Started following the instructions with hashes and lines.Rubbed out:
I’ve documented a few more than the “3 favourite” ones, and these are a fairly small selection of the total. I enjoyed this one, and it has underlined how little I’ve experimented with charcoal.
Reading through Visualising Research [Gray, 2004] and relating it to the course, and art practice in general, I was pondering how they fit together. Grossly simplifying the approach of the book the key steps they are suggesting include:
- Decide on a question that needs consideration;
- Work out why the answer is important;
- Look for information about the subject, and use that to refine the context from (1) and (2);
- Work out from this how to approach the question;
- Do the work, refining understanding and context as you go;
- Reflect of what you’ve achieved and what now.
I’ve learnt something of the mechanisms of drawing, as well as the properties of some of the materials. (Charcoal, pen, different grades of pencil.) The exercises and consideration around the start of the course have made me think on the need to experiment with materials and approaches. Even the process of drawing circles in Project 0.1 had me considering the materials for making marks.
Outside of the warm up exercises, this start up period for the course has had me reflecting on the meaning of art education – as well as the process for it. From the Introduction to Art HE course through to my confusion around Action Art’s meaning and value.
All in all, an interesting few weeks starting up. On to Part 1 of the course.
I’m enjoying playing with charcoal. It was difficult to follow the instruction again, but it has made me more aware of the movements that generate the drawing. Continue reading “Project 0.3 Shoulders”
Considering Rachael Evans blog [http://rachelevansart.blogspot.co.uk/, URL Viewed 11/06/2016] there is a lot about the art being in the making process as much as the result. Art as Theatre almost.I struggle to see the end result therefore as being valuable if I’m honest. Continue reading “Action Art”
That was an odd Journey. I started looking at the Tom Marioni and Rachel Evans in preparation for the second half of Project 0.3. More of that later. Rachael’s work lead me to considering Andrew Goldsworthy, which lead me to the Visual Melt web site. (Hang on I’m getting there.) At the bottom of the Visual Melt pages they include images from other artists, which you can click on to get to more images from the artist. (A dangerous site if you’re short on time.) One Artist that particularly caught my eye was Warwick Goble.
The following seems to be a typical piece of work:
The Star Lovers by Grace James, Illustrated by Warwick Goble. URL Viewed 13/06/2016
My main challenge here was how I hard it was to follow the instructions. I found drawing without moving my arm difficult. I eventually managed it by starting small and slowly making the movements larger. If I found myself cheating I stopped and started again. If the point was to make me more aware of hand, arm and general movement when drawing it worked. Continue reading “Project 0.3: Fingers and wrist”
As I’ve not really done any form of art education I’ve realised that I don’t have a form, or framework, to comment on art. (Analyse it.) So I went looking for somewhere to start.
These articles were useful:
- BBC Bite size, URL Viewed 10/06/2016: Is a start point intended for GCSE students.
- University of Arkansas, URL Viewed 10/06/2016: Extends this and provides more rigorous guidelines – as well as some examples in a related link.
- Gallaudet Uninversity, URL Viewed 10/06/2016: Is between the two but specifically about analysis of painting. There is an example of a self-portrait of Rembrandt with notes about its development.
From these I’ve created a Drawing Analysis Checklist which I’ll put in the back of my learning log for consideration. My intention is to extend and revise it over time, but I’ll see if it helps first.
I misunderstood the instructions the first few tries. I had fun, but stopped the second stage way too early: