Category: Part 4

Reflection on assignment 4 – tutor feedback

Happiness ūüôā My engagement and enthusiasm during part 4 was recognised as well as my different and more confident drawing¬†approach. I showed a ‘good understanding of material, support, proportions and tone to convey form and space’. My earlier challenges with the chosen support were overcome. Overall my tutor acknowledges that I have the potential to succeed the assessment. I’ve sent…

Part 4 – Assignment 4 – Self evaluation

How did I do against the assessment criteria? Demonstration of technical and visual skills: Based on received tutor’s feedback I previous assignment I revisited my usage of media and my drawing approach.¬†I limited myself to rather dry media (charcoal, Cont√© crayon, graphite) and used wet media (ink, paint, watercolor) rather to create distinct atmosphere or to prepare drawing surfaces. To…

Part 4 – Assignment 4 – Portrait in line and tone

 Self- portrait combining line and tone (Charcoal, Cont√© crayon, rubber – A1) Now this study should be ambitious and experimental, I assume more than the other two. Well I took this up as my own challenge, also to see how much I can overcome my hurdles with scale, colour, and getting my sketchbook free appeal into this drawing. I decided for…

Part 4 – Assignment 4 – Reclining figure study using tone

Reclining figure study using tone (Pastel ground, acrylic paint, Cont√© crayon) I continued with my model, now finding a reclining pose. Reclining means: to ‚Äčlean or ‚Äčlie back with the ‚Äčupper ‚Äčpart of ‚Äčyour ‚Äčbody in a ‚Äčnearly ‚Äčhorizontal ‚Äčposition. (Cambridge Dictionary Online – see here). After the sitting pose my model felt tired and therefore chose this pose. So…

Part 4 – Assignment 4 – Seated figure study using line

Seated figure using line (charcoal, Cont√© crayon, graphite, rubber – A1) For this and the following study I worked with my model in her comfortable environment. I asked her to make herself comfortable and to chose poses that would help her to do so. She went onto her yoga mat and for the sitting pose placed herself on the small…

Project Six – Reasearch point: Self Portraits

Rembrandt Harmenszoon van Rijn (1606 – 1669) Rembrandt did some quite some self portraits over the¬†his artist life,¬†starting¬†at age 23 to his oldest as age 63.¬†All of them are¬†nearly the same¬†angle.¬†The earlier one¬†still in his painting style of light and shadow¬†with¬†a¬†single¬†light source. One can really follow hie life, the turbulences. However it could be critical to interpret too much into…

Project Six – Research Point: Face

The face is and was always a key element in figurative and especially portrait art. This goes back far into the past. Hans Holbein the Younger (1502/3-1564) ‚ÄėSir Richard Southwell‚Äô, 1536 Black and coloured chalks, pen and ink, and metalpoint on pale pink prepared paper (37 x 28.2 cm)¬† [Online image] London: Royal Collection. Available from: https://www.royalcollection.org.uk/collection/912242/sir-richard-southwell-15023-1564 [Accessed 15 September…

Project 4 – Research point: Underlying structure

I found this research¬†quite difficult, is not all figurative art somehow based on the underlying structures of the body? Especially in the¬†Renaissance the human body and anatomy was widely in the focus of research and art. 1543 the¬†first comprehensively illustrated Renaissance treatise from Andreas Vesalius’¬†De humani corporis fabrica was published in Basel. The great italian artists incorporated the findings in…

Project 4 – Exercise 2: Three figure drawings

For this exercise I spent some time with my sketchbook on 2 min poses with different viewpoints and poses. I was looking for some interesting poses and viewpoints that could give the drawing a certain appeal. Either through¬†a potential narrative, interesting diagonals, or by expression of a certain mood and atmosphere. After doing this preliminary exercises that took quite some…

Project 4 – Exercise 1: Structure of the human body

Loosely sketch some of the structures that make up the human body and to create studies¬†of the individual parts that make up my¬†own body. Learnings: It was quite a discovery journey along the body. Quite fascinating to move along the planes and the twists. Alongside my sketchbook studies (see notes) it helped me to have a better understanding about shapes,…

Project Three – Exercise 4: Energy

This exercise is about quick sketches to capture the essence of a ‘dynamic’ pose, rather gesture like, with focus on movement and the involved energy. Quite in this context are some of the works of Francis Bacon¬†(see my research on figurative¬†drawing) One example is ‘Turning Figure‘, 1959-62 [Online image] London: Tate. Available from:¬†http://www.tate.org.uk/art/artworks/bacon-turning-figure-t07352¬†[accessed 23 July 2015]     Learnings As…

Project Three – Exercise 3: Stance

In this exercise I will focus on the standing figure (seating figure for next time). As I already applied the concept of the central axis and some spacial sight lines in the previous two exercises, I will continue here with rather quick 2-5 poses in my A4 sketchbook (so rather smaller scale).¬†These quick sketches will be my reference material for…

Project Three – Exercise 2: Essential elements

This time draw a sequence of six different poses lasting ten minutes each.¬†¬†Emphasising the threedimensional¬†form. For this I worked in my A3 sketchbook (finding this sketchbook format more suitable for 5-10 min sketches or studies) For the next two I changed from graphite to charcoal as a more tonal and expressive medium. … and back to graphite for another model:…

Project Two – Research point: Foreshortening

Foreshortening = ‘The correct depiction in perspective of a single figure or object or part thereof in relation to its distance from the eye of the viewer. Foreshortening has been discussed in treatises and taught in art schools since the Renaissance.‘ Oxford Art Online [Accessed 26 July 2015] Me in the mirror (different media): I tried several poses to get…

Project One – Exercise 1: Drawing fabric using line and tone

This¬†worked on this exercise while travelling.¬†I used a blanket from the hotel¬†room thrown over a chair and got started.¬†To get a better understanding of the drawing drapery and folds I¬†looked up some information in a drawing book¬†(Nicolaides, 1969): – The point where the drapery is held (knee, elbow etc.) is called a hub – From the hub the folds radiate…

Project 1 – Research point: John Berger – Ways of Seeing / The naked figure

In the reading list of this course was mentioned the book from John Berger, that was based on a four-part TV series broadcasted on BBC on the same topic. The book is from 1972, but I think some aspects are still valid today some may be even more important nowadays with images free flowing through social networks. Berger is mainly…