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.
Started to draw a rock on a wooden base with shadows as dip pen practice. This approach was suggested as an alternative to fineliner by my tutor. In some ways it was being successful, as the mark making is generating an interesting approach. It was also, however, being very time consuming and wouldn’t have produced a good final image.
The examples imply kitchen and household objects, but that isn’t stated as a requirement. There should be some simple geometric forms and others that are more complex.
Despite not requiring household objects they do fit the brief very well, and there is plenty of scope for interest.
An alternative might be ceramic materials. Maybe a bag of clay, some glaze buckets and ingredients etc. This could make for an interesting composition. There is then scope to incorporate a concrete floor or the bench behind it.
What surface to use?
It is stated A2 or A1, but encourages an imaginative use of materials.
Might be worth trying some of the paper we use as packing. Quite a robust material and probably suitable for use. In this case it would probably be worth having ripped edges rather than neatly cut to emphasise the “utilitarian” nature of the materials.
Similarly I have some yellowed wallpaper off-cut (I think its an underlay) which might make an interesting utilitarian material.
How to “loosely describe” the objects? How to achieve representation of “weight, transparency, shine, etc.”? How might the contents help in the depiction of the form?
The sample image is a line drawing, but the assignment doesn’t specify that it must be. Definitely could be lines with basic shading etc.
In this case I like the start I made in my practice drawing: Light outlines, then darken for the visible lines and lastly a bit of shading and context using a variety of line strengths etc to provide the interest.
The answer to the follow-on questions clearly relates to what is being drawn. In the case of a plastic
One colour is specified, but not the mark making material. What would fit the subject? What would I like to work with?
This partly depends on the material I’m drawing on. If I’m using a utilitarian surface then the mark making material needs to work with that. There
What context should the items be placed in? (What sitting on and in the background.)
For kitchen items the kitchen itself would make most sense. Possibly the worktop and back wall, for example.
For the clay materials the best context is the pottery or glazing/kiln room depending on whether I am drawing the making or firing.
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.
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”→
Starting to think through my approach to part 4, I’m going to try to approach it slightly differently this time. I’m going to start by thinking through the brief of all the elements at the same time, and work out what contextual research makes sense based on that. Continue reading “Part 4: Overall approach”→