Trying different ways to represent shading and subtle details with line. This includes ball pen, pencil and fine liner. Continue reading “Project 2 Ex 3: Line work”
Experiment with using ball pen and line. I find the use of line for shading a bit of a challenge at the best of times, and so have practised this quite a bit previously:
Thus, this practice was partially to get back into the idea as a whole.
I made a start with the next exercise despite not being fully happy with the last one yet. The featured image is the result. Continue reading “Proj 2 Ex 2: Practice”
A4 sketchpad in pencil. Used a 6H to layout then went over with a darker pencil to complete. There are a few technical errors (pasta packet shape in the left and lid thickness on the central tub) so I stopped there. Continue reading “Project 2 Ex 1: Practice group of objects”
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”
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”
The second week of my stay in Elbigenalp concentrated on Ornamental sculpture. The initial discussion struck a very strong note: The basis of all ornamental carving is drawing. An important aspect of starting the whole process was visual research, looking through ornament reference books. This was followed by an initial drawing, which has edges and shading added to help the carver understand the form being described more fully. As part of the process I did make a small maquette, but that was mainly to help me think through the major forms. The photographs below tell the story fairly well: Continue reading “Ornamental carving”