Part three Expanse Project 3 Composition

Exercise 1 Developing your studies 

After reviewing my preparatory drawings I decided to use one of my sketches I had done at Doddington Gardens, Kent that showed a brick wall and flowers. I liked the texture of the wall along with the strong architectural flowers in front of that wall. I decided that I would perhaps use monochrome colours but bring out the flowers in the purple to make them stand out of the drawing. I used a sketch pencil to put the basic outline in after which I used some water soluble crayons to work in. Used the paper in portrait so that I could feature the long stems of the flowers. Used a watercolour paper

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Sketch Idea

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Final Drawing -1 

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Final Drawing – 2

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Final Drawing -3 

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Final Drawing 

 

Exercise 2 Foreground, middle ground, background

Using my photograph of Tankerton I decided to work on watercolour paper for my next exercise which I did on landscape format using the water crayons to work my drawing.

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Tankerton Beach 

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Grid up my Photo 

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Grid Paper Start of Stage 1

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Drawing Stage 2 

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Drawing Stage 3

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Drawing Stage 4

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Final Drawing 

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Detail 

After the two exercises reflect on what you have achieve

How did you simplify and select? Were you able to focus on simple shapes and patterns amid all the visual information available.

Doddington Garden

The simple background of the brick wall of the flower bed with the structure of the flowers in front- strong shapes long stems and the shape and colour of the flower heads.

Tankerton Beach

Took the sea view, simple line of the land and the foreground the strong timber structure, the texture of the pebbles and the reflection of the water.

How did you create a sense of distance and form.

Doddington Gardens

Distance by using the brick wall and the soft shades, kept my image in black and white. then having the flowers strong and bold in colour. With the undergrowth planting in monotones. The only colour is on the purple flower heads.

Tankerton Beach

By creating a strong foreground with the timber and allowing the softness of the sea and the sky. I think i have managed to create a sense of distance with the small strip of land before the sky.

Where you ablate use light and shade successfully?

Doddington Gardens

Keeping the drawing in monochrome apart from the flower heads I think I have managed to get the light and shade on the drawing. I did not want to overwork the colour in this drawing.

Tankerton Beach

In the reflection in the water to get the light. Sky was not easy but felt the drawing worked well by making the texture of the pebbles using more of a dry crayon on a brush to get the effect.

What additional preliminary work would have been helpful towards the larger study ?

Doddington Gardens

Perhaps more thumb nail sketches and some reference notes. i had take photos.

Tankerton Beach

More notes on drawingsand taken some pebbles home for colour reference might have been helpful with some smaller sketches.

Rochester Kent

08.06.17

A visit to Rochester went into the Cathedral and saw this spiritual work of The Blisland Madonna carved out of 150 year old yew wood. Commissioned in 1992 from Mr Michael Marshall of Blisland, Cornwell.

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The Blisland Madonna Mr Michael Marshall

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Rochester Cathedral

Some photographs I took of the exterior of the cathedral looking at buildings and structures.

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Rochester Cathedral

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Rochester Cathedral

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Rochester Cathedral 

Creative Creek

Creative Creek  Faversham Kent

19.05.17

Hop Garden Paintings

Visit to local Creative Studios which had a exhibition of Hop Garden Paintings around Faversham by L. A. Clarke.

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Creative Creek

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Paintings of the Hop Gardens around Faversham L A Clarke

Above is one of the paintings by L A Clarke of the Hop Gardens, like the brush strokes used in the paintings from the tall hops to the farm track on the right hand side of the painting. The people suggested in a image shape rather than too much detail works with the painting.

07.05.17

Exhibition of Posters

Another trip to the coffee shop here and a exhibition of posters to look at of all the exhibitions in the past few years.

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Exhibition of Posters

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Exhibition of Posters

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Exhibition of Posters

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Exhibition of Posters

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Exhibition of Posters

 

15.06.17

Exhibition 

Into the Woods – Paul Joyce

Another morning at Creek Creative and a look at the new exhibition by Paul Joyce. If only this exhibition had been on before starting the section of the course work involving tree drawing. It featured the work of the artist Paul Joyce who is now based in Faversham, Kent. It featured such works as Turkey Oak, Dulwich Park which show the tress in all the seasons spring, summer, autumn and winter. A large wall featured these paintings and I liked the way that some brown leaves had been left in the corners of the exhibition space. I think this added to the exhibition with a softness of the leaves on the hard flooring.

His watercolours of the trees using one colour like the one End of Day the way in which this has created a lovely image. I also liked some of the more abstract work like Fire of the Forest they way in which the artist had used the colours for the tall tree trunks. Another painting Queen Victoria’s Tree, Eastwell looking from ground level up the tree at a angle was a good way to show the height of the tree. The texture of the tree trunk was painted to get the full effect of the tree trunk.

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into the woods

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Turkey Oak, Dulwich Park -Paul Joyce

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The Exhibition on the Lower Floor

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Exhibition on the Lower Floor

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Fire at the Edge

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Paul Joyce

 

In the two photographs above the texture of the tree bark done in oils, I liked the colours he had used and the way he had applied the paint to create the texture of the bark.

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Part three Expanse Project 2 Landscape

Exercise 2 Sketchbook walk

Go for a walk in your local park, around your garden or somewhere you normally walk.

Make four sketches during your walk. ( page 65 course book)

Doddington Gardens Kent

17.05.17

A trip to some local gardens to view the gardens and to get some images for my next exercise which is taking the sketchbook walk. I took along my moleskin sketch book and also did take my camera for photography of the gardens for my own reference.

 

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Doddington Gardens Kent No 1

No 1 Photograph is the entrance leading back out of the gardens with the trees. The sheep roam around this area.

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Doddington Gardens No 1 Sketch

No 1 Sketch tried to show the trees just by mark making with vertical lines to give the overall impression of what I saw. It was a warm humid day, blue sky with few white clouds. Brick pillars either side of the entrance area.

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Doddington Gardens No 2

No 2 Photograph shows the walled garden area with the contract of the brick wall and the large flowers (alliums).

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Doddington Gardens No 2 Sketch

No 2 Sketch as this is quick sketches tried to show part of the texture of the brick wall along with the main flowers and noted the colours for reference.

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Doddington Gardens No 3

No 3 Photograph as walking along found this hedge made from trees just felt the texture and shapes looked inspiring. Part of it could create a very abstract painting.

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Doddington Gardens No 3

No 3 Sketch I decided  to take a section of the hedge to get some of the shapes, used the pencil to try to get some of the tones.

 

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Doddington Gardens No 4

No 4 Photograph the woodland area with the tall trees and the texture of the bark on the trees, flowers and ground level planting.

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Doddington Gardens No 4 Sketch

No 4 Sketch tried to get the tall tree trunks and showed the ground level planting with vertical line marks.

All four sketches done quickly not much detail in drawing but tried to capture the view of what I saw and making notes on the drawings.

For quick sketching drawings I felt that I had tried to capture the view without getting into to much detail.

Exercise 3 360 studies

Choose an expanse landscape where you have open views in all directions. ( page 66 course book)

23.05.17

A trip down to the coast at Tankerton Kent to do some sketching so that I could get the different views. Sketching 15 minute drawings on the same spot but doing four sketches showing north, east ,west and south.

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Tankerton North

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North Sketch

Ended up only with one boat as one had moved, think my wind turbines maybe a bit large.

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Tankerton East

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East Sketch

Took into account the path which is not in my photograph and should of taken the view I was drawing more.

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Tankerton West

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West Sketch

The sale of my drawing is different to the photograph taken, but did feel I had captured the view.

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Tankerton South

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South

Sketched part of the view of the trees and grass area.

Part three Expanse Project 2 Landscape

Exercise 1 Clouds formation and tone

In this exercise required to concentrate at drawing clouds so over a period of time I had taken some photographs of clouds as looking colour, tone and shapes. So having my head looking up at the sky to look and observe the changing pattern of the clouds.

I had not realised that how difficult to create the softness of the clouds so I started working on some single sheets of paper of different grains and colours to see how best works to create the drawings.

In this exercise it says to use charcoal, oil pastels, conte sticks and other tonal media and by using a putty rubber to lift out the lightest tones.

For this first exercise I used some pastels and drew the outline in a white pastel to start with as detailed in drawing below.

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Exercise 1 Cloud formations and tones Drawing 1 Pastels No 1

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Exercise 1 Cloud formations and tones Drawing 1 Pastels No 2

In the final drawing with blending the pastels and colours was little unsure if the part clouds at the bottom of the page worked and looking at the overall image I felt it did not give the overall feeling of the softness of the clouds. So onto another drawing head looking at the sky tried the use of charcoal next, used some charcoal willow sticks on white sketch paper.

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Exercise 1 Cloud formation and tones Drawing 2 Charcoal No 1

This first sketch above did not give me the right drawing of the clouds the hard lines don’t give the impression of the clouds, but used this to try blending and erasing with a putty rubber. Onto the next sheet I tried again to get the clouds using charcoal approaching the drawing using a softer line again blending with my fingers and using the putty rubber to get the hi -lights. Adding a touch of blue pastel of the sky that could be seen between the clouds. Felt this drawing worked better to get the movement of the clouds.

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Exercise 1 Cloud formation and tones Drawing 3 Charcoal No 2

Did feel in the above drawing worked better with the softness of the lines not sure the bottom left hand corner of the drawing worked with the larger area of the blue sky.

After this I tried doing a small section of a cloud on blue smooth paper and willow charcoal.

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Exercise 1 Cloud formation and tones Drawing 4 Charcoal on Blue Paper No 1

Do think I have managed to create some of the softness of the cloud by using the charcoal on this blue background paper.

My final quick painting this time used some watercolour paper any water paints to get some overall clouds.

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Exercise 1 Cloud formation and tones Drawing 5 Watercolour No 1

Think the water colour painting worked as you get the softness of the colours this was a quick watercolour sketch to try and get the softness of the clouds. But create some depth by using some of the darker paints and blending in.

After all the drawings I did another sketch the clouds I saw in the sky using a 4B Water-soluble pencil trying different marks to draw the different clouds. I then looked up the names of the different clouds and referenced them on the drawing.

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Exercise 1 Cloud formation and tones Drawing No 6 

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Exercise 1 Cloud formation and tones Drawing No 7 Research on Cloud Types 

The following are some photographs I have taken of clouds and colours they can create from different days and times.

09.05.17 Daytime Cloud Photographs

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09.05.17 Evening Cloud Photographs

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10.05.17 Evening Cloud Photographs

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The late evening ones above also like a abstract painting in the sky some lovely colours.  Comparing to the day time when the colours and cloud formation are so different. It has be interesting observing and exploring the wonders of nature with this exercise. How lovely the sky can create patterns and textures and ever changing canvas in the sky.

Clouds in Photographs 

Below are some photographs of clouds that I have taken this shows the skyline is ever changing.

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Whitstable Kent 2017

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Folkestone Habour 2016

entangled Turner Contemporary

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5th May 2017 Visited the Turner Contemporary

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A major exhibition on the making and materiality in the for of sculpture, installation, tapestry, textiles and jewellery from the mid-20th Century to the present day. This exhibition features over 40 international female artists who use knitting and embroidery, weaving, sewing and wood carving. In one the use of horse hair to make a interesting sculpture from floor to ceiling.

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Anna Ray, Margate Knot, 2017

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Anna Ray, Margate Knot, 2017

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Anna Ray, Margate Knot, 2017

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Marion Baruch, Colonne, 2015

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Part three Expanse Project 1 Trees

Project 1 Trees

After reading this first section of this next project I took my camera away at Easter when taking a break at a Center Parcs in Woburn Forest where there are lots of trees. It lovely to see both the structure and the texture of some of the tree trucks.

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Trees- Woburn Forest -No 1

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Trees- Woburn Forest – No 2

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Trees- Woburn Forest – No 3

18.04.17

Walk at home to look at trees looking at textures and details.

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Trees Kent – No 1

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Trees Kent – No 2

Pen & Ink Drawing Tutorials – Alphonso Dunn

 

After taking the photographs of trees I decided to do some sketches in my A4 sketchbook looking at some tutorials on line by Alphonso Dunn on Drawing tree trunks and branches.

http://youtube.com/aphonsodunnart

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Pen & Ink Drawing Tutorials- Alphonso Dunn – Sketch No 1

It was interesting the way different lines could create the different textures on the tree trunks by changing the line type it will give a different effect.

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Pen & Ink Drawing Tutorials by Alphonso Dunn – Sketch No 2

In sketch No 2 was looking at overall shape, the mass and the light source of the trees.

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Pen & Ink Drawing Tutorials by Alphonso Dunn- Sketch No 3

In the following sketch I took a tree trunk and tried to work drawings both in black pen and black biro using techniques that I had learnt in the tutorials I tried out some different sketches. I liked the ink pen drawings and the contrast between the white of the paper and the image.

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Tree Trunks – Black Ink and Black Biro Sketches

In the drawings above the use of lines that contour with the tress used to create the texture of the trunk where as in the drawings below I used just straight lines to create the depth and texture leaving the white of the paper as the hi- light of the tree trunk.  Doing some research first I think help me benefit it the use of texture and shape of trees.

Rubbings of Trees 

On some sketch up paper went out into the garden and did some tree rubbings of the trees in the garden. This was to see the texture and the patterns that tree trunks have to get a better understanding of the feeling and texture of the trunks and the patterns on them.

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Rubbings of Trees using Wax Crayons

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Detail of Tree Rubbing No 1

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Detail of Tree Rubbing No 2

Research of Trees at Turner Contemporary Margate

Visited the Turner Contemporary Margate 05.05.17 where there was a selection of etchings and mezzotints from JMW Turner’s celebrated Liber Studorium or ‘Book of Studies’. This is like a reference for aspiring landscape painters. One of the etching I liked because of the ways that the trees had been drawn. The lines on the tree trunks the way in which the light has been shown by not putting any marking.

Below are some of the photographs that I took on that visit that illustrates the trees and textures and detailed description of the etching.

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Henry Dawe and JMW Turner Isleworth ( Liber Studior, plate 63 ) Etching Private Collection

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Henry Dawe and JMW Turner Isleworth Display Text

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Henry Dawe and JMW Turner Isleworth ( Liber Studior, plate 63 ) Etching Private Collection Detail of Trees

Looked at the lines made of theses drawings the way leaves suggested and the texture of the bark on trees.

Sketch Drawings of Palm Trees 

I have decided to look at some of my photos of trees taken on holiday in Portugal ( photos taken August 2016) . I looked at doing some pen and ink drawings for this  first exercise.

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Palm Trees No1

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Palm Trees No 2

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Palm Tree No 3

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Palm Tree No 4

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Palm Tree No 5

In the above photograph the texture of the tree trunk with the patterns and different textures making up the trunk.

Started out by thinking I would use a palm tree as the first exercise for drawing a single tree and did this exercise first before then deciding that it would be better to use a tree that was grown in the UK rather than using the palm. But was a good exercise to experiment in textures of the leaves and trunk , I have added  these drawing into my A4 sketch book for reference.

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Palm Trees- Sketch  No 1

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Palm Tree Sketch No 2

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Palm Trees Sketch No 3

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Palm Tree Sketch No 4

This sketch was done in black biro, using lines to get the texture of the tree trunk and leaves this is a quick sketch to get the overall shape and textures. Did think that the biro worked well with the image of the tree and getting the textures of the trunk by the use of lines crossed hatched over. The leaves single lines to get the shape of the palm leaves.

Exercise 1 Sketching individual trees

This first exercise was to find a tree that you find that interest you to draw I looked at drawing a Silver Birch Tree with a long trunk and had limited leaves on it.

Drawing four preliminary sketches. Using a pencil ( 2B-6B), charcoal or pen and ink. I decided I would work in fine pen with black ink, I divided my A4 sketch book as suggested and made four preliminary sketches.

As detailed below

Simple Outline / Basic Shape & Shading for Foliage

Outline of Trunk and Main Branches/ Texture of Foliage

 

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Project 1 Trees -Exercise 1  Drawing No 1

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Project 1 Trees- Exercise 1 Drawing No 2

After doing the pen and ink drawings in my A4 sketch book I made a further sketch in pencil in my Moleskin sketchbook so I could see the difference using a pencil to create the image of the tree. A copy of the drawing I put into my A4 sketch book for reference. Did like the way the pencil can create different marks by using different pressure on the pencil when drawing. In all drawings I did not get the top of the tree but still felt it gave the overall structure and texture of the tree. I did try on the final drawing to fill the page with the tree and used pencil to produce this drawing. The light tones of the tree were left having the paper coming through, rather than using the pencil. Used different marks on the trunk to create the depth. I think that the drawing does give the overall impression of the tree looks like and the softness of the leaves. But I was happy with the end sketch of the tree but did decide after doing this to do some further studies of trees and have included these on my blog below.

Further Studies on Trees

After doing this exercise I did a further drawing in my A4 sketch book of trees in pen and ink.

Black Ink Drawings

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Trees- Black Ink Drawing No 1

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Trees- Black Ink Drawing Detail No 2

Coloured Inks and Charcoal

Following on from that I used some ink mixing blue and yellow to make green and used a straw to blow and make the branches and the charcoal tree trunk. Like the way you can blow the ink to make the branches.Liked the way you could make the branches by just blowing ink with the straw it becomes more free flowing lines which I liked. May use this when drawing the exercise with many trees and experiment more with this.

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Trees – Ink and Charcoal No 3

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Trees – Ink and Charcoal Detail No 4

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Trees – Ink and Charcoal Detail No 5

Did some further ink and straw blowing to make trees not easy to get the branches but ad if you blow to hard it becomes a bit of a blob. But enjoyed experimenting using different techniques. Rather then just pen and ink it can be a little more abstract in the overall image.

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Trees – Ink Painting  with Straw Blowing No 6

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Trees-Ink Drawing Painting with Straw Blowing No 7

 

Exercise 2 Large observational study of an individual tree

Taking the image of part of a tree I decide to work on this using pencil.

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Exercise 2 -Larger Observational study of an individual tree Photograph

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Exercise 2 – Drawing Stage 1 of Drawing Basic Outline

First part of the drawing was drawing the basic outlines in pencil to get shapes in

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Exercise 2 – Drawing Stage 2 Adding Detail

Then started adding detail working at left hand size of drawing and then working down from there.

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Exercise 2 Drawing Stage 3 Adding Detail

Adding more detail and tone liked some of the background tone marks if the tree trunk which I used the flat edge of the pencil.

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Exercise 2 Drawing  4 Final Drawing

In the final drawing not sure that I had all the twigs and branches on the left hand side did try to use the pencil in different ways to create the marks and shadows. I do feel that it captured the movements of the twigs and the texture of the bark of the trunk. Some of the  lines on the twigs did not work as well on the smaller twigs and the texture.

Exercise 3 Study of several trees

In this exercise I worked on a wood area at Centre Parcs and then took a photograph of the view point I was looking at with the tall trees, small path within the trees. I first did a outline drawing in pencil and used watercolour to create my painting. I did take photos at stages to record my progress doing the work.

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Exercise 3 Drawing 1

In the first drawing I put the pencil outline of the trees and were the path runs between the trees. Sketching the trees I did feel there would be to many tree trunks so I did limited the of trunks that I put into my drawing as I went along.

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Exercise 3 Drawing 2

Using watercolours I started with the main tree trunk on the left hand side of the painting, trying to capture the texture of the bark by using different brown tones, grey and black. Layering over the paint in making marks vertical is small brush strokes. Leaving some white of the paper to reflect the light cast on the tree. I did feel that the marks made captured the texture of that tree trunk.

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Exercise 3 Drawing 3

This third drawing shows the detail texture of the tree trunk and the brush stokes made to get the texture of the trunk.

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Exercise 3 Drawing 4

In drawing 4 this show the adding the tree trunks and stared to add some of the green of the leaves but without too much details of the shapes of the leaves. Painted in the path and the small wood posts by using a thicker brush.

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Exercise 4 Drawing 5

In drawing 5 is the final drawing I added some texture with the grasses in front using a small fan like brush. Have also left some white on the paper to reflect the light.

The trees in this area were many the same species, with the tall trunks . The leaves and foliage I have hinted at with the green colours coming between the tree trunks.

The light on the tree trunk I left some of the watercolour paper unpainted to create the high lights.

I have tried to simplify the drawing by not adding so many of the tree trunks, got a feeling of depth in the image and by the way the path comes into the painting along with the small posts.

I felt the painting worked well and tried not to overwork the watercolours. Also the use of putting paint on a dry brush to get the different marks for the grasses.

I did feel that if I worked on the painting more that I would lose the brush strokes and marks made, I was in the end happy with the work that I had done. The texture of the bark on the tree I did feel worked well.

I have tried not to get to much detail but suggesting the mass of the tree trunks and foliage. I used watercolours and brushes with the painting with the outline in pencil to start with. By taking the photographs it then can be good to see how I have built up the painting and works for my own reference.

Overall I think the watercolour painting did create the atmosphere of the wooded area and the depth of the wood has been created by the path and bringing some of the light grasses in the foreground of the painting. Did just try and suggest the leaves by using colour and not putting to much detail into each leaf. The small posts running along the path also give the composition a balance of the overall painting.

 

 

 

Assignment 2

Sketch Book Ideas

In my sketch book I did some thumbnail sketches of some tulips that I had brought putting them into a bright pink vase, I felt that sketch 6 work with the two larger flower images and I had toned in the background in grey, creating a more abstract form of image on the paper. So with this idea I worked this onto a A3 size paper with this I used three maker colours and layered black and white ink onto the image, I decided that the image would look better left with a white back ground of the paper.

Project 3 Exercise 1 Using markers & dip pens

Sketches
Using markers & dip pens

Project 3 Exercise 1 Using markers or dip pens

Using markers or dip pens

Below images as I had produced two drawings of the same image as was unsure that my first image looked right I then did a second drawing of the same tulips

 Project 1 Exercise 1 Using makers and dip pens Tulips

Detail

Project 3 Exercise 1 Using marker or dip pens Tulips no1

Assignment 2

 Project 3 Exercise 1 Using markers and dip pens Tulips Working Progress

Using markers and dip pens Tulips Working Progress

Project 3 Exercise 1 Using markers and dip pens Tulip- photo test colours

Using markers and dip pens
Tulip- photo test colours

Above looked at the tulip and on paper did some test colours with marker pens.

Project 3 Exercise 1 Using marker pens and dip pens Final Drawing

Using marker pens and dip pens Tulips
First Drawing

Project 3 Exercise 1 Using markers and dip pens Tulips - working progress on drawing before inks applied

Using markers and dip pens Tulips –

When using the markers there is no chance of changing any of the colour you put down like pencil colour crayons you can at least amend the lines and marks you make. I have included some of my working progress drawings that shows how I firstly started with the image with the marker pens then follow up with the use of inks over the marker pens, this created both texture and depth to the image. Having not used marker pens much it was interesting to use them even if I only used some limited colours, I did however feel that I needed the ink to create more depth in the image without this the image would be rather flat. I do think if I had filled a whole page with one large tulip flower it would have worked well to create a more abstract drawing. The fact that that any mark that is made can restrict what you do needed to be bold putting the marks down on the paper, using  the whole hand and arm movement to create the image.

Assessment criteria points

Demonstration of technical and visual skills- materials, techniques, observational skills, visual awareness, design and compositional skills.

In my assignment I decided to use marker pens and inks this media have not used that much so felt it would be good to create the drawing of the tulips in marker pen as the colour and smooth finish shows off the petals. I tried to get a good composition by making the flowers fill the page but left the background white of the paper. I used ink to create depth in the colour by using both brush and pen. With the marker pen large sweeping movements with the hand to create the petals. The image drawn out with the marker pen did not do a outline drawing in pencil first.

Quality of outcome- content, application of knowledge, presentation of work in a coherent manner, discernment,conceptualisation of thoughts, communication of ideas.

I feel I have worked in a coherent manner all work labeled  and items references to exercises.I put ideas in my sketch book and write up notes in my note book on all the exercises completed. Tried to free up my style by trying media that I would not normally work in. Ideas on the assignment with some thumb nail sketches and photos of the tulip flowers.

Demonstration of creativity- imagination, experimentation, invention, development of a personal voice.

The use of different materials to create the drawing, looking at the subject and trying to work the best materials to create the image of paper. Feel that I have tried to create my own final piece without over working. Maybe the background of the image needs to be worked on but felt that I like the white background. Did lots of small sketches before working on the final assignment. I have included some photographs that I have taken which looking at textures and in the winter were the frost on the leaves. Try to put some of these on my blog for my own reference.

Context reflection- research, critical thinking.

I have tried to reflect on the process of my drawing, research done as required. Tried to look at the research and use that in the work completed in some of the exercises. I feel I may need to be looking at the critical think more.

Formative feedback 30/4/17

Overall Comments

Thank you for the care taken editing,selecting and organising your portfolio. I will comment upon specific aspects under the headings. In relation to you reflecting on feedback at Assignment 1 : there is evidence of you acting on some of the Research and Pointers suggested. I think you’d benefit from revising those I’ve marked(**).

I have noted that I need to address the areas as indicated and will be updating as required.

Where you have acted upon the feedback it has helped you think about and try a variety of compositional approaches. You have explored cropping-into view, in order to place larger scale elements within the picture frame . ( see No 1 & 2 drawings).

In relation to your critical thinking- you make brief comments on ‘why you do’, you benefit from deeper reflection, analysis and recording. In addition to the tasks and outcomes set within the exercises, projects and assignment; ask your self what you wish to explore and achieve in your drawings. Considered the visual qualities of tone, line and mark- making, also the ideas and content you may wish to communicate.

I do note that I need adding a more in depth analyse on my drawings and sketches.

Utilising a range of wet and dry media to experiment with line and mark-making qualities. I would encourage you to analyse which media and material qualities you might use for further projects and assignments. Ask how you would select the ‘appropriate’ media and tools to convey particular textures, tonal values and content.

You have attempted to use bold colours and to loosen- up your exploration of gesture and mark-making. You are considering how you use your body, as you draw and how this affects, the flow and quality of mark and line. Continue to build upon this awareness as you progress.

Bring more of this developing awareness to your observational drawings. Spend time looking at and making notes on what you see i.e.: Still- life + a collection of objects within space/Life drawing= figure within space. The qualities of tonal values in the background and space between objects, could be explored more.

In a few drawings you are starting to place you objects within a spatial context ( in the foreground). The pieces of natural forms ( No 1 & 2 )convey shadows beneath, yet you don’t seem to perceive/ convey the space in the background.

In No 1 & 2 there is a sense that you are noticing the texture of natural forms. Taking your time to look and translate texture through a range of line and mark- making qualities. Bring this same focus and awareness to observing the conveying positive/negative space, and what you term the ‘background’.

Assignment 2 Assessment potential

” I understand you aim is to go for he B.A (Hons) Painting Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to this course, I believe you have the potential to succeed at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback”

assessment ( see Conditions of Enrolment, Section 2 a ) Contact the OCA Course Asdisors to discuss this further.

Feedback on Assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

You have made six small, quick thumbnails to explore composition. This informed your choice of abstract , bold forms.

Having focussed upon the head and leaves of the tulips, you didn’t take into consideration the negative space or background of the still life. It looks like you aren’t spending enough time observing and drawing from life. This means you have to “make things up” , when translating the negative space, background and foreground through drawing. I recommend doing some exercises where you just focus on the negative space during observational drawing.( see Pointers).

I was aware I was not happy with my final piece for assignment and did feel that it either needed to further work on and that I had not worked in the background. I had said that I would rework my assignment in a letter to my tutor.

In drawing 1 & 2 there is a confidence in experimentation and focus in your choice and use of media. This you seemed to have forgotten in the assignment piece. What can you learn from these drawings to inform your assignment drawing.

I did feel I had lost myself in the final assignment piece and sometimes need to plan things for time scale of work to be completed.

I can see that you tried to explore a bold composition and sense of colour. This could have been better realised through more preparatory work. It feels as though the assignment outcome and the process of development was rushed. Plan your time to allow you to fully explore lots of observational drawings to inform how you lookout analyse and experiment- before making final choice of composition, media and format etc.

In your choice of objects, what were you drawn to and what were you wanting to explore and convey? Are colour, shape, form, tone,texture or any content/ ideas of interest to you ? ( see Pointers)

Need to add these details into my blog.

Sketchbook

Demonstration of technical and Visual Skills, Demonstration of Creativity

It would benefit your drawing development to explore a range of tonal values to convey a sense of space, depth and qualities of light- shadow. You notice the shadow beneath objects, yet seem to not notice or ignore the space between or in the background. Practice- observing these areas of still-life/figure. Make written and visual notes and use a range of mark- making to convey the space in -between and behind the object/figure. ( see Pointers)

Try and approach your sketchbook as an exploratory space to test out the projects and assignment, without the pressure of making it “right’ . It could be the site for exploration of tonal range, light, shadow, a sense of space and depth.

Need to free up my sketch book do tend to like things neat and right but that is because I have always had to do technical drawings that have to be right in my job as interior design planning drawings and measurements have to be right.

As well as making many small exploring drawing in your sketchbook, it may help you to spend time making some notes on the qualities of marks, line and form of what/ how you are drawing. Spend time looking at and analysing your drawings; comment on what you think works well and not so well… Take these thoughts into your future assignments too develop strengths i.e: use of mark- making and line to convey texture and form.

Need to make these notes in my sketch book as drawing.

Research

Context, reflective thinking, critical thinking ,analysis

A range of research on still life evidencing historical span from C16th with some contemporary references. ( see Pointers)

You must use Harvard referencing consistently far all your research. For example you mention a number of Youtubes videos, player articles and books yet haven’t properly referenced them. Make sure you go back and do this ( see Reading/ Viewing/ Pointers):

Harvard References all my work.

http://www.oca-student.com/resouce-type/academic -referencing

The above link has a number of useful resources for referencing and how to quote academic sources.

You’re not yet relating your research to your drawings and potential development. This will benefit your drawing practice in relation to deepening your ‘critical thinking’ and ‘analysis ( See (**) suggestions made in feedback for assignment 1)

You may it helpful to focus on fewer resources and artists, there is a sense that you have a matter- gun approach. It is sometimes more useful to focus and spend more time looking at analysing and commenting in more depth, than a cursory look/notes. Choose two or three artists to research, look at 2/3 images and analyse them more closely. Spend time looking at others’ work in order to learn more from them. ( see Pointers and Reading and Viewing )

Learning Logs or Blogs/ Critical essays

Context, reflective thinking, critical thinking , analysis

It is useful that you’re using the log as an archive of your drawings, with some still life research. It would really benefit your drawing to use it more regularly , as reflective space. This will help you appreciate and understand the qualities in your drawings and make decisions how to develop your own work.

As at Assignment 1, there’s still a tendency to be brief in your critical analysis when reflecting on your work. commenting on ‘what you did’ rather than on how effective, successful or weak the different elements are. Go back and critically analyse the assignment work (No. 7) and Exercise 3 ( No 6). Refer to the criteria in the tasks i.e. what are you ask to ‘demonstrate ‘? Also refer to the Level 4 Assessment Criteria. Ask how successful/ week ( in what ways and how?) and comment on “why’ you do things, what purpose or content you bring to the drawings. ( see Pointers)

Need to add this to my blog.

Suggested reading / viewing

Context 

Follow up these suggestions from Assignment 1 and post analysis to your blog:

(**) Analyse Morandi’s approach to negative/ positive space, tonal values and monochrome palette: How do these create compositional balance. Ask what you can learn from this, to apply to your work.

To do.

(**) Analyse Bonnard’s compositional devises, viewpoint perspective and ask how you might apply this to your compositional notes and sketches.

Have now added this to my blog.

Post your notes and ideas on both the above to your blog.

Winifred Nicholson

http://www.visitmimima.com/whats-on/single/winifred-nicholson-liberation-of-colour/

http://ww.oca-student.com/resourse-type/academic-referencing

Pointers for next assignment

Reflect critically on this feedback in your leaning log.

Analyse the Kaupelis exercises: Post to your blog, what you learned from the process and how you might apply this to your project and assignment work.

Added these notes to my blog.

Critical thinking: specifically regarding No 6 and No 7 drawings. The work will benefit from the practice of deeper reflection, analysis and recording. Overall this is an area that you need to practice regularly and log on your blog.

Practice observing and drawing from life. Focus on the negative space/ background/foreground. Half close your eyes and look at  the range of tonal values and shapes to help you see what is between the objects. Make several small (A5 ) drawings before you start your next assignment piece.

Ask what you have learned from drawings 1 & 2, is there anything you can develop further in the assignment drawing? Post you thoughts to your blog.

Set yourself some simple aims( in addition to the project/ assignment tasks). What are you wanting to achieve in your drawings? What qualities do you admire in others’ work, that you wish to explore in your own and what content, ideas…do you want to communicate to a viewer ? Post these thoughts to your blog.

Re-do the assignment piece:having thought about some simple aims for yourself and having made some observational sketches ( see above two Pointers).

I knew when I sent my assignment that I would need to re work it as was not happy with what I sent but wanted to explore the use of the bold abstract colours.

Well done, I look forward to your next assignment.

Some good positive feed back and will adjust my blog as required.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Part 2 Intimacy

RESEARCH INTO MEDIA

Starting part 2  I decided to just do some mark making in different media together with some sketches ito show the different effects it would create.

COLOURED PENCILS This is the first media I used the primary colours in shading by applying different pressure on the coloured crayon when drawing the marks and cross hatching. I then did a couple of sketches in coloured pencils one was just of high rise buildings and the other sketch was mountains, lake, sky and buildings found in places Lake Lugano which I have been to. Coloured pencil have a vast colour range of different tones made from a proportion of pigments, binders, clays and wax this media is good for sketching and drawing, blending can be done to create other colours. Fine detailed work can be achieve if using a coloured pencil with a fine point, also the if using coloured papers or different textured papers will create different effects.

Colour Pencil Drawing

Colour Pencil Drawing

Building in Coloured Pencils

Building in Coloured Pencils

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Colour Pencils

FINE MARKER PENS

Again following on from colour pencils I have done a A4 page of how fine marker pens work so that I could compare the effects that can be drawn. The fine line markers have a stronger colour, fine details in drawings can be achieved, but blocks of colour would need to be drawn with a thicker nib marker. Overlaying of colours can be drawn by using solvent-based markers, markers colours consist of dyes and not pigments so they will fade over time if exposed to strong sunlight. But lightfast brands of markers can be brought if artwork is more a permanent piece.

 

Drawing Black Fine Marker Pen

Coloured Fine Line Marker Pens

Coloured Fine Line Marker Pens

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Fine Marker Pens

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Marker Pens – Letraset Promaker

OIL PASTELS

Similar format of doing A4 page I used some Faber-Castell oil pastels, oil pastels are made by combining raw pigments with animal fat and wax and bound with gum. Oil pastels make thick strokes and the colour is more intense than soft pastels, they are not easy to blend but blending can be achieved with a wet finger. Colours can be scratched back to make a pattern on with a sharp tool to create patterns and textures a technique know as sgraffito. Because of the water resistance of this media they can be used with watercolour paint, the paint will adhere to the paper but not to the oil pastel marks, this can create some interesting mottled effects. Also depending what paper is used a more pronounced pattern can be achieved if using a rough -surfaced paper.

Oil Pastel Drawing

Oil Pastel Drawing

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Oil Pastels

INKS

Another A4 page showing the effects of inks using pen and coloured inks, also used some different techniques of smudging with fingers and blowing the ink with a straw to move ink. Pen and ink were popular with artist in Ancient Egyptian times, it is capable of a range of techniques and effects. The choice of drawing pens and nibs are many, but two types are a dip pens which can produce expressive lines depending on the pressure used , mapping pens have a very fine point , bamboo and reed pens, quill pens , metal pens which have the interchangeable nibs these pens all need to be dipped in to the ink. But technical pens, fountain pens and sketching pens are reservoir pens. The technical pens have different size nibs for line thickness required for technical drawing and I have spend many years using them to produce drawings plans, elevations and section drawings for interiors. many times filling up the ink pens and getting them working sitting at the drawing board. Now most technical drawings are done on the computer using CAD.

Coloured Inks

Coloured Inks

Coloured Inks Black & Blue

Coloured Inks Black & Blue

CONTE CRAYONS

A A4 page showing the primary colours and a sketch using Conte Crayons which is a similar effect to charcoal but are harder. Conte Crayons can be blended by rubbing with finger or a rag I used my fingers to blend in colours. Colours could be worked so they went over each over then drawn over with different patterns. Conte Crayons were invented by the Frenchman Nicolas-Jacques Conte , who was also invented the modern lead pencil in the eighteen century. Made from pigment and graphite bound other with gum and a little grease, they are very similar to soft pastel but slightly oiler and harder. I used the square-section sticks, by blending the colours layers the first layer of colour shows in the final image. I also did a sketch using them to produce a drawing of a mountain and lake effect, this again to compare what effect this media would create so looking at how media can effect the overall effect on a drawing.

Conte Crayons

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Soft Pastel- Conte Crayons

WATERCOLOUR PENCILS

When using the watercolour pencils I did a couple of drawing to see how I could blend the colours. Easier to use than just colour crayons can blend the colours better with the use of water over the crayons.

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Watercolour Pencil

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Watercolour Pencils

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Experimental Drawing Robert Kaupelis

Following on from my first tutors report I brought this book Experimental Drawing by Robert Kaupelis and started some of the exercises

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Blind Drawing in Pencil

Getting shapes, forming shapes of the objects and positioning of the items are not easy when drawing blind, objects seem to float.

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Blind Drawing Flower in Pencil

In this flower drawing the overall flower shape the petals is formed. Depth of some of the petals used by creating harder pencil line by pushing the pencil firmer down onto the paper.

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Blind Drawing Face in Pencil

Face drawing not get the overall right shape of the face , closing my eyes to draw by only using touch to get the lines on the paper.

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Blind Drawing Faces in Black Pen

Eyes and hair not always in the right place for the face drawings when you close your eyes and you lift the pen off paper it becomes difficult to know where the overall shape of the face should be. Liked using the pen to try and sketch the face, overlapped the faces as this was done without using my eyes closing them and trying to draw from my mind the shapes.

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Blind Drawing Figures in Black Pen

Figures not always right heads not joined to bodies, a stick man like drawing done in black ink and closing my eyes. Intreating the images and lines that come onto the paper.

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Blind Drawing Figures in Black Pen

Used black pen for the above drawing but used different line types, on opening the eyes its intreating the shapes of the body forms on the page. Do feel aha it helps free up your style of drawing.

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Blind Drawing Figures in Black Pen

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Blind Drawing Figures in Black Pen

Used a black pen to create the drawings with a spiral type movement to see what the figures would look like.

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Blind Drawings Figures in Black Pen

Closing the eyes and drawing makes you think more how your hand moves the pen and look at not taking the pen off the paper and drawing without lifting the pen. Some of the drawings worked well but felt there was no neck with a lot of them and head straight onto body.

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Figures in Black Pen

Just tried drawing some of the figures with black pen some worked but good way to try out drawing figures which is not one of my subjects that I enjoy drawing. But have felt that I had create some interesting figures.

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Faces in Black Pen

Faces in black pen trying different line weights and textures to create tone.

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Face Detail in Black Pen

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Figures in Black Pen

Did look at getting some movement in the figures some sitting and the man to the left of the drawing that did not work at all nobody could stand like that, but this all about learning.

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Figures Three in  Black Pen

I like the drawing of the figures above using black pen to create the movement and image of the figure.

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Figures in Pencil

Then looked at using pencil to see what the drawings would look like and did try to add the shadows as well. Did like the way that I can use darker tone in the pencil to create depth.

Black pen drawings of simple people shapes, even if parts of the body missing you can get a effect that you are drawing simple outline of people.

Doing some of the exercises has made me look at different ways to create the image required on paper the way I use both pen and pencil in drawings and how each create a different style. The way the use of the type of line can change the the overall drawing produced.