Seated model in an upright chair
I started this with the Schiele experiment:Continue reading “Assignment four”
… 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”
I chose this building because of the interesting curve in combination with the glass and concrete look. Quite typical for this area near the Barbican. The light was coming from behind in the early morning, with the building opposite throwing a shadow on it.The horizon was below the image bottom, which I felt emphasised looking up and size. For a taller building I’d need a touch of vertical foreshortening. Continue reading “Project 5: Townscapes”
It took some re-reading and thinking to understand what this exercise was really asking for. I decided that this was one of the projects which is effectively a single piece of work. The first part is to play with ideas for a major composition. The second part is to create an A3 landscape drawing based on the selected composition.
Some initial thoughts in my sketchbook…
This is from Part 2, but I intended to do a quick write up. I tried an experiment with Oil Pastels quite early on in part 2, when I was trying a range of media for the first time. At that point I made the observation that this is likely to be a medium for avoiding detail. Continue reading “Technique: Oil Pastels”
Note: Reworked following Part 2 feedback, including merging together the parts of the thread.
I’ve had a few ideas for Assignment 2, but since my earlier lichen drawing it’s a subject I’ve wanted to revisit. This time, however, I’m planning to take a different approach. Continue reading “Assignment 2: Lichen revisited”
I wondered why the part has been given the name, and whether it is intended to have a special artistic connotation. I started with a disctionary definition:
a. a close association with or detailed knowledge or deep understanding of a place, subject, period of history, etc.:
an intimacy with Japan.
b. an act or expression serving as a token of familiarity, affection, or the like:
to allow the intimacy of using first names.
c. the quality of being comfortable, warm, or familiar:
the intimacy of the room.
As I was in Cambridge for a family gathering I took a couple of hours out to visit the Fitzwillam Museum and see the Degas show (http://www.fitzmuseum.cam.ac.uk/degas). I’ll admit I didn’t do any real research up front and so the exhibition surprised me. I thought it was a show of his work, but it is (mainly) a collection of his collected art which was sold after his death. There is a lot of work by Degas, but there is also so much more as some of the most interesting aspects of the exhibition is the breadth of research that Degas undertook s part of building his art. Continue reading “Degas: A Passion for Perfection”
This may be a bit of a strange post, as I am effectively documenting a set of resources that I’ve been using to try to improve my figure drawing. Most of them I’ve collected together fairly recently, but some I’ve been using for a while. I can’t say the list is exhaustive but this is an area I’ve been struggling with for a while, as I suspect do many people when learning to draw figures. This means I’ve collected quite a few sources of information, and am identifying some of the key ones here to give an idea of the signposts that I’ve found to point me in roughly the right direction. I think between them these resources provide the information I need to make progress. Now I need a lot of practice and reflection. Continue reading “Figure Drawing Research”
When: 01/12/2017 15:00
With: Dr Bryan Eccleshall, FHEA Continue reading “Notes from Tutor Introduction”
I came an interesting section about drawing with rhythm in Andrew Loomis’ book “Figure Drawing for all its worth.” (PDF available here.) He describes drawing with rhythm as following through the major lines of forms in various graceful curves as part of the setup. The drawing on page 136 is of particular interest in this respect. As an experiment in this approach I tried a drawing of a dancer. Although I am unhappy with many of the details of the image, the basic idea of building up the form with interesting curves was very useful. Now I just need to learn a whole bunch about anatomy.
My reconsideration of this subject started with this article: https://weareoca.com/subject/textiles/what-is-drawing-2/
I first considered this when I saw the following lines in the course Aims: Continue reading “Reflection on “What is drawing?””
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”
I’m working on the production of a Photomontage that places an English Festival in Austria. I have pastel drawings of WOMAD’s Siam tent and some flags. To that I’ve added a pastel sketch of some figures and inserted the whole into an Austrian Landscape. I’m not fully happy with the figures, but like the tent and general effect. Continue reading “Project 5.2: Photomontage so far”
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.