Feedback, written up by myself based on a video session…
Overall, this part represents good assignment submission, where you have clearly enjoyed yourself and improved you observational drawing. You have clearly engaged with the part and learned a lot about drawing and the use of negative space. The work shows good progress through the exercises and the sketchbook. Continue reading “Assignment 4 Feedback”
As the Project calls for “an abstract image on the theme of balance” I’ve been reflecting on the connotations of that. Initially my thinking was “Balance of what?” Continue reading “Project 5.1: Reflections on balance”
Used Corel Paint Essentials to do a bit of painting directly onto the image. Although this is off-spec for the brief, I’m expecting to need to do some of this to help blend the drawn figures into the landscape. No real attempt here to make high-quality drawings. More a case of playing with the medium.
Started by inking up the plate and adding a combination of grass, feather and a dried leaf on an acrylic plate. Applied a textured watercolour sheet and used a second roller to print. Continue reading “Project 5.1: First play with print”
What have I learnt?
My tutor (Emma Drye) labelled Jackson Pollock as a “Painter’s painter”, and I think I am beginning to understand this statement. Much of this work is about the act and experience of painting. The observer is expected to understand this – at least to a degree. I was close to the point when I wrote about “Art as Materials Study,” though that is only an element of the overall meaning. Add in a dose of an artist trying to get you to spend a significant amount of time on their work, whether in appreciation or struggle. The observation of this work becomes an experience in itself, and that is beyond the encoding on meaning into the symbolism of a flower. Continue reading “In the Studio: Reflection”
“Infinity net painting.” Oil over acrylic works, not the other way round. – Big douse of black, with a bit of colour for interest. Think what to do with edges. Kusama often left them primed. Making the ground very smooth, rather than having brush strokes visible. Allow to dry then sand with 120 grit. Provides a less glossy surface and exposes the weave slightly. Continue reading “In the Studio: Yayoi Kusama”
Ad Reinhardt worked in Oils, and needed good quality specific paints to achieve the effects he wanted. He produced a very matt quality of paint by withdrawing medium. Impressionists did this by taking paint and putting it on absorbent paper, but Reinhardt mixed prime colours 9Red, green and blue) into larger amount of black to reduce the value and get very deep blacks. He used a small amount of pigment, then 10-25 times as much Mars Black. He dissolved this in a lot of solvent, very thoroughly mixed. This is sealed in a jar and left to settle out, so that most of the binder is in the solvent. The solvent is now decanted. Repeat the medium extraction until the consistency works well. May need 3 repetitions Continue reading “In the Studio: Ad Reinhardt”
Trying a test of making a dry glaze using slip. First test of 80ml slip (in this case Pot 6 Lime Green), Frit at 1/4 tsp, 1/2 tsp and 1 tsp strengths (in this base Frit 3195). The tests are left to right in “stripes” below:
Continue reading “Test tiles”
On my way up the country to a family holiday in Cumbria we stopped off at the Yorkshire Sculpture Park. This was planned as a stop over in the long trip from Kent, but gave me a good opportunity to take in some art along the way. There was a great deal to see, and if you’ve never visited and get the chance plan to spend a while there if you can. The following outline a few highlights of this trip. This write up is bereft of images as I have no idea on the copyright issues of including them. I have, however, included links that are worth following for images and more information. Continue reading “A trip to the Yorkshire Sculpture Park”
Suitability for submission
Demonstration of technical and Visual Skills
The pieces of Project 4.1 and 4.3 have required me to develop a number of new technical skills to produce – especially around line art, production of a wider tonal range and drawing without the use of an eraser. These should be tested quite well in parts 5 if I do the print and narrative options, as I intend. I’m happy with the composition, and that scope that it allowed to demonstrate tonal range in the drawings. I’m also fairly happy with the level of observational skill and interest in the drawings, despite being able to see a number of issues retrospectively. The hands were a particular challenge in Project 4.3. I had to look into anatomy and do plenty of practice to even come up with a passable set of hand images. The feet were slightly less so, but still quite a challenge. Continue reading “Part 4 Evaluation”
Coloured pencil on white sketchbook paper. Enjoyed this one. Would like to do bigger in pastels. There are issues in the rendering, as might be expected in a sketch, but I think the idea has potential.
Observation and Construction
In all cases, I’m not totally happy with the images but they are a definite improvement over where I was. In the hands images, for example, I’m not that happy with the fist. I was going for a darker image in the tonal range (which worked), but I’m not as happy with the observation and accuracy of this one. In the touching feet, the background needs a level of work. I might also have put more effort into the rendering of the material of the jeans. For the crossed feet the toe on the right foot (on the left hand side of the image) is a little too bulbous. Similarly the arch of the foot is somewhat off. Continue reading “Project 4.3: Evaluation and Reflection”
As the purpose of this exercise was to copy another image the 5C’s approach isn’t that enlightening. I will, therefore, concentrate on responding to the questions that the assignment posed instead. Continue reading “Project 4.2: Evaluation and Reflection”