Overall Evaluation

Looking back over the work of the course I’m starting to understand how much of a journey it has been. My approach to creating work has changed significantly, as has the work itself. Much of this development has been a result of considering my tutor’s thoughts and comments on the work, which has been enlightening. The following provides some specific commentary on areas I feel have developed significantly over the course:

More drawing: Fairly early in the course, for example, my tutor identified that I have a tendency towards book work rather than actually drawing. This flowed partially from the way that I manage to allocate time to the course and work of the course. As a response to this feedback I started to find ways to use this time to actually draw rather than just writing about it. This had the dual benefit of getting me to do more drawing and less reading about it, and meant that I became more experimental and less “hide bound” (his term) in how I was approaching the course.

Other artist’s work: As the course progressed, I started to find ways to more explicitly link my viewing of artists back into my drawing practice – which has led to an improvement in my approach. This can be observed most effectively in the part 5 working cycles, as I started to more explicitly integrate the linking into my work. The Egon Schiele blog article provides a flavour of this changing approach. At the same time, however, I have been changing the way I view and consider the work of other artist in a more general sense. The National Gallery article on the blog illustrates this changing approach. This new approach underpinned much of the work in Part 5.

Line and tone: Through the course I have been working on a tendency to draw border lines on objects which I don’t fully remove in the final piece. Over the course of the course I have also worked to improve my tonal range, and to use tone effectively to provide an illusion of depth. The issues are clearly visible within some of the submitted pieces and the sketchbooks. See pieces 3 and 6, along with supporting pieces B, C and D. As can be seen in some of the submitted pieces, however, I have made progress in this area. See pieces 8, 9 and 10, along with supporting piece H.

Colour: Another development area for me during the course has been my use of colour, as I started the course with very little colour experience. I have a tendency towards the use of overly vivid colours, almost fauvist, and colour selection based strongly within local colour. I can’t declare a complete victory in this area, or a mastery of colour theory. I can claim, however, to have made significant progress. I am starting to gain a better understanding of colour theory and select hue, value and saturation more carefully. This is a few steps of a journey for me rather than a destination that has been reached. As part of this journey I have started to try painting based on a limited source palette. The act of mixing the paint to the correct hue, value and saturation is helping me to understand and apply colour more effectively.

Composition: The importance of composition and how best to approach it is an area that I feel I have finally started to “get”. I have a long way to go to start to reliably create strong compositions, but at least I am starting to consider the composition as the important element that it is – and find ways to improve my compositions.

Editing work: What to include, what to emphasise and (more importantly) what to leave out is a series of judgements that it has taken me a while to fully appreciate the importance of. As with composition, I feel I have a way to go to truly master the making of such decisions.

Mark making and media: Each new media I approach takes a significant amount of experimentation and practice to work out how to use it effectively. I feel this is one of the factors that enhances my charcoal work, which I have some previous experience with, over much of my colour work. I am, for example, beginning to improve the way that I apply pastel and selecting an appropriate paper for the image that I am trying to make.

More generally, however, I feel that the course has helped me develop in a significant way. I honestly do not feel I would have been able to make such significant progress working just from the course materials without a tutor, and most definitely not on my own without the OCA.

I intend to continue with my drawing work and have started painting as part of my overall practice. I have found an interest in drawing for the sake of drawing, whereas I previously only considered drawing as a means to an end in creating my wood carving work. This is, to me, a somewhat surprising development. My next step with the OCA is to return to sculpture, using drawing to underpin my practice, with Sculpture 1 course. This will should allow me to development my approach to linking my work to other artist’s in a way that I hope will take me on a new sculptural journey.

Contents List

Course Work Blog Physical Work G-drive
Assignment 1   Warm up
Project 1
Project 2
1. Part 1, Project 2  

Odilon Redon tonal drawings.pdf

Part 1 Coursework.pdf

Assignment 2 Project 1
Project 2
Project 3
Project 4
Tutor Report and Reflection
2. Part 2, Project 3
3. Part 2, Project 4
A. Part 2, Project 3
Considering part 2.pdf

Composition of Still Life.pdf

Part 2 Coursework.pdf  
Assignment 3       Project 1
Project 2
Project 3
Project 4
Project 5
Tutor Report and Reflection
4. Part 3, Project 5 5. Assignment 3 Project 3
Research Point Landscape Artists.pdf

Assignment 4       Project 1
Project 2
Project 3
Project 4
Project 5
Project 6
Tutor Report
Life Drawing
6. Life Drawing, Charcoal, March 2018
7. Tonal Life Drawing, May 2019
B. Life Drawing, April 2018
C. Life Drawing, March 2018
D. Life Drawing, Jan 2019
E. Assignment 4: Seated Figure
F. Assignment 4: Reclining model
Approaching Part 4.pdf
Considering part 4.pdf
Nude Genre.pdf
Project 1 to Assignment 4.pdf  
Assignment 5       Approach
Cycle 1
Cycle 2
Cycle 3
Cycle 4
Cycle 5
Tutor Report
8. Part 5, Cycle 1
9. Part 5, Cycle 4
10. Part 5, Cycle 5
G. Part 5, Cycle 3 H. Part 5, Cycle 4  
Learning Log       National Gallery
British Museum
Tate Modern
Egon Schiele
Landscape Artists
Composition of Still Life
Modigliani Degas
Ways of seeing
None submitted Considering personal visual language.pdf  
Tutor Reports   Assignment 1
Assignment 2
Assignment 3
Assignment 4
Assignment 5
  Original PDF files provided.
Contact Sheet      


1. Part 1, Project 2:
Two pots, Charcoal

Despite technical errors in projection I like the way that this turned out. The tonal range and shadow projection comes out well.

2. Part 2, Project 3:
Still Life with line

This drawing is one of the best I’ve achieved with a dip pen. I like the composition and the look of the final result. There is some feeling of depth within the image.

3. Part 2, Project 4:
At Home
I like the way the composition turned out on this, and the curtain in front of the garden scene is believable.  

4. Part 3, Project 5:
London’s Wobbly Bridge
I like the way that this depicts both the bridge and its surrounding context. The composition has worked reasonably well, including elements of both linear and atmospheric perspective.

5. Assignment 3:
Langdale Farm
As a large scale charcoal drawing I was pleasantly surprised how well this turned out. The composition worked well, and there is a believable sense of depth.

6. Life Drawing, Charcoal, March 2018 This is one of my favourite early life drawing images. It has reasonable tonal representation, and a level of context for the figure.

7. Tonal Life Drawing, May 2019 In this life drawing I concentrated on tone over line, though lack of time means this isn’t complete. The foreshortening has worked well, and despite technical errors I’m happy with the overall composition and feel of the image.

8. Part 5, Cycle 1 Rockcliffe winter sunset, A1, Charcoal. I like this image because I feel it is somewhat successful in conveying the feeling of the scene. The use of lighter tones pulls the eye to the centre, and then round the scene. The tonal range is good, and I feel the “editing” of the trees has supported the overall image.

9. Part 5, Cycle 4 Tankerton slopes, Acrylic on paper. This image is a development of earlier experiments. The colour is somewhat false, but I feel it has succeeded in conveying the impression of the day in a way that a more realistic representation of the day doesn’t.  

10. Part 5, Cycle 5 Elbigenalp summit cross, A1, Charcoal on paper.

This cycle was very much a stretch target for me. The intention was to convey an impression of this summit cross, and its alpine context, on a day when the weather was drawing in. The image is the result of a number of experiments, and I feel has been successful in a number of ways.

Supporting Drawings

A. Part 2, Project 3: Broccoli
Although this image suffers from technical issues I’m still reasonably happy with the result. The light/dark on the table has worked, and there is less evidence of representation with local colour than much of my work.

B. Life Drawing, April 2018 As a figure within a context I feel this drawing has worked fairly well. I like the overall drawing and the way that the pose has come across. There are, however, a number of issues in the representation which detract from the final result.

C. Life Drawing, March 2018 This sequence from a life drawing class works in many ways. The increasing time for the different poses has produced increasingly sophisticated images. There are technical issues, but overall I feel it works well.

D. Life Drawing, Jan 2019 Despite technical issues and the reliance on line I like the overall feel of this work. The foreshortening has worked reasonably well, and the context the figure exists within comes over well.

E. Assignment 4:
Seated Figure

There are many aspects of this drawing that work. I like the way the tri-colour approach has worked and the overall pose. Unfortunately, the near hand and a slight misalignment in the face detract from the overall feel.

F. Assignment 4:
Reclining model

There are many parts of this image that I like, but I over worked the face. This means that I feel the image is less balanced than I would have liked it to have been.

G. Part 5, Cycle 3 Fountains Abbey, A1, Watercolour   There are many aspects of this image that I like, but feel that it would have made a better impact at a smaller size.

H. Part 5, Cycle 4 Tankerton slopes on a winter’s day, A2, Pastel. This is a somewhat more realistic version of the Tankerton slopes image in the main set. I feel the more realistic representation doesn’t have the impact of the false colour scene.