Reflection – Part 4 – Assignment

Demonstration of Technical and Visual Skills

Materials

  • I have tried to extend my use of materials as I have worked through this part of the course but unfortunately found myself drifting back to those I find most comfortable.   I don’t think I have been very successful in using free flowing materials and struggle to find the composition and form rather than the more emotive possibilities of different kinds of drawing materials.
  • It would be useful to be pointed towards different kinds of drawing and I remain confused about where drawing stops and painting begins.  Is there are dividing line – I don’t think so but fail to apply this to my own work.
  • In terms of trying materials I enjoyed going out on a limb and using edible stuff and spices. However felt constrained by time limits and the push to get through the different exercises.
  • Pleased with working on heavier paper and the wet on wet technique – could use this more and with a greater variety of media

Techniques

  • My technique has developed in some areas but it remains patchy.   It is still hard for me to pause and consider rather than dashing in to get marks on paper.   This is somewhat driven by the format of life class itself.
  • I did surprise myself with getting the essence of the figures in some of the quite short poses – I find that the longer I work on a pose the more it tends to deteriorate  learning to work in stages on a drawing – particularly ones of up to 2 hrs or longer is a challenge for me.  It is a bit like the experience of doing the Assignment 4 seated pose.    The studies are far more vibrant alive and energetic than the final piece.

Observational Skills & Visual Awareness

  • Again the issue is consistency – sometimes I can manage to hold my concentration. I think the skills are developing even if it is to notice more accurately what is not working. I don’t always know how to rectify this.
  • I believe I am still easily distracted by what I think is there rather than really effective looking.   It is easy to get carried away with an exercise or study and loose the essence of piece.

Design & Compositional Skills

  • Interestingly I think this has been less successful in this part because the body gets to dominate my thoughts rather than how the body or head is in the landscape/frame of a piece.
  • I have tended to draw whole bodies because that is what I think is expected although we have been encouraged to look at other artists where obvious dynamic compositional choices have been made.  I don’t think I have done this I have just centred on drawing the form of the body.

Overall although I have loved completing this part of the module I don’t think in terms of these components it has been as successful and I would have liked.   Maybe it is about identifying all the issues and hurdles initially before I can move things forward.   A body/head is so much more subtle a subject to capture and therefore needs more than I have to offer at this stage.

Quality of Outcome

I think key words for this whole part  4 are patchy/unpredictable/inconsistent.    This refers also to the quality of the outcomes.   I think my work is coherent but as commented in the previous section sometimes hits the spot and sometimes does not.

Again this is due to the way I consciously or unconsciously approach the exercises.   Sometimes I start out with conscious intentions and can sustain through the piece but this is not always true.   There is still not enough stepping back and reviewing.  It is not that I over judge my own work as being successful when it is not but have not found a way to take the lessons forward and incorporate them into the future work.

I believe that the necessary review before I make choices for Part 5 will be critical in becoming more discerning.  I will need to build in some key learning and development targets into this.

Demonstration of Creativity

Not surprisingly some of the comments related to the previous sections are also relevant to these area. There are ideas bubbling away through this section particularly those that link my interest in the dolls with Hans Bellmer and my own image (self-portraits) designing myself as a package.

Experimentation has taken place not only within the course exercises as with the food stuffs and packaging but when taking the short course about textures and surface.  These have all fed into my moving forward thoughts about areas of interest to explore further.

Context

I have aimed to look more widely at sources and images to give greater depth to my understanding of the context surrounding the body in art. There are books etc that I wish to tackle but have found some of the writing rather opaque and don’t believe I have enough understanding of the way art historians think about artworks.

My reading has though made me more aware of the cultural, historic, economic, social, gender and identity aspects of art – particularly in relation on women’s’ artwork. Though as yet I am confused about what is being talked about with feminism and post-feminism.  My last foray into being analytical about the arts was in the 80s not at the height of the feminist era but when many of the first wave of feminist art history was emerging as well as development of philosophical thinking i.e. Griselda Pollock, Rozsika Parker etc. Some of these books are now coming out again as “classic” editions. Presently I would like to tackle this as part of the Part 5 study but need time to think about how to approach this without being sucked into too much theoretical analysis.

Seeing work like the Cathie Pilkington exhibition has encouraged me to believe that there is some good/successful/strong women’s work out there that does not pander to excessive response to male stereotypes.   I don’t precisely know what I mean by this but that is how it came out.

Conclusions

I have hugely enjoyed working through the part of the module and would like to have stayed longer with some aspects of my work.

I am clear that I need to:-

  • Think more before I act
  • Make more conscious decisions at different stages as I am working through a piece
  • Stand back more
  • Review more
  • Experiment more
  • Mix up the media – extend my vocabulary
  • Become more analytical about artists work – ask myself questions

 

 

 

Advertisements

Part 4 – Project 4 – Exercise 2 – Three Figure Drawings

Lounging Figure

Project 4 exercise 2 lounging sketch1

Firstly I was thinking of using different materials and ways of depicting the figures.   This first study I wanted to use charcoal and rub back but unfortunately the paper was resistant and peeled away.

project 4 exercise 2 lounging sketch 3

Then tried brown paper from shopping carrier bags with chalks and conte sticks.   This is helpful in building up a better depiction of the figure.

project 4 exercise 2 lounging sketch 2

Finally used a combination of both on a watercolour paper.  Maybe would have worked better with a wet medium first and then working on top.

Lounging Figure longer piece

So for the final piece I went back to the carrier bag brown paper and different chalks and conte sticks.   Partly successful in terms of depicting the weight of the figure on the floor. I think I am still hesitant in getting enough distinction with the tones across the figure.

Standing Figure

Project 4 Exercise 2 standing sketch 1

Wanted to go for a completely different approach with this pose.   Using the not looking blind drawing initially and then building up with different materials.

project 4 exercise 2 standing sketch 2

project 4 exercise 2 standing sketch 3

I like the initial image best.   It has more character and its abstraction works for the pose.

project 4 exercise 2 standing sketch 4

In line with spending longer on the final image and using a different material I used red biro with a continuous drawing kind of technique. Very ambiguous about this.   Not successful.

Standing Figure - Auerbach

Went for the Auerbach technique. It is not that accurate but structurally it is more interesting than the biro drawing.

Seated Figure

SEated Figure - Degas

My final pose and technique was thinking about Degas and the drawing I had previously made of the standing figure. So this is water soluble crayons on pastel paper. I have endeavoured to be freer with the mark making.  This is a bit of a hybrid in that the form is there, the pose is there but something is missing.

Conclusions

The anatomy studies are definitely adding to the drawings by my growing awareness of the structures beneath the form.  However I am feeling driven by trying to achieve so much in such a short period of time.

I have been going to regular life classes but you can’t always get the poses and timings that suit the course exercises. I’m finding that my accuracy changes from week to week and depending on the model what I am trying to achieve.

Recently I was trying to create a large study of a naked lady in a long pose class and had clearly chosen the wrong materials and wrong angle to achieve an interesting outcome.   Going to take a step back and think more about the composition before I start and the possibilities of the materials being used.

 

Part 4 – Project 3 – Form – Exercise 2 – Essential Elements

2 seated 10 minute clothed

 

seated 10 minute clothed

These first two sketches the model was clothed as the proper model failed to turn up. So our tutor sat for us.   I really enjoyed depicting the clothes which helped to find the form and weight of the figure. These were 10 minute sketches.

10 minuted seated leaning

 

standing 10 minutes

 

seated 10 minute nude

Then one of the class agreed to sit for us in his underwear.   He was a good model and I tried the technique of going as slowly as possible building the form and the tone simultaneously.

seated 40 minutes

This last pose was longer – 40 minutes and I got a bit lost.   Firstly the proportions got out of focus so that I felt I was too far on and did not adjust them sufficiently. However I did work more on building up the tonal areas in different ways and with different colours – all conte, chalk and pencil detail. The fact that the sofa is more there helps him look more seated. The study of the upper torso is pleasing.  And the legs but somehow the middle is too extended.

Need to stand back and check proportions early in the pose. Different materials adds to the complexity of the image.

 

 

Part 3 – Project 5 – Exercise 1- Townscape Drawings

project-5-townscapes-exercise1

Initially I was trying to capture the shape and perspective of the view of Shoreham-by-Sea from the pedestrian bridge.   The tide was quite hight and the rig on the right was reflected in the water.   This reflection was what drew me to the scene much more than the buildings which do not interest me very much.

project-5-townscapes-exercise-1-2

I then moved onto a more tonal approach which I is more successful in terms of showing the sober overcast winter day. The reflections and the foreshore come over stronger in this study. Little difficult trying to decide what to leave in and leave out.   There were a lot of vehicles and men but these seemed only to confuse the composition.

project-5-twonscapes-exercise-1-3

Finally I drew s more detailed drawing from the other side which is the road bridge.   Concentrating on the rig which was repairing the sea wall.  Unfortunately I chose a pencil which is very faint.

Learning:-

  1. Buildings and their environment are not my most natural elements
  2. I am interested in the river its ebbs and flows and the reflection on the water.
  3. Also I like the long view better than the detail – see next exercise.
  4. It is important to make early compositional decisions about what to include and what to leave out otherwise the images can get very confusing.

Part 3 – Project 3 – Exercise 2 – Foreground, middle ground, background

foreground-middle-ground-background-p-69

Again I chose to develop one of the sketches which I had drawn in the 360 exercise at the top of Highdown Hill.   Weather being what it was I couldn’t now draw outside so using sketches, photograph and grid I worked up the drawing to an A3 size on cartridge paper.

I am not sure now whether it was meant to be a black and white drawing but I used my water soluble coloured pencils throughout. This type of exercise is not something I have ever tried to do before taking something back to the studio to develop and expand.

In terms of a foreground, middle ground and background exercise it is not the best of subjects because the foreground is rough grass and  indistinct paths.   I think I stuck with it because I like the banks of trees and bushes and the tones still remaining from branches leaves and undergrowth.

I really like the structural elements of the middle ground and pulling out the shapes. I am disappointed by the background mostly because the paper I had used is not very good when water is applied and buckled.   Did not allow me to blend the pencils and sort of gave up because I didn’t want it to deteriorate any further.

What I learned:-

  • I learned about building up the layers
  • I learned about picking the right materials – paper for the job in the first place
  • I learned that I really liked doing this drawing which surprised me
  • I learned that I need lots of practice to render the 3 areas of a landscape successfully

Part 3 – Project 3 – Composition – Exercise 1

study-development-p-67

I decided that the composition was strong enough to use the preparatory work  I had done on the 3 trees theme earlier in the course.

My aim was to build on the experimentation I had done with the different methods of depicting the trees and the environment.  As the original sketches were done outdoors in October and it is now December I decided to work from the sketches and photographs which I had taken.   The day I was working was something of an Indian Summer in October, the light and shadows were strong and the light piercing through from the sea.

This is the now remnant forest Goring Greensward which I often visit.

So I started with 350gm A3 watercolour paper and had a photograph and grid to scale up the work.

Started with the oil bars technique but this time using a number of colours of oil bar to lay down the main elements of the composition.   Using turpentine I blended in some of this paint and then using conte black worked up the trees and their branches.   Worked back in with oil pastels. Various stages of scraping with old credit card and craft knife.   Continuing used coloured ink washes in various parts.   When this dried used white goauche to pick up the highlights of the light coming through the trees.   Finally using black indian ink and the side of the credit card built up the branches in the trees.  Scrapped back again and added touches with 6B pencil to bring back the definition in the drawing.

Conclusions

What I like:-

  • I still like the composition a great deal and can conceive that I will work on it again and again. Could imagine different seasons and lights and yet more techniques.
  • I think that the heavy watercolour paper works for me and in some ways I would like to keep working on this pushing it out and pulling it in again.
  • The variety of materials is good although I don’t think I am bringing enough finesse to their application in all cases – it is getting better.
  • The drama and strength of the shapes appeals strongly – I have struggled with less explicit compositions.

What I don’t like:-

  • If it had been bigger I think I would have worked in a more dynamic way – in some ways this size does not develop the theme much beyond the studies which I had previously prepared.
  • Because the light was so intense I think that using the white gouache is too clumsy and will probably drop this down again.
  • Working from the photograph there is not a lot of details of the trunks of the trees which is one of the most interesting part about them.
  • I had thought about bringing another element into the composition but because I was not working live I thought I had better keep it simple.

Learning:-

  • Go with the gut feeling – if it felt it should be bigger go bigger – unfortunately I didn’t have bigger 350 gm paper.
  • Keep working on a piece go back to it when it feels right.
  • Do more sketches in different conditions
  • Bring in multi-directional viewpoints?

 

 

 

Part 3 – Project 2 – Exercise 2 – Sketchbook Walk

1-65

Drawing landscape is something I have literally never done so it was an adventure in itself.  One of the places I walk my dog nearly daily is Worthing/Ferring beach.   This first sketch was walking towards the West.   It is December and not a very bright day. However having drawn the sketch above I decided not to dull down the sky and light effect as it is a reminder of sometimes how bright a lovely the light can be. So to that end it was  a correct representation but not in colour.

2-65

I worked with water soluble crayons and charcoal.   The weather is getting very cold and my hands are freezing.   The murky colours and shades of the sky, sea and low-time beach are descriptive of the day.   For a quick sketch I was surprised how much I was able to capture.

3-65

Being determined but freezing I turned towards the east and tried very quickly to bring out the characteristics of Goring Greensward – this is a forest remnant that comes almost down to the sea.   I was able to capture the directional qualities of the scene but no detail or tone.

4-65

Even sketchier as my fingers were all but gone at this stage.  Turned towards the north and Highdown Hill(see 360 exercise next). Proportionally this works but I was not able to capture any detail or tonal qualities.

Considering I have never tried this kind of work before and the conditions were not good for staying outside I was pleased with what I had managed to capture in 1 hour. Also it made me more aware of what variety there is to capture.