You have been a thoughtful student and have demonstrated to me that you have the ability undertake a degree level piece of academic research. Your drawing skills have developed but I think embarking on the degree will really speed that up and help you to commit more time to drawing. Importantly, your understanding of art and its possibilities for you as a maker has really developed. In particular, there is plenty of scope for you to continue to ask questions of drawing as it relates to sculptural practices. Best of luck with your future studies. Continue reading “Assignment 5 feedback session”→
I like the submitted print and narrative images, and am starting to get an idea of how to approach work using the techniques indicated within the course. The quality of the self-portrait indicates how far I have to go in figure drawing, as this is probably the most significant area that needs improvement in the submitted works. I think I have many more hours of observational drawing ahead of me before I fully crack that. (As my tutor put it at one point “I’m still stuck in symbolism.” Clearly demonstrated by the nose in the attempted self-portrait.) Continue reading “Assignment 5 Evaluation and Course Reflection”→
Whilst I was in Austria an opportunity arose to bid for a piece of “Public Art” sculptural work. They wanted a 1:5 design for a large piece. I proposed the delivery of a 4 section “log carving”. By that I mean deep relief sculptures created by carving into the log from the bark side. The design appears in a window within the log. I’ve done a number of smaller pieces in this style, which I was able to include photos of. I did, however, want to make sure the full idea of the design was clear. Continue reading “Drawing for Sculpture”→
As part of a carving project I have been considering drapery, as well as for the drawing course. As well as the construction of drapery I’ve been examining the different styles and variation across time. The variation is significant, with the different styles seeming to go in long cycles across time. Continue reading “Drapery styles”→
During my research for Sculptor’s use of drawing I came across the implication that Henry Moore used the idea. This is implied, and to a degree shown, in this article:
“In 1937 and again in 1938 Moore famously photographed maquettes for two Reclining Figure sculptures very close to the lens, so as to make each diminutive object look enormous against the distant landscape … it is perhaps more likely that these photographs are not so much tests as they are declarations of triumph: they are demonstrations of his sense of the monumental. Rather like physically lifting objects from the ground and holding them close to himself, here Moore brings the maquette so close to the lens (and therefore the viewer) that its monumental scale is confirmed.” Rachel Wells, ‘Scale at Any Size: Henry Moore and Scaling Up’, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015, https://www.tate.org.uk/art/research-publications/henry-moore/rachel-wells-scale-at-any-size-henry-moore-and-scaling-up-r1151302, accessed 05 October 2017.
My eyes went first to the central block of monoprint, then wandered up to the attached watch and white sections above. No thoughts on meaning at this point. Subject might be a city scape, in which case the watch would be a clock.
I’ve been reflecting on “my Sketchbook” of late, after reading the OCA article on keeping sketchbooks posted recently. (View article…) I’ve also been having to rethink my approach based on the printing work I’ve been doing. For most of the course my sketchbook has been a book I carry around and draw in. That clearly isn’t what this article is referring to as a sketchbook. So, am I keeping a sketchbook in these terms at all? I don’t have a set of bound physical pages that contain the sorts of thinking and information described as a sketchbook – so on the face of it “No.” Continue reading “Reflections on my Sketchbook”→
My tutor for Drawing Foundations made a potentially throw away comment that “Sculptors using drawing differently” during our Assignment 4 review session. On reflection I thought this was important to follow up on as a piece of research, as to what the comment meant and implied. I can partly answer this from my own experience. In late-stage drawings that will be mapped to a sculpture it is important that the skills of drawing in perspective are put to one side. These drawings have more in common with architectural drawings than pieces of expressive artwork. I don’t think, however, this this is the full story. There is, therefore, a fruitful avenue for investigation available which could help move me forwards. Continue reading “How do sculptors use drawing?”→
Feedback, written up by myself based on a video session…
Overall, this part represents good assignment submission, where you have clearly enjoyed yourself and improved you observational drawing. You have clearly engaged with the part and learned a lot about drawing and the use of negative space. The work shows good progress through the exercises and the sketchbook. Continue reading “Assignment 4 Feedback”→
The pieces of Project 4.1 and 4.3 have required me to develop a number of new technical skills to produce – especially around line art, production of a wider tonal range and drawing without the use of an eraser. These should be tested quite well in parts 5 if I do the print and narrative options, as I intend. I’m happy with the composition, and that scope that it allowed to demonstrate tonal range in the drawings. I’m also fairly happy with the level of observational skill and interest in the drawings, despite being able to see a number of issues retrospectively. The hands were a particular challenge in Project 4.3. I had to look into anatomy and do plenty of practice to even come up with a passable set of hand images. The feet were slightly less so, but still quite a challenge. Continue reading “Part 4 Evaluation”→
In all cases, I’m not totally happy with the images but they are a definite improvement over where I was. In the hands images, for example, I’m not that happy with the fist. I was going for a darker image in the tonal range (which worked), but I’m not as happy with the observation and accuracy of this one. In the touching feet, the background needs a level of work. I might also have put more effort into the rendering of the material of the jeans. For the crossed feet the toe on the right foot (on the left hand side of the image) is a little too bulbous. Similarly the arch of the foot is somewhat off. Continue reading “Project 4.3: Evaluation and Reflection”→
I will continue to use the evaluation framework from my previous tutor for convenience. Although somewhat long winded, the approach does provide me with a series of different lenses through which to consider my work on the projects. Although I’m sure a lighter weight approach would suffice, this approach does seem to be effective for reflection. As I did the preparation as a block, however, I will do the evaluation together as well.
You have learned a lot from using charcoal and developing your use of tone and line in this assignment. Your contextual work isn’t connecting, as you know, but we have discussed this and I feel confident that you are gaining a better understanding of what is required. Continue reading “Assignment 3 feedback”→
I think my process for applying myself to the course as an academic piece of work has improved. That took me quite a time to get used to, and has a way to go for me to really “get it.” The course isn’t just a series of drawing exercises where you follow the notes in the project, bundle it up and send it off to your tutor for assessment. That was, to a point, my approach to the first assessment. I tried to improve my approach in the second assessment in terms of how I approached the drawing but didn’t understand how to approach the actual work of presenting for assessment. I’m hoping that my approach to submitting for this assessment will be considerably better. Continue reading “Assessment 3: Evaluation before submission”→