It is strange, given I work in London and am on an Art Degree, that this was my first visit to the National Gallery. In visiting the Gallery I needed to focus, at least to a degree, and so I chose to consider primarily Landscape images. That didn’t restrict me too much, as there are large numbers of them in there, but it at least allowed me to have a meaningful approach.Continue reading “Visit to the National Gallery”
The brief for this assignment calls for the following main criteria for the drawing:
- Outdoor scene in A1 or A2;
- Shows depth – aerial or linear perspective;
- Natural objects;
- Straight lined objects.
The scene selection and approach are closely aligned. The instructions provide the following approach:
- Preliminary drawings to experiment with the composition.
- Make sketches to practise the perspective of the scene right.
- Broad sketches in charcoal or diluted ink and brush and trial other media.
- With an A2 or A1 keeping your preliminary sketches around you for reference.
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.
Exercise 1 Developing your studies
Some initial thoughts in my sketchbook…
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.
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”
I was recently visiting Anglesey Abbey, which has a wonderful collection of art. The featured image was nestled among them, and that made me think about the points made in “Ways of Seeing” about nudes in general and nudes in european oil paints in particular. The painting is by William Etty, and there is some additional information about it here. Continue reading “Nude Reflections”