I waited a while between the last tutorial to write up my reflection on the feedback. This is partly because I have been very busy, and partly because its was worthy of significant consideration. In approaching Part 5 I was focusing more on my approach to work than on the finished result. I am planning, as discussed, going to create more work using this approach and possibly base much of my on-going work on the approach I’ve developed during this part. Where relevant I will update the cycle write up for the work I complete before submitting for assessment. If the new work is part of the best then I will include it in my assessment submission, and I would hope that there will be at least one piece that does.
You set out a clear plan – described as a
series of ‘cycles’ – for the creation of several work informed by the work of
other artists. As discussed, the submission seems a little thin when compared
to – for example – the figure drawing submission last time. You have time to
return to the project(s) you have set yourself and flesh them out and explore
them more fully.
Developing a body of work that conveys the feeling of the landscapes.
This enquiry was focused on building a body of work, rather than a single drawing, which was trying to convey the feeling of places in landscape drawings. This meant selecting an appropriate approach to creating the image that would convey something of the image which isn’t based in technical accuracy.
… As discussed, you have been attending life classes throughout your Drawing One time and some of the work you submitted is over a year old. We mostly spoke about the work made more recently as this benefits from the feedback I’ve given on other work. …
As noted previously, I knew from the start of the course that part 4 would be a challenge for me. I started making progress with Life Drawing classes, but a change of working approach made it much more difficult to get to these sessions as much as I’d like. Strangely, therefore, I’ve been doing less life drawing during the Part 4 than I did earlier in the course.
… 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’. Continue reading “Assignment 3 Feedback”→
The image includes both natural and man made objects, with plenty of scope for demonstrating depth. Oddly for the Langdales there wasn’t that much water vapour in the air the day I took the visual notes, and so there wasn’t much aerial perspective present. I considered adding it anyway, but I quite like the darker mountains in the far distance. Continue reading “Part 3 Reflection”→
In the following extract I’ve retained the relevant feedback for my development and removed content which seems inappropriate to share. Missing content is denoted with “…”. My initial reflection on the feedback follows it.
In the blog you write about your research method. It would be good to use drawing as the principle research method. When you spend time with a subject and forget about what’s ‘right’ you make some good work. At the moment though, you tend to be hidebound by the discoveries / methods of others. Allow yourself to investigate the media and the subject THROUGH drawing and not through reading about other people’s way of making things. Continue reading “Part 2 Feedback and Reflection”→
Somewhat reworked to reflect Part 2 tutor feedback changes. Little substantial change.
Part 2 has been, to say the least, quite a journey for me – even after adding a month to my intended submission deadline I still haven’t really finished it properly. I’ve only done one initial Monotone Drawing (Part 2, Project 3 Ex4), when I had intended to do a series of them and pick the best. I didn’t manage to get to the experimentation with mixed media (Part 2, Project 3 Ex3) at all – despite plans for a number of things I still wanted to try. In fact, that is a summary of my Part 2: A lot done, but so much more that I wanted to do. I fully intend to “back fill” the missing material, but we will see if the other parts are a packed as Part 2. If so, time might not allow… Continue reading “Part 2 Submission Notes”→
My work in this part so far, including my to be finished Still Life in line, has been quite “tight” and detailed. This is in contrast to my more successful Life Drawing works, which are finished much more quickly – but in some ways are drawings I like more. This made me reflect on the Impressionist works that I’d seen, and I decided to do a bit of research. Continue reading “Research: Impressionist Still Life”→
I started setting up to do a still life with a cabbage as part of the assignment work. This is based on a pointed cabbage we picked up. (Now eaten, but I’ve still got photographs.)
As an investigation around this, however, I decided to have a look around at how different artists had treated still life images including a cabbage. It turns out it is a fairly rich field, as a quick Google search and following on from it revealed.
When out walking and thinking about Project 2 I came across a lots of potentially interesting drawing material at Scotney Castle gardens. I didn’t have my drawing materials, so I decided to take some photos to work from. Continue reading “Project 2: Lichen”→
This has been a fairly long winded Project in its own way. I previously commented on my composition research, which I have been combining with some experiments in different media. I’m beginning to think more when building a composition – which I suppose is a level of success.
The next step, I think, is to move on to the other exercises and apply this new experimenting with media and composition to them. Its likely to be an interesting journey, as I have a lot of new things to think about.
Within the media, the water colour wax crayons have worked OK – but the oil pastels are too crude. They would be best for very large format drawings, or I need to find a way to provide more subtlety in their use. The blending of colour “in situ,” rather than on a palette, is also proving quite a challenge for me – but one I need as however many colours I have available I’ll never have everything I’d like.
When considering the idea of artists using negative space then the first thought is images and objects that make an image from the negative as well as positive space. The following image from Tang Yau Hoong is a good example;
I particularly like this image because of both the subject matter and the way the image has been built up. The bird gives an impression of the freedom of the leap, I assume a “leap of faith”. The trees at the top add to the concept further, proving a feel for the freedom being sought. Continue reading “Research Point: Negative Space”→
Despite my tutor’s comment that my book work is ahead of my own work I’ve been re-reading the course notes, and have realised that an area I need to consider in more detail is composition. As such I went off on the research trail again. This time I have a different focus: “How do I produce a good composition?” In particular, of course, this means an initial focus of still life compositions. I believe, however, that most of the “rules” of composition are more generic than this. Continue reading “Composition of Still Life”→