- …but for your next assignment I would like you to explore more.
I wish I could – I am trying to be more adventurous but finding an inherent stuckness over this some of the time. Compiling a list of alternate materials to try out – the non-artistic type.
- I think you have been pleasantly surprised by what you have managed to achieve in 1 hour, well done.
This part of the course has been the most challenging and the most surprising so far. I loved doing the trees and my introduction to landscape was a revelation. Had a much greater response to it than I had expected even though most of it was completed through the winter months when I could not hang around and “enjoy the view”. It did however teach me skills for bringing back into the studio which is very useful.
- It would have been better perhaps to work on a series of developed ideas taken from your initial studies to play around more with tone and depth as well as widen your drawing tools to push the edges once more of what drawing means to you.
These comments refer to some of the townscape work and the architectural studies which I found the most difficult. The views of Shoreham-by-Sea over the river from different angles I did find interest and if the exercises had not been as specific there would have been views that I would much have preferred – over the river, mudflats, taking in the tide at different times etc.
Buildings I find difficult and my sense of perspective still goes out of the window – literally. I could I admit have taken more time over them but in the end they are not my area of interest.
- …. had you have used a sturdier paper
I have discovered good 300 gsm watercolour paper which bears a lot of work – although I have yet to push this too its limits. Something which I need to undertake in the name of experiment.
It is very satisfying allowing water based materials to blend with the surface – and move them about – take them back when necessary. Just beginning to experiment with different supports.
- Working in parallel will help you see where you are going wrong. Don’t fill in any detail until you have those measurements right.
Again referring to the buildings – a symptom of my irritation with the subject matter.
- Again for me the tonal definition is lacking which makes the piece lacking in the overall lustre that I can see in the preliminary.
This comment has cropped up over the last few assignments. I am still not making enough decisions about dark, medium and light as well as fore, middle and distance. Again this is about becoming more critical and then being bold enough to express what I see.
- More in depth critique and understanding of the work of others could benefit you in terms of extending and widening the research aspect of your studies.
As yet I am unsure how to address the research aspects of the work. My note taking is not effective at this stage and I am going to revisit some of the early papers and HE Study assignments in order to apply order to this part of the work.
- Try to see a range of exhibitions away from drawing and painting. This will help you consider your materials for drawing in closer detail. Think carefully about what drawing is and can be for your next assignment. Don’t always use traditional drawing materials to draw with…try lots of other things particularly things that surround you.
I have seen quite a number of non-traditional fine art work now. Some of it I respond to really strongly and am aware that from my previous textile work it would be easy to lapse into 3D – textile pieces drawing me away from the focus of this course.
Again the reference to other materials is highlighted. My list is growing of the non-traditional items some of which I have tried in the Part 4 assignment.
As to the question of what drawing is – I remain confused. I have looked at the book Eight Propositions a number of times but this does not as yet make it any clearer.
- …. in order for you to become more fluid in your approach to drawing.
Looking at other artists – in some cases I can see how this is relevant to development of a drawing style but in others I could not identify what my tutor was trying to have me see. I drew on the styles of Degas, Auerbach, Dix and Schiele in the next Part 4 drawing.
- Continue to take more risks with your drawing
Still not doing this enough and have not yet grasped a willingness to create the un-successful or non-traditional in my work.
When I look back I realise that I have often played too safe – —-
Project 3 Expanse
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Thank you for submitting Part 3 for Drawing 1. You have worked hard at grappling an unfamiliar area, landscape, and have worked hard to connect with it on a personal level. You have had some successes. Take the time to work on tone. This will give you the depth and weight to what you are trying to depict with conviction.
You have a good sense of how to develop an idea from your first preliminary sketch. Working widely with a range of materials has made you embrace some difficult aspects of your studies but has brought a richness to the type of work you are making. Keep looking and take the time to slow down and observe before making a mark. This will help you make decisions prior to execution, something that will make your work easier to handle. Your material enquiry has broadened but for your next assignment I would like you to explore more. You research widely so why not bring some of that into your own exercises, controlled of course so that you don’t get too distracted from the coursework.
Exercise1: Sketching individual Trees
You have made a good start in your sketchbook observing trees with good supporting annotation.
Exercise 2: Larger observational study of an individual tree
For this exercise you have managed to sketch out some strong compositional considerations in some smaller boxes. The tonal contrast of light and dark is striking. You have taken some good photographs of the trees you have observed whilst out and about considering texture and form. Keep playing around with looking at form from varying viewpoints to enhance the work.
Exercise 3: Study of several trees
Again you have considered a strong sense of composition from selection to depiction. Working through a series of exercises you have developed a way of working from each study from pencil to coloured crayons to charcoal and then through to pastel. You are proceeding well but taking an idea through to another medium, so well done.
Consider tone, depth and space to add other dimensions to the work.
Project 2: Landscape
Research point: Research artists that use landscape across time. Albrecht Durer,
Claude Lorrain, L.S. Lowry, George Shaw and Sarah Woodfine.
You have submitted wide and varied research that is reflected upon carefully. There is a visual link to many of your selected artists. There is a similarity of palette, mark making and textural qualities, where dynamic marks are reduced to their simplest form.
Exercise 1: Cloud formations and tone
You have submitted sound critical reflection on the work of Vija Celmins. You haven’t as yet found the time to complete the cloud exercises so I am unable to give you feedback at present.
Exercise2: Sketchbook walk
From the drawings you have submitted you really get a sense of the winter’s cold and unforgiving nature. As this is a new experience for you have managed to get as much information down as you can as well as the textural qualities of the sea and beach in your local vicinity. The black and white charcoal studies are quick and confident in their mark making. I think you have been pleasantly surprised by what you have managed to achieve in 1 hour, well done.
Exercise3: 3600 studies
The work you have produced for this exercise is reminiscent of Paul Nash for me with its sweeping blocks and almost flat sense of the landscape overall. It is important to balance the sense of place with closer observation. Make sure that the balance produces an image that can be read reasonably clearly by the viewer as tonally they could be improved upon for depth of field within the work.
Research point: Monet, Cezanne, Hockney, and Nicholas Herbert.
You have produced a widened sense of landscape research looking at a variety of contemporary artists that draw the landscape from different viewpoints. The pooling of your ideas, your artists research and your outcomes comes through well in your sketchbook. Again, excellent research on Nash.
Project 3: Composition
Exercise1: Developing your studies
You have annotated well throughout this exercise in your learning log. Moving on from your initial studies made in October you have produced a vibrant drawing that denotes the light and dark of our chosen landscape. Again, further understanding of building up the foreground would give you a broader sense of depth so experiment with this where possible to gain more experience. At the moment this drawing lacks the depth due to the lack of tone and detailing throughout. It would have been better perhaps to work on a series of developed ideas taken from your initial studies to play around more with tone and depth as well as widen your drawing tools to push the edges once more of what drawing means to you.
Again, you have submitted wide and varied artists research, which is enigmatic and compelling at the same time. It will be interesting to see if you develop any of these techniques in your own work at a later stage. You have analysed these images well.
Exercise 2: Foreground, middle ground and background
This exercise has brought with it some challenges that you have reflected upon well in your learning log. For this exercise you have produced a subtle yet complex drawing, which, had you have used a sturdier paper could have been worked and worked upon in terms of building up tone. The lightness of colour overall is quite flat throughout so perhaps this drawing could be worked on further in the further perhaps as a mixed media piece. It would have been good to see the eye travel through this drawing through careful execution of the foreground with perhaps a lighter area on the horizon to pull the eye through? Again, tonal aspects need to be worked on further s o that you get a sense of distance in the work.
Your reflection on this part of your studies is well considered. It is good to see you explore and further the potential of drawing from the landscape by working through collaged drawings and studies from the collections of things you have found from your winter walks. Your combination drawings from the hard pruned trees outside the Tate have a wonderful energy to them and I hope that this will propel you through any future considerations you may have towards working in and with the landscape.
Project 4: Perspective
Exercise 1: Parallel perspective – an interior view
Perspective is a hard area to grasp as we take so much for granted. Marking out your eye level as well as parallel perspective can be a slow process that takes both patience and time, often resulting in an image that has very little detail and a series of lines lightly filled in. Whilst this is possibly the antithesis of what you enjoy doing, getting to grips with the basics can really allow your seeing skills to develop.
Exercise 2: Angular perspective
There are a few smaller errors but overall this is a good attempt. It might be a good idea to reverse the process by drawing in your eye level and angular perspective first, and then measure the buildings length and height against it. Either that or start by drawing the information lightly and then fill in in more detail once you realise that the information is correct. Working in parallel will help you see where you are going wrong. Don’t fill in any detail until you have those measurements right.
Stating that previous drawings are more accurate isn’t really doing the exercise the justice it does deserve. The drawing that you have submitted does suffer, as you have recognised in your learning log, with slight errors in the perspective. Slow down and get the architectural qualities right, then fill in with the fun stuff. Mark it out as much as you can before filling in. This can see very laborious at times or use a viewfinder that is gridded up to help you translate the information in front of you onto a lightly gridded sheet. This type of repetitive exercise will be a huge investment in terms of time but will improve the overall look and visual understanding that is, at times, required.
Exercise 3: Aerial or atmospheric perspective
You are starting to consider the tonal aspects of drawing more in this exercise. Working in black and white is easier than working in greens if you are having difficulties. Perhaps if you squint more the varieties of different greens will be revealed a little bit more to you? You have been very aware of the lack of attention you have given to preparing your materials. All of these things that you are considering at the same time can get confusing. You will get better at taking time over the prep and the working of a drawing as you gain more experience. Again, slow down and take your time in considering what needs to be done before putting your drawing medium to paper.
Project 5: Townscapes
Research: John Virtue and others
Good research; just remember to expand your written critique and reflection wherever possible.
Exercise 1: Sketchbook of townscape drawings
The sketches you have produced for this exercise are demonstrating a keenness to respond more emotively to your subject than to draw carefully what you see in front of you. I understand that making work needs to feel attractive as otherwise the interest is soon lost however I do think that some level of studies drawing needs to come to the fore so that you getting more experience at working with the difficulties. Be mindful of how you draw. Only draw what is needed rather than the whole when it comes to making studies o your subject. Our brains often fill in the rest of the image if incomplete.
Exercise 2: Study of a townscape using line
Working on the long view has been successful you, particularly the view by the road bridge. . You have completed this exercise developing the drawing as you move forward. The final drawing is a more illustrative representation of your first drawing and I like the way you have handled the roofing and architectural aspects in this way. Although not accurate I would agree the depth is starting to come into the work as you have managed to lead the eye up the river for this drawing.
Exercise 3: A limited palette study
Your second drawing for this exercise is the strongest by far. You have by now managed to get to know your landscape quite well and all is appearing to fall into place much more smoothly than the first drawing. The limited palette has been carefully considered and you have managed to leave space where necessary to balance the view. The reflective qualities within the water works well and the mark making throughout is understated yet successful in its execution, well done.
Exercise 4: Statues
The drawings of statues after Cezanne for me feels the most compelling and well executed. The roundness of the form and the light that you have depicted have grounded this form through carefully execution of line, light and tone. The hand made qualities of the paper adds something more textural to the last drawing and the editing of what you chose to depict makes this drawing the most successful out of all the works you have submitted for this exercise. The viewpoint adds a more visceral feel and the way you have handled the light, mid and darker tones makes this a successful drawing, keep it up.
You have started off well by returning to drawing after a bit of a break and the series of drawings on tracing paper where you have played around with various approaches feels lie a strong start to returning back to drawing your garden. There is an excitement in the mark making and the mindfulness to push the boundaries of your normal approach has paid off. The building up and stripping back as well as taking care to look and understand in closer detail the composition has allowed you to make a sustained drawing using a build up of varying materials. The successes I think are the chair and the right of the image with the statuette against the dark ground. Well done for this.
Your smaller preliminary studies and sketches for this Assignment explore a range of compositional viewpoints to see the effects that these can bring to your final assignment as suggested as well as evidence a sustained development of an idea through different mediums. Further reflection on what you have learnt so far in terms of techniques, materials and processes have helped you to take more risks in your preliminary studies.
Your larger preliminary sketch feels confident, energetic and overall is very successful. The composition, tone and perspective of the study works well as does the colour study. Areas where you have depicted the darker tones has lifted areas in the foreground so continue to explore this as you move forward o your next assignment.
The final assignment piece for me lacks the clarity of the larger preliminary sketch although I do like the complexity of the layers and the references to your artist’s research. Again for me the tonal definition is lacking which makes the piece lacking in the overall lustre that I can see in the preliminary. Perhaps when it comes to assessment the former larger study should be submitted…one to consider in the future perhaps
Demonstration of technical and Visual Skills, Demonstration of Creativity
You have a sustained confidence exuding from your sketchbooks as you explore a range of possibilities at every turn. The pages of your sketchbook are energetic, enquiring and full. Continue to work like this as you move to the next assignment. You manage to extend and force new ideas for exploration in your sketchbook demonstrating your idea development as well as the development of your drawings.
You are visiting a range of exhibitions and are keeping notes and postcards in your sketchbook, well done. Your technical, visual and creative skills in regard to materials, is improving, just remember what has worked before after reading my report and continue to experiment as you do so. Time investment often pays off.
Learning Logs or Blogs/Critical essays
Your learning log is articulate, reflective and wide in its content, particularly with your artist’s research. More in depth critique and understanding of the work of others could benefit you in terms of extending and widening the research aspect of your studies. An ongoing dialogue between your work, the work of others and its critique as a whole will be most beneficial to you and your studies so keep going.
Try to see a range of exhibitions away from drawing and painting. This will help you consider your materials for drawing in closer detail. Think carefully about what drawing is and can be for your next assignment. Don’t always use traditional drawing materials to draw with…try lots of other things particularly things that surround you.
Pointers for the next assignment
- Your next assignment is ‘The figure and the face’. Look at the work of these artists in order for you to become more fluid in your approach to drawing. Gustave Marchetti, Egon Schiele, Ron Muek, John Currin, Otto Dix, Ana Mendieta, Sam Taylor Wood, Tracey Emin, Hope Gangloff
- Have a go at replicating the techniques of other artists to bring to your own working aesthetic.
- Continue to take more risks with your drawing
- So slow down, think carefully about what you want to achieve from this drawing and then know when to stop.
This remains an on-going issue for me. Although I often intend to take a particular path with a drawing and even write down what I am intending to do once I start I get carried away – and veer off-course. This also ties in with not stepping back enough and looking from a distance – particularly in the life-classes I feel impelled to get on with things because time is limited.
I know I need to concentrate on doing less, being more selective about what I am undertaking. However this still remains a challenge when faced with certain exercises and assignments.
- Often we are so desperate to draw that we don’t realise what we want to say and how to achieve it in closer detail.
I am not sure that I often think about what I want to “say” about a particular pose – it is easier with still-life as this is something I can set up with a purpose in mind. When I review what other’s are undertaking in a life-class – not by way of criticism of my own work but because I am fascinated by the different styles and interpretations. Sometimes I think I should just sit behind someone and see the way that they work – what stages, what choices, what materials etc. This might be an interesting learning exercise.
But when the fire of drawing takes hold it is difficult not to be drawing myself and just watching!
- I think it may be because you like the graphic qualities and formal elements that you see in design and although this wrestles at times with your love of texture I think that with more experience you will get to know how to bring these things together in a satisfactory way.
This is absolutely true I like both aspects as well and the tight and free styles in mark-making. This is a lot to take on board at this stage. Which goes back to more experimentation without necessarily an end drawing in mind.
- Tonally it is still very ‘middle of the ground’ and could have benefited from a little more exploration in the first instance with your chosen mediums (try to get into this habit if you can before jumping straight in)
Again this is connected to the 2 points above. I have a strong sense of colour but do find tonal qualities difficult. This is something I need to keep working on – being aware of and self-critical when looking at a composition.
Perhaps if I view this compositionally – i.e. make clear choices of the dark, medium and lighter tones when I am planning a piece, it will be more successful. Part of me thinks though this is just more and more and more practice.
- The narrative to the work is coming through and I think that you could explore the black background in the future as I think it could lead to some very exciting discoveries.
I very much enjoyed falling across my own narrative in the pieces . It surprised me how absorbed I became in the still life drawings as initially I could not engage with this as subject matter. Yes the dark, dark, and noir aspects continue to fascinate and may bring this into the Part 5 pieces.
Thank you for submitting Assignment 2 for Drawing 1. You have clearly worked hard at Assignment Two for Drawing 1 and have made some significant developments on a personal level in all areas of your studies.
It is good to see you embrace the developmental aspect of your working exercises in your sketchbook, they are appearing to be very fluid at the minute and have good solid annotation running throughout. You have taken on new challenges in regard to looking, seeing and playing with new techniques and materials. Your sketchbook work is gaining momentum through experimentation and expressive outlay and you have responded well and it is good to see that you are visiting exhibitions in the flesh to encounter the many techniques and outcomes that so many different artists employ.
Further time spent and paying attention to tone has really paid off, particularly in your last two drawings. You are look carefully, slowing down and taking greater care when try to discern what is needed in the work and what is not.
Your overall drawing skills are moving forward well. You must remain open minded to new ideas and continue to takes a developed sense of what surface to draw on, what to include and what to take forward in each exercise. Your seeing skills are developing well and the evidence is apparent as you move through the exercises.
I understand your aim is to go for the Painting 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, providing you commit yourself to the course, I believe you have the potential to succeed at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Research Point: Traditional approaches – 16th/17th century Dutch painters, 19th century, modernist painters, and contemporary painters
You have made a great start with your artist’s research and have grasped contemporary artists well (this ordinarily means artists that have made work in the last fifty years or who are working now). You have managed to collect a range of artists that work across many differing approaches and materials, so well done.
Positive and negative space
Research point: Gary Hume
Good research making a link to Gary Hume and negative space backed up with a number of other artists who edit as well as duplicate layers of negative and positive space.
Project 1 Detailed observation of natural objects
Exercise 1 Detail and Tone
For this exercise you were asked to work on a number of drawings considering composition using tone, colour or shape. You have moved through a series of drawings in your sketchbook that have embraced these elements and have annotated well along the way. You have managed to take control and edit aspects of each drawing well setting yourself some challenges along the way. You have produced some wonderfully expressive marks in the still life with lilies however this has progressed in a way where the exercise remit has become a little lost overall, although the outcome is far from a failure. Try if you can to not jump around quite as much as you ordinarily would. You have good drawing skills and a great sense of colour but aspects of your drawing need to show a slower, more considered approach (outlining the smaller developments of each task) than they have at this juncture, although I really don’t want to stamp on your enthusiasm at all. You have annotated some concerns around this in your sketchbook, which is good to see. So slow down, think carefully about what you want to achieve from this drawing and then know when to stop.
Project 2: Still Life
Exercise 1: Still life using line
For this exercise you have produced a number of sketches that have identified the issues that have cropped up along the way. Overall, I think that this exercise brought confusion to you and then secondly I think the objects that you selected didn’t really chime with the more textural surface of the khadi paper. For example the first drawing you selected round objects, one a natural object, one a made object and one a man made object that was reflective and hard surfaced. This in itself as a whole is quite complex in terms of a still life and would suggest perhaps calm, clean and perhaps colour orientated work. The second still life of three stones feels much more connected visually and yet again the surface paper adds another layer that perhaps confuses and overcomplicates what you are trying to depict in the visual overall. When struggling in this way try to take a step back and think about the composition and what you are trying to show in your drawing. Think about colour, the surface of your paper and again what to leave in and what to leave out in the drawing overall. Perhaps draw on a flat paper that has a slight blue or cream tone to it; perhaps draw in grey rather than black ink and so on. Often we are so desperate to draw that we don’t realise what we want to say and how to achieve it in closer detail. Something perhaps to consider overall as you move through the next assignment…
Exercise 2: Still life in tone using colour
You have an excellent eye for colour and the photograph you have taken for this exercises is sumptuous, well thought out and considered in terms of composition. The first drawing has some exciting elements to it such as the shapes of the cast shadows, the vibrancy of the pattern on the bowl and you have grasped some elements of tone with the fruit although I would agree that a more committed approach to darker and mid tones would have added a little more volume over all. I think that in the first drawing you capture the depth of the composition more than the second drawing in that you do get a sense of the light hitting the objects, the table and the background. In the second drawing you have committed yourself to more tonal aspects within the objects but for me this lacks the interest and depth overall that you brought into the first piece with more emphasis on the dramatic light. Overall this is a very good effort though and certainly something to really commit to in the future to get the volume of your objects to work convincingly.
Good sketches and preparatory work coming forward in your sketchbooks so well done.
Exercise 3 Experiment with mixed media
This exercise has been portrayed really well across your blog and is extremely successful in showing the development of an idea, the changes that were made in the journey and for your critical analysis to be voiced within the content. The developmental aspect of these studies really emphasises your creative approach to this composition. Adding and taking away and knocking back the pattern using a variety of mixed media is explained well
Exercise 2 Monochrome
You have submitted some great photographs once more and have found some very interesting contemporary artists to support your ideas. You have set yourself quite a lot of challenges within this exercise and have tried out lots of developmental compositions both in your sketchbook and on loose sheets. I personally think that you are considering composition in a lot more closer detail and it is paying off. The slice of dark ground at the top left corner really grounds the work as does the diagonal line that the tray holds cutting through the picture plain. The textural contrasts work well from the rubber gloves to the lemons and corn on the cob and it is interesting that you are trying to cut them into a squared gridded format. Why is that do you think? I think it may be because you like the graphic qualities and formal elements that you see in design and although this wrestles at times with your love of texture I think that with more experience you will get to know how to bring these things together in a satisfactory way. This is a successful exercise as you are clearly setting yourself many goals and are achieving some of them quite successfully.
Project 3 At home
Exercise 1: Quick sketches around the house
Exercise 2: Composition – an interior
You have submitted a good number of sketches for this exercise from around your home which I think has allowed you to practice drawing more and has therefore led you to be more successful as you work your way through them. When you draw, remember that you can use a range of different drawing media. I would always suggest that you remain relay open minded to your materials. Think back to the temporary drawings as they were very successful and worth revisiting. You have annotated well throughout and have clearly really started to look and understand your local environment much more…looking closely like this will really help you define the things that you find interesting that just happen to be around you. You appear to be slowing down and drawing much more what is there rather than what you thought was there so well done. The Bonnard like studies work very well and feel very different to previous work that you have made, try if you can to take a few minutes to make small thumbnail sketches in boxes in your sketchbook where you draw in tone (no line) only. This will really help you understand and experience tone in closer detail and it will force you to work with it rather than avoid it. They don’t need to take long, perhaps 3 – 5 minutes each but you will find this a really good exercise that will prove invaluable to your studies. Good reflective accounting in your learning log.
Research point Anthony Green, Philip Pearlstein
Despite the fact that you have research a large number of artists I haven’t been able to find these particular artists in your blog. If you haven’t completed this could you add them to your research please?
Exercise 3: Material Differences
You have written well an account of how difficult it was working for the first time on such a large scale and despite your quite critical viewpoint I think that you have problem solved well throughout this exercise. Despite the final drawing being less successful overall you have been very ambitious and have taken some big strides in terms of risk and have managed to deal with these quite well overall. Tonally it is still very ‘middle of the ground’ and could have benefited from a little more exploration in the first instance with your chosen mediums (try to get into this habit if you can before jumping straight in) but the composition is an interesting one and it does hold some sound textural qualities.
Your assignment that you have submitted is wide reaching, personally challenged and has been directed with vigour and enthusiasm. I love the still life in the bin…very well observed. You have used your sketchbook well here, trying out a number of varying approaches, a critical viewpoint and have clearly been influenced by the amount of visits you have been making to exhibitions as well as absorbing a large amount of varied research. The efforts have been noted this end. As a result you have been very investigative from a personal perspective trying out a number of things in an attempt to get a better composition. Throughout the development of this assignment you have been clear in your intent and have managed to take a lot of creative risk here, which I think has really paid off. You are reflecting well on previous exercises, thinking about what is needed in a composition and what can be left out and have been very expressive in your materials handling. Your work shows wide experimentation, focus and an adaptability that shows an open – minded attitude to making work. The mark making you are making and the expressive yet controlled use of colour in your preliminary work shows an amount of adaptation. You have moved away at putting everything into your composition to a viewpoint where you are taking the time to consider what is needed, what works and what can be afforded to be taken away. Your research is wide ranging, exploratory and enquiring and it is good to see you asking a lot of questions from the work throughout. You annotations demonstrate a critical eye and an attention to detail, which is very positive at this stage in Drawing 1. The narrative to the work is coming through and I think that you could explore the black background in the future as I think it could lead to some very exciting discoveries.
Your large black and white drawing reminds me of the work of Paula Rego. It has a haunting evocative feel to it and you have captured the tonal variations by really committing to those darker tones. You have managed to edit the composition competently and the image is curious, compelling and competently done, well done. Your second colour study contains all the things that appear personal to you. It has a narrative thread coming through. You have handled your materials competently; tonal again you have managed to develop a good understanding of dark, mid and light tones through colour. You have clearly worked extremely hard on these last pieces. The pattern is there but not overwhelming, the drawing is controlled but not to the disadvantage of the overall composition. The tricky part of maintaining the light has been successfully rendered and overall once again your reflective learning has come through very strongly. Well done for these, you really have moved on as you have passed through this second assignment.
Demonstration of technical and Visual Skills, Demonstration of Creativity
You have submitted sketchbooks that are personal and expressive, are annotated well and have been clearly enjoyed. Your work is moving forward and maturing well throughout this assignment outlining an experimental yet controlled approach to the development of your ideas. You are clearly taking a lot of creative risks, particularly with your mediums in your sketchbook. Your thoughts, note taking, references to articles, colours, shapes, patterns, are all being poured into the pages, so keep this up.
Learning Logs or Blogs/Critical essays
Your learning log entries are personally critiqued and evaluated throughout. At times the exercises do not follow the same sequence in your blog as they are laid out in the study guide so try if you can to put your comments up as you work through each exercise in order. I recognise that you didn’t always manage to write things up as you went along but it is crucial that when you put your work forward for formal assessment the assessors can find the work they are looking for. Assessment turn around is always tight and your assessors will not have the time to go looking for things as I have done for this assignment. Try to factor in a time a week to add things to your blog, then you will time manage much better as you get into the stride of writing up your thoughts. Your research is extensive, coherent and well thought out from a personal perspective. Don’t forget to research the artists that are suggested in the study guide as well as this is a mandatory element of your studies. You are remaining confident in your own written ability to reflect on your studies and are engaging fully with the research aspect of the course.
Part 3 is titled expanse. Look at the artists I have listed below to add to your own personal research. Try to get to see at least one exhibition that looks at landscape and drawing outdoors. This may help if you are unable to venture outdoors in order to get a greater sense of what landscape can be
John Sell Cotman
Pointers for the next assignment
Keep working for the next assignment as you have here, just try to stay in sequence in the pages of your blog and remain open minded to the sensibilities of ‘expanse’.