Posted in Foundation Drawing - ASSIGNMENT 3, Foundation Drawing - ASSIGNMENTS

Assignment 3 feedback

Overall Comments

You have learned a lot from using charcoal and developing your use of tone and line in this assignment. Your contextual work isn’t connecting, as you know, but we have discussed this and I feel confident that you are gaining a better understanding of what is required.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

 First charcoal drawing.


This has a good range of tones and a nice composition. The angled board gives a dynamic dissection of the plane and the curve of the vegetables across the back balances it out. The dark plum (?) and chillies balance too (left to right). You have used a lively broken line to draw the objects in. The fact that the outlines are broken mitigates against them flattening the forms, although of course to does still to an extent. I like the very dark squiggles across the side of the board too – they seem to suggest an intuitive move to create a tonal depth and a willingness to use experimental mark making to get there. good stuff.

Second charcoal drawing

24 Finished

Here the outlines are softer and often removed. Removing the outlines means that you lose the quirky expressiveness of the first drawing, but that you gain the potential for a more believable volume and depth to the drawing as a representation of objects in space. The board has been rotated to be in line with the paper and the tones have been homogenised. Because of this the drawing is less lively and interesting than the first one. Try using a putty rubber formed to a point as a white to your charcoal’s black and use them together to push and pull tones. Outlines are a collection of points along which an object disappears from view to reveal another. At each point there will be a simple choice to make between which is darker and which lighter. That may shift across an outline. For your drawing here you needed to make firmer decisions about which object each tone ‘belonged’ to and locate it. For example the back two onions; the shadow cast by the front onion onto the second is nice – could even be more decisive, but there is a trace of an outline sketched on the brow of the front onion when I would expect that brow to be very pale. Shading away onto the back onion so that the front one is clearly paler would throw the front onion forward and accentuate the three dimensional illusion.

These decisions about how far to use outlines, and how far to marshal tones accurately to create a naturalistic illusion are yours to make. You might like to experiment with both. Also, remember to look at other artists you admire and investigate what their own take on this is / was.


18 Finished

Your perspective drawing reveals your engineering and carving background. It is precise and accurate and also a successful drawing in terms of composition and selection.


Demonstration of technical and Visual Skills, Demonstration of Creativity

Of these two drawings, the first is much more what I would like to see in your sketchbook. I might be wrong but it looks as if it was drawn in situ at a concert. It is a genuine attempt to record what you see, without overly focussing on what you ‘know’ to be there. The blue pond on the other hand is unconvincing. The colours are a codification of the subject (trees are green and brown, water is blue) rather than a real record of what you saw. The water is much more likely to have been green, grey, or almost black and white.

Water is a mirror to the sky and whatever else is above it (trees), which is often grey or white. If there is any wind, then the surface is broken up and is a mixture. The water may also be coloured by the minerals or algae in it. You may prefer to make a monochrome drawing and then add some colour to it if using colour is confusing / complicated?


Context, reflective thinking, critical thinking, analysis  

Morandi – how might your notion of the meditative quality in his work relate to your own drawing and to your carving?

Picasso – how might his method of drawing and his approach (simplicity and potently) support your understanding of use of line and composition?

Pollock – Try to be constructive and specific about your reservations about Pollock. Is it his use of colour? Is it his generalised rhythmic compositions? What might this tell you about your own preferences for your work?

Try to locate artists that you yourself like and admire.

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis  

You write very well about artist and about your own work. Remember that this log is a tool for your own learning. Be constructive and reflect on your development as an artist in a way that helps you to hone your goals and learn from your material experimentation and contextual research.

Suggested reading/viewing

Context – (Jacob Epstein’s drawings)

Kathe Kollwitz:

George Baselitz wooden sculptures: 

Tony Cragg wooden sculptures:

Pointers for the next assignment

  • Reflect on this feedback in your learning log.
  • Look for artists working today who you feel are relevant to your own aspirations for your practice
  • Use a full range of tones
  • Be conscious of working from ‘pure’ observation, whilst also taking responsibility for your own contribution (composition, technical understanding, self expression)
  • Begin to interrogate the relationship between your drawing and your carving practices. What is the creative potential?

Please inform me of how you would like your feedback for the next assignment.   Written or video/audio. Well done, I look forward to your next assignment.

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