I have learned a terrific amount from studying Drawing1. Much of this learning has been about the use of media. I have experimented a great deal with mixed media and tried many new techniques, including monoprinting, phototransfer and etching. I have used chalk pastels, oil pastels, conte crayons, liquid graphite, powdered charcoal, gesso, a whole variety of water and shellac based inks – all these are new to me. I understand much better which media can be combined for different effects. I have also been introduced to, and discovered many new artists and feel much better educated about art generally.
Assignment Two confirmed for me how important it is to have a research topic and that when I have a research question in mind I push the boundaries and get excited in a way that I do not when I am completing a set exercise. Assignment two also taught me to push through and keep going when things don’t work, and that often there is a way out the other side that would not have been achieved without things going wrong first.
I understand that exercises are there to introduce techniques and that I need to learn technique, but I have often felt quite bored by them. I am not inspired, for example, by drawing doorways. Life drawing exercises have been the exception – I think I started to develop an approach to building form by looking at the angles and planes of the body using fine willow charcoal and powdered charcoal that I would like to develop.
Assignment four was difficult for the same reason as the exercises. The ‘instructions’ were very specific – all three drawings on A1 and one figure must be in line and seated, the other in tone and reclining. However I did find both useful. First because I was forced to go big (this has been difficult for me on the course and each assignment has got slightly larger), and second because I thought about line and mark making in a different way, and about the relationship between foreground and background. In the tonal work for both the portrait and the reclining figure I thought carefully about tonal contrast and light source. In each of the three drawings for assignment 4, I thought about composition and use of space.
I will try to bear all of these elements in mind in assignment 5. My research question for assignment 5 is: ‘How can the sense of mysticism in the immutable Norber landscape be captured in drawings?’ I see this project as a development of assignments two and three, both of which were about ephemerality – this is about the opposite – endurance. To summarise, I will need to bear in mind:
- line and mark making
- tonal contrast
- composition and best use of space
- risk taking and experimentation
- pattern (Herbert Reid – ‘Endurance is the repetition of pattern.’)
- choice of support and drawing media to best explore the subject
I see my main weakness as procrastination and indecision before starting – once I get stuck in I make rapid decisions. I need to trust my intuitive responses more and not overthink. Most of all I should not worry so much and should have fun (as I did with assignment 2). This is consistent with feedback from my tutor for assignment 3: “Try and work more intuitively and directly on a larger scale.”
This drawing is in my A3 sketchbook with black,white and grey charcoal – I stuck a piece of brown wrapping paper in the sketchbook. nb the comments from peers below do not relate to this self portrait, but to another one that was here. I have now moved this to final drawings in assignment 4.
The main learning for me here is, don’t try and use charcoal on top of brown wrapping paper. It is very difficult to make it adhere and lots of it slid off. I kind of gave up in despair, and was just pleased to see the back of it. (the back of it looks better than the front). I guess, too, I start some exercises without enough enthusiasm and I’m tired and in a rush now to get this part of the course finished if I am going to finish the whole module in time – not a good context within which to try and draw. I could keep working on it with charcoal. Or I could use it as an underdrawing and give it a coat of clear gesso then work on it with soft pastels. I like the colours. I might have a go tomorrow if I have time. The left eye needs moving further away from the nose and the angle is not quite right (the eyes are too close together).
Each eye is drawn with a difference pencil (two with biro) ranging from 3H to 8B.The top right one is drawn with the koh-i-nor holder with graphite in it and I think this is great for shading. The koh-i-nor 8B graphite produces nice contrasts ranging from a light grey to black, and is therefore good for tonal work, and the 4B and 6B pencils are both nice for getting sharp lines as well as shading.
The sketches below are with a 4B pencil.
During January I have focused on figure drawing for part four of Drawing 1. I did some figure drawing one weekend about 3 years ago, and think in addition to this I have spent about 5 days figure drawing over the last 20 years. So I am a beginner. My earliest attempts this months show my lack of understanding about how to go about drawing the figure ( the drawings on this blog are not necessarily presented in the order in which they were drawn – I have sorted them and posted them to fit with part 4 requirements – given that I had no control over the exercises set in the life drawing class!).
Although I am disappointed in aspects of each drawing, on the whole I think that during an intensive drawing course over four days this week, I have made terrific improvement. See for example the’pink’ drawing posted in a blog below under ‘longer studies’ on january 27th compared with the bottom drawing posted under ‘three figure drawings’ (blog date – 31st jan) which was actually drawn on the final day of the course on January 30th.
These two drawings are useful to compare because both are prone, on A1 and took one and a half hours ( they are different models). I put them in again below for ease of comparison:
I think that the final drawing on the right, although missing a developed head, shows a better understanding of proportion and tone.The left drawing basically has light and dark and nothing in-between. Perhaps in a photograph the drawing on the left is more eye catching because bigger, she has a sweet face, and is rather more monumental, but the one on the right is more subtle and skilful. I need to work toward combining this new understanding with the strengths that I think I see in the left drawing and have noticed in my better drawings before : a kind of monumentality and determination and solidity. I’m not one for fey. In terms of learning then:
- go into the life drawing with confidence
- work big
- continue using charcoal (rather than pencil or pen) of different kinds (lumps, dust, sticks)
- measure carefully and work out angles of the body before getting into any detail. mark these out with VERY fine charcoal lines.Keep measuring and checking as the drawing develops. Don’t use heavy lines at this point.
- be prepared to move things around. don’t work in too much detail until proportions well established throughout the body
- Use a putty rubber to get more tone
- Avoid heavy black lines to delineate the outline of the body
- Use charcoal dust to get silvery tones (creata colour sell it)
- avoid coloured paper for now
- Once an idea of the proportions is established start in the centre of the body and work out – looking for planes (rectangles, triangles and squares of dark and light)
- use very fine charcoal sticks for fine detail and hatching and initial outline
- don’t leave hands, feet and faces until the very end (and therefore avoid them)
- make the background part of the drawing (the sofa works better on left drawing – I just didn’t leave time to add any marks to the support on the right – the marks showing are her hair, which actually reached the models ankles)
- keep thinking about the relationship between drawing and painting in life drawing i.e. the way I have used charcoal in the right hand drawing could easily be adapted to paint medium.
- Keep going to life drawing classes and seek a class where a longer pose is the norm to give time to fully develop a drawing (e.g. Heatherley art school in London do a three day pose).
Here are four drawings of a single moving figure – all on A1 size paper. I will comment on them later.
The brief here is to spend approximately one hour drawing a figure standing, seated and lounging, looking for tone and imagining skeleton and muscle as we draw. Each of the drawings below are on white cartridge A1. So the first drawing below is rather disconcerting because of the amount of pubic hair (I really dislike the modern attempts by women to make themselves look like pre-pubescent adolescents – I think it is feeding into a fantasy of the hairless women which is bordering on the paedophiliac. However, this drawing extends the pubic hairline to the extent that she looks as if she is wearing a pubic toupee). Apart from that the stance is reasonably accurate – she is actually leaning against a metal bar. I like the two drawings underneath. They both have good proportions, and the twist of the spine in the middle one is quite effective. I think that the bottom one has some good tonal work. I just wish I’d had time to work on her head – and her hair down to her ankles was really annoying.
I started with the hands. Two of the drawings below are drawn with 4B pencil and the third with black uniball biro. I began with the sketch at the bottom and finished with the top one. I think my confidence grew with each sketch. They took about 15 minutes each.
The feet below were drawn with 4B pencil. I hadn’t realised what a versatile pencil this is. You can draw black lines, quite light lines and smudge it for tonal work.