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”
Consideration based on “Making Sense of Art History“. I’ve selected this approach as a basis to see if it helps me consider the work in a deeper sense. Continue reading “Analysis: Sheep landscape by Michelle Shuff”
The initial video is about de Kooning’s style and approach. Here the artist is an “Action Painter” with major gestural marks on a large format and working with the “physicality of the medium”. This is explained in the videos as using the liquid and viscous properties of different paints and paint blends to get effects. Continue reading “In the Studio: Willem de Kooning”
Its taken me a while to actually start Project 4.1. Partly this was taking a break in general, but I have also been trying to do some practice and consideration of how best to approach it. The brief makes it clear that this is about building a network of lines and not continually rubbing stuff out if you make a mistake. It is also about building a fair sense of tone with line based marks rather than density of mark making material. These approaches are both quite new to me. Continue reading “Project 4.1: Making a start”
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”
On consideration I’ve decided that it is appropriate to reflect on my tutor’s feedback again. This is more for my own thinking than as a response. After my Assignment 2 feedback I realised that I hadn’t understood and/or followed some of his advice. Considering each point explicitly at this point seems worthwhile as a completeness check, and to build a “further work” list. Continue reading “Reflection on Tutor feedback”
This was created just before I received the Assignment 2 feedback from my tutor. I didn’t get round to writing up my thoughts on it because I had a major reset on the work for Project 3.1. The image was simply posted as a comment on pastel pencils. I touched up the image slightly from when I posted it previously, but it is still basically the same. Continue reading “Project 3.2: Apples, Orange and lime”
The key points from the Project 3.2 brief are: Continue reading “Project 3.2 Brief”
I has taken a while, but I’ve made it to the end of Kandinsky’s Concerning the spiritual in Art, mentioned in my previous post. I’d (more or less) made it through his writing on the general aesthetic at the end of the last post. I’ll pick up Part II (About Painting) now. Continue reading “Kandinsky (Continued)”
So what is this one all about? Clearly the first, and most important, point is to demonstrate drawing in perspective for a complex scene. This means creating a “believable sense of structure and form” (from the brief) using perspective as the tool. Continue reading “Project 3.1: Brief and Research”