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.
Given some of the challenges I’ve been having with coloured pencils and pastels, and colour in general, I decided that I may as well give painting a quick try. To be honest I’m enjoying it more than I expected to. Firstly, an attempt with acrylic paints:
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.
The overall challenge I set myself for Part 5 was to develop my ability to convey an impression of a landscape, rather than to focus of accurate portrayal. I want the viewer to gain a sense of the scene from looking at the picture, leading to a level of interest in the image beyond that simple representation of the scene.
Note 12/06/2019: Some text has been added after Assignment 5 feedback has been received. This has been dated and highlighted to provide context.
On the top of a mountain near Elbigenalp there stands a cross which is clearly visible from the valley. I first saw thew cross back when I visited the valley for the first time, and wanted to get up to it. I finally managed to get to the top, and the scale of the cross and its presence is hard to put into words. I decided to see what I could do with a drawing.
Note: There has been some rework of this article since the Assignment 5 Tutorial. This has been highlighted in colour and dated.
Although this isn’t exact a new concept for drawing it is definitely one that is close to my heart. I’ve spent much of my life on and near the bodies of water. Early in life it was the Lakes of Cumbria and smaller bodies of water. Later this has expanded out to the sea, and threaded through all of this is running water in rivers and streams – with the inevitable water falls. For this cycle I’ve decided to focus on the sea.
Fountains Abbey is a beautiful place owned by the National Trust. Its connected to a large park and water gardens, and even when relatively crowded it has an air of tranquillity about it. I also have strong connotations with the site due to walking round it with my wife, and sometimes my children, as a break point in long journeys.
In this cycle I’m shifting focus to studies using line over tone. That is:
Using line over tonal blocks to represent the image;
To convey a strong impression of the scene;
To convey texture using line;
This is a bit more of a stretch, as my line work has left something to be desired over time. I’ve included it at this stage because I suspect that it is an area where improvement would lead to benefits elsewhere.