Posted in Coursework, Part 1

Project 2: Basic shapes and fundamental form

Reworked following part 2 tutor feedback.

Ex 1: Groups of Objects



  • What subject to choose?
    • 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.

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Posted in Art and Artists, Coursework, Part 1, Research & Reflection

Considering personal visual language


The course notes make the following observation:

“personal visual language by looking at some images by the following artists from different art historic moments, each working in a very different style, but each very firmly absorbed in the activity of drawing: Leonardo da Vinci, Käthe Kollwitz, Cy Twombly and Jenny Saville.”, Course Notes p13

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Posted in Foundation Drawing, Foundation Drawing - ASSIGNMENT 5

Assignment 5 feedback session

Overall Comments

You have been a thoughtful student and have demonstrated to me that you have the ability undertake a degree level piece of academic research.  Your drawing skills have developed but I think embarking on the degree will really speed that up and help you to commit more time to drawing. Importantly, your understanding of art and its possibilities for you as a maker has really developed. In particular, there is plenty of scope for you to continue to ask questions of drawing as it relates to sculptural practices. Best of luck with your future studies. Continue reading “Assignment 5 feedback session”

Posted in Foundation Drawing - ASSIGNMENT 5, Foundation Drawing - ASSIGNMENTS

Assignment 5 Evaluation and Course Reflection

Assignment Suitability for submission

Demonstration of technical and Visual Skills

I like the submitted print and narrative images, and am starting to get an idea of how to approach work using the techniques indicated within the course. The quality of the self-portrait indicates how far I have to go in figure drawing, as this is probably the most significant area that needs improvement in the submitted works. I think I have many more hours of observational drawing ahead of me before I fully crack that. (As my tutor put it at one point “I’m still stuck in symbolism.” Clearly demonstrated by the nose in the attempted self-portrait.) Continue reading “Assignment 5 Evaluation and Course Reflection”

Posted in Foundation Drawing - ASSIGNMENT 5, Foundation Drawing - ASSIGNMENTS, Notes, Practice, Research & Reflection

Sculptors use of photomontage

During my research for Sculptor’s use of drawing I came across the implication that Henry Moore used the idea. This is implied, and to a degree shown, in this article:

“In 1937 and again in 1938 Moore famously photographed maquettes for two Reclining Figure sculptures very close to the lens, so as to make each diminutive object look enormous against the distant landscape … it is perhaps more likely that these photographs are not so much tests as they are declarations of triumph: they are demonstrations of his sense of the monumental. Rather like physically lifting objects from the ground and holding them close to himself, here Moore brings the maquette so close to the lens (and therefore the viewer) that its monumental scale is confirmed.” Rachel Wells, ‘Scale at Any Size: Henry Moore and Scaling Up’, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015,, accessed 05 October 2017.

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