much research into the human form using the still life model. You also have included individual studies of shoes – and explored different parts of the body to a more intense degree.

I wonder if you are still exploring your own personal voice by sketching subject matter not prescribed by the OCA?

Learning Logs or Blogs/Critical essays

Your writings are again- thorough and honest. Sometimes I am aware of a lack of confidence and a wariness towards some of the work. This will go as your skills improve. You reflect well and analyze your reactions to the work.

You obviously gain much from the   study of other artists which is all to the good.

Your blog is clear – well written and easily accessible.

Suggested reading/viewing –

Do now study the OCA guidelines for the formal submission.  Remember it is not the amount of work that is important – it is the selection that matters.

Have a look at the work of Giacometti- particularly his drawings. Also the drawings of Jose Clemente Orozo- Max Beckman- Degas.

These artist produced strong images by reduction of tones- they produced dramatic drawings by – often just isolating strong light and combined them with strong shadows.  Try and be less tentative about your creativity. Be bolder and more adventurous. Subtlety and delicacy has its place of course- but you must keep experimenting and pushing the boundaries.

Pointers for the next assignment

Do redo the still life with the fabric.

If you intend to take the landscape option then have a look at the work of Edward Hopper- Cezanne and Monet.

Make sure that when you complete the preliminary studies for your final drawing – enclose them within a rectangle that is in the same proportion as the final drawing. In that way your understanding of the reason for the experimentation with composition- balance – harmony is clear and well understood.

The exercise numbers match up to the numbers I ascribed to post the pictures, not actual exercise numbers

Part 4 reflection

My doubts about my abilities are kind of heading in 2 direction at the end of this part of the course. I believe my ability to render a recognisable image is getting stronger and it is becoming quicker to see an image form.

My work benefits from the background sketches that make the final image, I can make surer marks. I can inform a piece of work from more angles.

Am I taking on board the techniques of other artists? my fountain pen sketches are slowed down more complete sections that interest me, which implies Andrew Wyeth has had an effect, the colour I have played with (and it comes across as play I hope) have been complementary reactions to the exercises.

I am steering away from painting as that is going to be dealt with in the next course so I’d rather get bored of drawing now and be completely fresh for what comes up in a couple of months time.

The content in the exercises has at times seemed to be a bind pushing me forward away from achieving any kind of link between pieces which is annoying. The fact that I’ve bounced around this part because the opportunities to do life studies are not being achievable linea to the course hasn’t exactly helped.

Life sort of came at me and pushed the content of the work, which odd as it is has helped me understand how future projects are potentially going to unfold for me.

I have only attended local exhibitions in the last couple of months. I have reviewed the work of a fair number of artists online and these elements are going into a book I am adding to that I’ll send in at the end of assignment 5 for my tutor to see.

On top of Andrew Wyeth, I have finished reading The Shock of the New by Robert Hughes (Thames & Hudson 1991) which ended quite handily around Lucien Freud et al and modern figurative paintings. Unfortunately I can’t help bringing some of that content back to the John Berger book about why they were painted nude to start with…

So the 2 concerns on my ability?

Can I integrate other styles into my own? I’m 41, I like to think I am reasonably open minded, I’ve started a course of education at this point which in itself shows I think I should be able to.

Can I write about art in depth enough to pass muster for higher education? The more I read, the more I think I can do it. I can string a coherent sentence together about cubism, how it works, why it was done (what it was produced on the back of, what was produced after the movement had finished)  what I get out of it. Am I far enough away from the ‘I know what I like’ mentality? I hope so. I still don’t know all the terms to describe how something I have drawn works, I’m hoping I won’t have to wade through 5 years of courses and books to reach that point, I’m also hoping I can sustain my impatience to learn for the duration of my time with OCA, because that is what is pushing me on.