Posted in Coursework, Part 4

Project 1 Fabric and form

Exercise 1 Drawing fabric using line and tone

Started with some initial experiments, of which the following were the most interesting:

In the first I was trying to use quite heavy blocks of tone in conte to try to get the impression of the scene. I used a grey sugar paper with black and white conte for mark making. Although it wasn’t that successful it did get me started in thinking how to approach the exercise. In the second I started with a pencil sketch, and then was trying to over draw with a fineliner. It was heading in an interesting direction, but needed more thought as an approach.

Getting back to the exercise I used the approach of a pencil under drawing and fineliner to produce the following:

Towel in line. A4 sketchbook and fineliner
Towel in line. A4 sketchbook and fineliner

It catches the scene reasonably well, and the cloth has a reasonable feel to it. I was having trouble with the fineliner, however, and so many of the resulting lines aren’t as definite as I’d like. A good example is the broken lines near the bottom of the towel. Next time I’d better better using a brush pen – or better still a brush or dip pen for this sort of work.

I decided to follow up with a tonal study to continue with the exercise:

Shirt on door in conte in A4 sketchbook
Shirt on door in conte in A4 sketchbook

Again, the image has the right feel to it, and overall I’m reasonably happy. When working on the image I was trying to avoid the final image having significant outlines on it, after the comments of my tutor in my Part 3 Feedback. I like the end result. There are places where the separation of forms is less definite than I might like, but the effect has worked overall. The bottom of the sleeve on the left of the image is a good case in point.

Exercise 2 Emphasising form with cloth

I started this exercise with some (relatively) quick experiments in drawing clothed figures:

I then continued the drawing from photographs that I located for the purpose. I started with limited palette conte drawings:


Of the two I like the result of the lady sitting, but I feel I missed the mark with walking male. The face is too orange, and I didn’t capture the pose well. The feel of the cloth on the form works, at least to a degree , in both. The challenge of representing the form within the cloth is an interesting one, and one that I’m aware that people have spent significant efforts on. It is a fascinating area that can absorb a lot time and consideration – just look at what the Greeks achieved.

Research point: Nude Arguments

I look at Ways of Seeing earlier in the course, and the idea that many of the classic nude oil paintings are created by men for the pleasure of men is clearly visible in some art work. This intersects in an interesting way with the Gorilla Girls comments on the advantages of being a woman artist, and the state of the overall art market with respect to feminism.

All of this is commenting as much on society and attitudes to nudity and social norms as to the artist and model. Going back to the Greeks and depiction of nudity seems to have been normal, and expected within art. The early Christian attitude to the depiction of nudity, however, has flavoured the discussion. (c.f. Life Study: The Nude in Art – a Brief History)

I’ll expect to be coming back to this subject with alacrity….

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