… You have responded well to the challenge of working things out THROUGH drawing that I set you last time. There’s a palpable sense of you taking control of the work in this submission. You’ve deliberately avoided doing in depth ‘book’ research in order to focus on making. This has worked. Well done. Obviously there’s work to do, but I feel that you have made good progress with this submission and that the work you have made is more ‘you’.
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
The best pieces here are probably:
- The final piece: This is ambitious and you’ve managed to convey a lot of complex information. Well done for trashing the bricks as individual things.
- The double A4 drawings of the ‘wobbly’ bridge. The ‘reversing out’ of the bridge – making it lighter than its background – is a good move and relatively sophisticated. The tower blocks, especially those in the distance are handled with economy. Think about how not have ing outlines works for these and bring that technique further forward. St Pauls is not great though, as you know.
- The Whitstable pieces. Your ‘amped-up’ colour is a good move. The density of the images acts as an organising device and means that perspective (in the squarish drawing) isn’t that important. We discussed how Lowry would arranged rectangles behind one another to suggest space. almost like flat scenery in a theatre.
- Linear perspective is tricky but done fret about being mathematically accurate. The ‘station’ car park drawing is a good example of this. (I recommend tracing that in ink or redrawing it as it’s suffering).
- You have a tendency to lean uprights. You’re aware of it, but keep working at it.
- The nervous line you use sometimes acts as interference. Try and use fewer lines.
- Sometimes you have outlines round things that done really need them Be more confident in the blocks of different tones next to each other from a ‘line’ without there being one.
- As you have identified, pencil crayons rarely produce deep colour.
- At times you scribble when more controlled line work would help. You know this. Look at how Van Gogh (or Cézanne) use a tight vocabulary of rhythmic marks on works.
- Don’t worry if space is flattened or compressed. That’s an important trajectory of Modernist thinking. Look at Matisse to see how background can become as important as foreground.
- The thinking in the run up to the final assignment piece is good. You’ve assessed the strengths of the work made so far and worked hard to exploit some of them. Well done.
- Try not to use a ruler if possible. The lines produced are relatively lifeless.
All in all this is an improved submission. There are some issues with representation (St Pauls in the landscape study is a good example), but the energy and intensity counteract that.
I mentioned Dora Carrington’s Watendlath in relation to your final piece: See how she flatters the space and allows the fells to loom over the buildings. This is usually on show in Tate Britain:
The following two works by Tooney Philips show how tone can explain volume without using outlines:
Demonstration of technical and Visual Skills, Demonstration of Creativity
- The A3 Landscape format is good. Keep adding to this.
- There’s some good enquiry in the sketchbooks. Well done. Keep it up.
Context,reflective thinking, critical thinking, analysis
You have focused on making in this submission to counteract the ‘rabbit hole’ of research you can sometimes fall into. However there is some good stuff in the landscape research page. Lowry ought be important to you. Look at what he DOESN’T include.
Learning Logs or Blogs/Critical essays
Context, reflective thinking, critical thinking, analysis
- The new structure of the blog is good. It has allowed you to reflect more constructively on the work you make.
- You have meditated – and written about that thinking – on how the methods you are used to employing in work (and in previous study) are fundamentally different from those used n art practice. There’s some really good insight here. Well done for taking the time to address this. I think it will pay off in the long run.
- There are opportunities to link to other artists that you have missed, though this might be part of the discipline you adopted for this section. However, they are:
○ Egon Schiele’s line work (mentioned in the last report) could be used as a way of ‘measuring’ your rooftop drawings of Whitstable.
○ Kandisnsky’s colour palette could be referred to in relation to your colourful pieces.
○ The link to John Virtue could by made clearer.
Look at Seurat’s tonal figure drawings to see how not having outlines (and adapting the background) can help show the volume of a figure:
You may want to look at Schiele (again) as his figure drawings are exquisite and use (unlike Seurat) a confident line which contributes to the composition.
Pointers for the next assignment
- Reflect on this feedback in your learning log.
- Follow up on the suggestions I have made.
- Be aware that to explain the volumes of bodies and faces. it’s often best to not start with a single outline (notwithstanding my Schiele advice above). Think of the multiple curved lines that roll around a body.
- Side lighting can really help when drawing the face as it reveals a lot of structure.
Please inform me of how you would like your feedback for the next assignment: Written or video/audio.
For Level One students I recommend having two video tutorials – for assignments two and four – although this isn’t a hard and fast rule and you’re under no obligation to have any.
Well done, I look forward to your next assignment.
|Strengths||Areas for development|
|good sense of exploration and ‘working out’ through doing||Be more confident and less fussy in your line works|
|Pushing the colour is working. More please, if possible||Tonal work: be prepared to let them sit next to each other|
|Dense, intense, cropped compositions||Link your work to that of others and make it clear that this is what you’re doing|
|Tutor name||Bryan Eccleshall|
|Next assignment due||25/1/19 – Let me know if you’re ready earlier or need more time.|
Reflection on feedback
The feedback has been very helpful. I’ve drawn the following major learning points from it:
- I need to address the “slanted drawings” issue even in my sketchbook where I’m considering submitting it.
- I need to be more considered in my mark making, again even in my sketchbooks, and avoid “scribbling”.
- I need to (cautiously) reintroduce consideration of other artist’s work – without letting it overwhelm my own visual research. This includes going back into my Part 3 work and adding back in consideration.
- I need to keep working on colour to find a style and approach that looks good and I’m happy with.
- I need to consciously avoid outlining objects I’m drawing, as it is causing limitations in my representation.
- I need to keep a focus on editing my drawings, as I have a tendency to include unnecessary elements.