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…

Reflection and notes on part 4 – The figure

Revisiting my learnings in preparation for assignment 4 Over the time I worked on part 4 I felt that I took personally a big step forward. Did I learn in previous parts about media and how I could get used to them as well as about basic tools, this part I learned more about my own drawing approach. I think limiting…

Project Six – Exercise 2: Portrait from memory or the imagination

Before starting this exercise I was wondering how I will tackle it. Than during a tram ride I’ve seen en elderly woman with her daughter?/her caretaker? getting on the tram at one station. The woman seemed very fragile, moving in slow steps and need to hold on a handrail at the door. One the one hand I was wondering how…

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 – Exercise 2: Your own face

For this exercise I placed myself in front of the bathroom mirror and trying to find interesting poses that I still can manage to observe and draw. To warm up I did a few 5 min sketches in different media and approaches. Face #1 For the first self face drawing I was wondering which media and format to use. My…

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 Five – Exercise 2: Groups of figures

‚ÄėPeople watching‚Äô is a good way to understand human movement and interaction.¬†So I went with my sketchbook on the road (train stations) and in the city (event). As this exercise is about moving figures and as I struggled in the last exercise with the depiction¬† of movement, I told myself to sketch more on the spot, embracing the movement as…

Project Five – Exercise 1: Single moving figure

Some sketches from daily observations How well have you managed to create the sense of a moving figure rather than a¬†static pose? => I found this exercise quite difficult and challenging. Perhaps because the figure was moving so fast that I had not much more than a few seconds to depict. Perhaps I focused too much on the figure as…

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…

Part 4 – Intermediate notes to myself

I feel that part 4 is taken more time, and on the other hand is such a fascinating topic. I think that several contextual researches are now coming together and building up to my approach to drawing. Nevertheless, the human figure and it structure is a complex subject. Quite a lot to learn and to experiment. So far I do…

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 4: Structure of the human body – Sketchbook studies

Reference: ‘Drawing the foot‘ (2015)¬†DRAWING, Vol. 12, Issue 45, New York: F+W Media, Inc. ‘Drawing the hand‘ (2015) Spring 2015,¬†Vol. 12, Issue 44, New York: F+W Media, Inc. ‘Figure Drawing Fundamentals – Landmarks of the human body‘ (2014) Available from: http://www.proko.com¬†

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 Three – Exercise 1: Basic shapes

For the first session I walked around my seated model to get different viewpoints. By that I also got a variation of foreshortening, either of the lower or the upper body. I used for all drawing the length of the head as one unit. The slightly variations on¬†viewpoints made certain body proportions more or less different. Especially on drawing #7…

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 Two – Exercise 2: A longer Study

For this exercise I did first some sketchbook studies to get acquainted with my model, finding a place and a pose that is comfortable enough for a 1 hour session with intermediate breaks. And testing color with colored pencil During¬†the break my model stretch herself and went into a relaxing pose. I took this opportunity for a sketch in graphite…

Part Four – Research Point: Figure drawing

  This research will take some time, so I will look over a couple of days or weeks at artists to whom I feel emotionally connected to. Knowing of course that there are different approaches and mark makings. I will focus on drawings, only will include paintings were I think that they might have an influence on my own works…

Project One – Sketchbook – drapery studies

For project 1 I wanted to understand more about folds and how to draw them besides a cloth thrown over a chair. For this I used one of my studio shirts and placed it over an easel, clamped to it, and thrown over a rectangular box on a chair I found a good book about the drawing the clothed figure…

Project One – Exercise 2: Emphasising form with cloth

As I was travelling¬†I tried to do the following as preparation for my upcoming travel: letting my model sit in two poses and taken photographs from her. The idea was to cary on this exercise in a hotel room without a life model. That said I worked around in my sketchbook¬†and than on some larger scale papers in different media…

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…

%d bloggers like this: