Overall Comments
The first assignment was in blog form as is this assignment, so it is imperative that I see the works at the next assignment.
This feedback is therefore based on reviewing your blog that is well -constructed and clear to view. As I previously noted, by the nature of jpgs there can be a variance between values such as colour shifts and so on, so this must be taken into account within this feedback.
The under drawing is well informed and you are thinking about composition, you could be more critical in this area. Think about proximity and changes of light source, try to develop more in your sketchbook before the works on the larger sheets. Overall you have used a variety of media, which is inevitably extending your drawing possibilities to some extent but try experimenting and taking more risks.
The handbook is only the starting point, be as expansive as you can.
Reworking of Assignment 2
I have come back to this assignment after a little while and many drawings later. I decided to create a new piece of work rather than to rework the same piece. This time my objective was to not outline in black and create shade and depth with colour. I chose to work in watercolour again and chose to take a close look at fruit. The more detailed areas such as the banana are more successful and I am happy not to have relied on outlining. As I do not have much experience in watercolour painting before attempting this piece I followed tutorials from books and online just to practice the laying down of colour. I concentrated on looking at what was in front of me and drawing what I could see rather than what I thought it should look like.
Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Well done for setting up a challenge and drawing something that you find a little trying, your preparatory work is well planned and thought through. The finished image is well composed and the under-drawing is good, however there is a tendency to outline the form still, which lends itself to graphics more than to fine art drawing practice, be careful of this and try to establish an edge by tone rather than a fine black line, i.e. use tone to modulate the edge of a form. Making an interpretation is fine but you must be sure of the intent behind the drawing. Your observation of shadow and the depth of the drawing works well, you can obviously use tone to your advantage.
If you look at the yellow pepper for example the contours of the form could have been expressed better if you had applied the same rule (i.e. no black line) as you used for the shadows under the lettuce. So try to model the form through thinking about whether the forms are convex, where you can use a darkening on the inside edge (endotropic shadow) to make the edges go back into the picture plane, in this way the mid section will appear as if it is coming forward.
Investigating light source will really help you to ‘see’ how this can be achieved. Look at early Dutch still life painters for excellent examples. Think about directional light, locate and record the effects of light on a surface, think about how it may affect form and space as well as surface texture.
Think about ‘how you see’ rather than trying to build a picture – truly exploring the form will bring rich rewards as drawing is the product of perception.
Feedback on selected exercises.
Still life group in tone
This work has the start of some good observation and I can see that you have drawn the glass and were brave enough not to outline it, and this is why I am bringing it to your attention. The composition nearly works although the horizontal lines could do with easing back as they seem prominent. Also the composition would have been better without the cylindrical form that is to the left of the vases. There is a ‘softness’ to the drawing that speaks of a more empathetic response to what you were seeing. Although you perceive the work to be ‘juvenile’, it is really the opposite and something to reflect upon for the future, because the drawing begins to tell a story through the placement of the objects within the composition. Really think about light source, ask yourself where it is coming from, how can you depict the affect that it is having on the forms.
Grabbing the chance
The duck page JPG from your sketchbook is the most exciting, here it is possible to see the start of a good drawing exploration, the mark making is good and you have really captured the characteristics of the animal. Because of this there is a vitality that is conveyed to the viewer which perhaps is missing in the dog portraits. The dog and cat drawings appear more practiced and ‘set’. Try to apply the same investigation to the dog as you have to the ducks. I would urge that with the dog portraits they have become too formal and not ‘felt’ enough.
Fish on a plate
This work looks strained and graphic, I am pleased that you recognize the problems with it. These exercises are merely starting points, so if you are uncomfortable try to work imaginatively with the composition. Again the outlining in black is killing the drawing and you can draw! Have confidence in your mark making and go for it!
Plants and Flowers in Colour Media
Two pieces of work- one without a heavy outline and one incorporating outline- it is heartening to see that you can work without a black line- you have noted that you need to experiment more and I would advocate that you make smaller test pieces to try out difficult areas before committing to a larger piece. This will save you time in the long run and also help you to appreciate how to achieve a better finish overall, it also helps compositionally, as it is important to understand what to leave out as well as what to put into a composition.
Sketchbooks Demonstration of technical and Visual Skills, Demonstration of Creativity Your sketchbook has some initial interesting work in it and I was pleased to see some good initial planning of the exercises and larger pieces, but I would recommend more of this including more experimental work with materials, but well done. Some of this work is more vigorous and vibrant than the final pieces and work successfully in their own right. Continue to use your sketchbook as a resource and try to bring the qualities of the smaller work into the larger arena – think about the material, paper and quality of the mark that you are transferring from the sketch to the sheet of paper. Question how you could replicate that mark at a larger scale?
Push further, be bolder and use the media rather than letting the media use you. You have a good ‘gut instinct’ but need confidence to follow it through, keep practicing, use your sketchbook to it’s full advantage, keep experimenting more.
Learning Logs or Blogs/Critical essays Context
Your writing is clear and unfussy, and you are beginning to make some links across artists works which is pleasing to see, try to explain the detail that you are looking at in more depth- it is like pealing an onion- in this way you will begin to de-code the image in a more investigative way. Use the guide pasted in your last assignment to help you. Keep looking and writing in more depth about what you are seeing as this will really benefit you. I am pleased to see that you are beginning to extend your investigations. Write objectively with less biography.
Suggested reading/viewing Context
Look at some of the young Chinese and Japanese artists such as Liang Yuanwei for ideas around mark making and flora. Her peceptions are a flurry of strokes across a page and a simplified visual vocabulary that I think you may find exciting.
Also Maki NA Kamura. The Saatchi had a show some while back that you may find on the website.
Look at:
http://www.artinamericamagazine.com
See as much work by other artists as you can, visit exhibitions if possible. Take your sketchbook around with you and use it to record what you see. Like learning music, drawing needs practice.
Look at the historic sketches of Jean August Dominique Ingres (mark making and also figure) John Ruskin (landscapes) and for contemporary work see Ellen Gallagher Watery Ecstatic Series. Look at The Drawing Room website to see what drawing might be.
Also look at Paula Rego and Michael Landy.
http://www.axisweb.org
http://www.balticmill.com/links
http://www.channel.tate.org.uk
http://www.flashartonline.co
http://www.frieze.com
www.guardian.co.uk/artanddesign
http://www.newexhibitions.com
http://www.bridgemaneducation.com
Pointers for the next assignment
The next assignment is on drawing outdoors, so consider some of your more immediate responses via the mark and think about how they may apply to the outside environment. This is a real opportunity for you to develop your more spontaneous approaches.
Formal Assessment
You may want to gain credit for your achievements by formally submitting your work for assessment at the end of each unit. Tutors at the OCA are just as keen to support you whether you study for pleasure or to gain qualifications.
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