Did you do enough preliminary work before starting work on your final pieces?
I did as much work as I felt necessary in the sense that I explored all the different medias and techniques presented to me in this section of the course, as well as exploring a few of my own, and was able to take the logic steps to creating two pieces of work that I feel best represent the style I would like to have as an artist, namely that of an mild impressionist, by putting my own spin on reality.
Do your large drawings give an accurate interpretation of the still life groups? If not, what went wrong?
They are as accurate as they can possibly be considering that they are my impressions of them. My first drawing for example, I believe you can still see that it is a rose, even though I have chosen the complimentary colour to what it's natural one should be. As for my second drawing I believe I have managed to maintain the correct proportions to the objects I've chosen.
Did you make a good selection of objects or did you try to include too much? Would you change the arrangements of the objects if you were to start again?
I certainly don't feel that I included too much, more likely that i didn't include enough objects in my pictures, but for the natural drawing, I want to shoe the many textures that just one object can hold and felt that my piece would stand out more if it was less cluttered. As for my second piece, by enlarging the image to just focus on the reflection in the bauble and the train which is close to it, I gained an unusual perspective of the object that would have been lost amongst other more complicated items. I would possibly try to place something unusual in the natural picture, like a dragon fruit to make it more interesting, but generally I am quite happy with how the work turned out.
Do your drawings work fit well on the paper or could they be improved by working on a larger sheet of paper?
I don't believe that a larger piece of paper would improve my drawing, but possibly a different shape of paper might. If I had sketched my natural piece on a round piece of paper, I would have shown more of the rose, and may have looked more interesting.
Did you have problems with drawing or find hatching too difficult?
I did encounter so problems, one of the major ones being that I have my pencil comfortably with a firmer grip than most to combat my shaking hands, and this meant that I had to work harder at building up the subtle tones to a drawing. Despite that though, I quite enjoyed hatching; it was stippling I had the most trouble with, mainly because I don't have the patience to build up an image one dot at a time. It could be that I was doing it wrong and need to research how to use this technique, but personally I would rather use hatching.
Friday, 30 March 2012
Check and Blog Seven
How successful were you in copying the lines from the smaller squares to the larger squares?
Quite successful as I believe I've kept the drawing in proportion.
Are you satisfied with your larger replica of the image? What would you do differently another time?
I would make the squares smaller on the first image, say 1cm squares instead of 2cm ones, so on the larger image I can more accurately show the details of the objects.
Quite successful as I believe I've kept the drawing in proportion.
Are you satisfied with your larger replica of the image? What would you do differently another time?
I would make the squares smaller on the first image, say 1cm squares instead of 2cm ones, so on the larger image I can more accurately show the details of the objects.
Check and Blog Six
Have you discovered any new ways of using your drawing tools to depict surface and texture?
I tried doing a wax crayon rubbing and then scraping the wax off to show lines that form the image of a rose, however the tool I used (a scalpel) only partially worked because as I applied too much pressure in places, I tore holes in the drawing. Maybe if I were to use cardboard instead it may have a better effect.
How successful were you at implying form with little or no tonal hatching?
What are your impressions of frottage as a drawing technique?
I really like it. Its fun to do and gives instant texture. I think it may be limited to natural still life however as I can't see how it could be used in man-made compositions effectively.
I tried doing a wax crayon rubbing and then scraping the wax off to show lines that form the image of a rose, however the tool I used (a scalpel) only partially worked because as I applied too much pressure in places, I tore holes in the drawing. Maybe if I were to use cardboard instead it may have a better effect.
How successful were you at implying form with little or no tonal hatching?
What are your impressions of frottage as a drawing technique?
I really like it. Its fun to do and gives instant texture. I think it may be limited to natural still life however as I can't see how it could be used in man-made compositions effectively.
Project: Using Texture
Exercise: Experimenting with texture
Frottage:
Guess how surprised I was to find out that this word has a second conatation which was sexual. The original meaning of the word is to create an image using a rubbing of a strong texture like grained wood or brick. I like to see the two as related seeing as the sexual meaning inspires thoughts of passion which may lead to creating life, much the same way as making a piece of art work come to life with a rubbing.
Max Ernst invented the artistic version of frottage in 1925 and here is my interpretation.
Check and Blog Five
Do you think it is easier to suggest three dimensions on man-made or natural objects?
How did you create a sense of solidity in your composition?
Do you think changing the arrangement of your composition makes a a difference to your approach and the way you create a sense of form?
How did you decide how to position yourself in relation to the objects?
How did you create a sense of solidity in your composition?
Do you think changing the arrangement of your composition makes a a difference to your approach and the way you create a sense of form?
How did you decide how to position yourself in relation to the objects?
Check and Blog Four
What are the difficulties in separating cast shadow from reflected light and shade?
If the light source is strong, the reflected shadows can become as bold and as striking as a cast shadow, so sketching the correct tonal lines can be tricky.
The reflected shadow and light follows the contours of the objects. How have you shown this in your drawing?
If the light source is strong, the reflected shadows can become as bold and as striking as a cast shadow, so sketching the correct tonal lines can be tricky.
The reflected shadow and light follows the contours of the objects. How have you shown this in your drawing?
Patrick Caulfield and his 'White Ware'
Patrick Caulfield
(29 January 1936 – 29 September 2005)
Patrick Caulfield constantly studied art, and yet the over simplistic shapes and colours in his White Ware collection give the impression of an artist at the start of the career path and not at his peak. However, the simple bold colours certainly make an impact and the lack of complications to the prints, such as shadows and tone allows the viewer to enjoy the pictures for what they are and not wasting time working out if he has captured the correct perspective of the objects. It also gives and on-looker a puzzle as all you can see is the positive and negative space, but no or little object space, so they must make sense of the picture themselves. By keeping the prints simple, his draws attention to the most mundane of objects and makes them stand out and seem special. In the 'Vase and flowers in a garden' drawing by Eric Ravilous the vase is merely a vessel for the flowers, whereas in the 6 'White Ware' prints below, the vase becomes the focus of the pictures.
Below is a drawing I made using a similar style to Caulfield. I kept the detail and the colour scheme to a minimum and concentrated on making my daughter's clothing and blanket stand out.
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