Note 12/06/2019: Some text has been added after Assignment 5 feedback has been received. This has been dated and highlighted to provide context.
On the top of a mountain near Elbigenalp there stands a cross which is clearly visible from the valley. I first saw thew cross back when I visited the valley for the first time, and wanted to get up to it. I finally managed to get to the top, and the scale of the cross and its presence is hard to put into words. I decided to see what I could do with a drawing.
Continue reading “Cycle 5: Elbigenalp cross”
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”
Exercise 1 Sketchbook of townscape drawings
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”
Exercise 1: Parallel Perspective
This might seem an odd view to select, but the set of angles and lines created by the view was interesting, and using the sad step as the rectangular item just seemed to fit the theme. Continue reading “Project 4: Perspective”
After the Coursera modern art videos I’ve stayed subscribed to the MoMA YouTube channel, and this video on painting like Picasso caught my eye.
How to paint like Pablo Picasso (Cubism) | IN THE STUDIO Continue reading “Looking at Cubism”
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”
I’ve been working on the idea in several ways, as can be seen from my previous post. I seem to have settled on an arrangement of items on a chopping board, though I’m split between basic vegetables or whether to include the spices. As a first run at a good image I started with Charcoal. Continue reading “Project 3.2: Developing ideas”
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”
Continuing the cupboard top left side I started to add boxes and try to slant them, as planned in my sketchbook. I just couldn’t get them to look how I wanted them to be, so I tried adding flat boxes instead: Continue reading “Project 3.1: Through to Completion”
I’ve been looking back at my practice sketches from December with a critical eye and my current study of perspective in mind. Issues start to build fairly quickly, although in many ways it is still an improvement on previous work. Possibly the biggest single issue is that the cupboard sketch was supposed to be face on, so the top and bottom of the cupboard facing should be parallel. They aren’t, and in fact they slightly diverge. Continue reading “Project 3.1:Starting Again”
I’ve had to go very much back to first principles on perspective research. I started online with a set of articles. The following is one of the most interesting ones: Continue reading “Perspective: How to…”
Received feedback for Assignment 2 from my tutor.
Thank you for your second Assignment
Thank you for taking my advice and keeping to the requirements of the course so that you have submitted only some evidence of the projects as instructed in the coursebook. Continue reading “Assignment 2 feedback”
Wondering if this could be used to do a large format alpine picture. Needs more thought.
A2 paper, though drawing nearer A3 size. Need to use more of the paper. Not sure if I should be using a ruler for the (not so) straight lines. Door has worked ok, though is slightly inaccurate. Clearly need to take more time in the initial layout.
Overall a reasonable start point.
The course notes mentions investigating looking at how artists play with perspective. As part of this the work of M. C. Escher and the Penrose stairs needs to be mentioned. This creates an optical illustration of an infinite staircase. The following is Escher’s application of the idea to his art: Continue reading “M. C. Escher: Impossible spaces”
The course materials also indicate that we should consider more modern approaches to the representation of depth. In many ways this concept seems to be driven initially through Cezanne and Cubism. Cezanne used colour to represent depth, rather than using a structured and basically mathematical process. In essence, as objects tend into the background they will tend to look more blue. There are other indicators, such as them being smaller and having less detail. This is shown in Mont Sainte-Victoire: Continue reading “Depth post linear perspective”
The course notes indicate that we should undertake a view on perspective over time (p58), first looking at the representation of depth before the formalisation of linear perspective, and then at modern art representations. As part of this research I ran into multiple descriptions of the primary principles of linear perspective. One of the most readable is this: Continue reading “Depth before perspective”