My sketchbooks are continue to be my strength where I am ‘constantly engaged in each of the exercises and projects by first turning to this space, which is allowing you to interrogate your ideas and making this space your own; logging developments for a piece of work, playing with compositions, testing approaches and fusing materials, annotating and contextualizing your works’, they ‘convey the space allowing for ambiguity, the scene, suggest texture and movement through exploring line‘, they show ‘fresh loose approaches, consideration given to weight and tone of mark, they interrogate the space, shape, structure, explore line and mark.’
What leads again to my weakness of moving away from this when it goes beyond my sketchbook (larger and assignment works). Overall issues in my work: too illustrative and losing the freshness from my sketchbook works, too pure usage of color.
My assignment piece showed strong points in a well working composition and my various methods, approaches and marks (main tree, foreground, tower bricks). Some weaknesses in usage of too pure colour, too harsh cast shadow marks from the tree and across the path, too forced perspective (too unnatural)
My comments: I deliberately decided to do the harsh cast shadows and this kind of perspective as I felt it would work stronger in such a way with my concept. So I have to think about this in my future works.
Some stronger sketchbook works highlighted by my tutor:
So how do I get to the point of overcoming my struggle with drawings beyond sketchbooks (A5 and A4)? I understand that perhaps time pressure or my internal tension leads me towards this direction, to be too accurate, detailed and by that too illustrative. I could take more risks to keep my ‘fresh’ and interrogative’ approach. I need to work on that with strong focus.
Key topics and questions for me to work on:
Technical and visual skills, creativity
- Usage of colour: ‘Does it lead me more towards colour relationship than towards space, line, tone, and mark?’
Than limiting my colour usage (gouache, ink)
=> Working more in pencil, graphite sticks and conté crayon to really explore drawing and mark makings through application of these more tonal and mark-making materials.
=> When working in ink or gouache to really limit my colour range (black and brown or blue and brown ink, to use white ink and water to make the colour much lighter and to elaborate more tonal gradations. Perhaps a combination of an ink line and mark with pencil, this will then force me to consider the strength of the ink.
- Limiting and eliminating: ‘Does this change interest, intrigue, atmosphere, space?’
=> To see more how I can push this
- Scale: What is the right scale for a picture? What works better on smaller and what better on larger scale?
=> Something to think deeper and to experiment more with different formats before committing to one.
- How to draw more from contemporary artists, their approaches and type of marks e.g. Vija Celmins, Peter Doig, Alain Huck, John Virtue?
=> This means more to incorporate those in my own works as a pool to work from.
Overall I am very glad about my tutor’s comment, as I truly feel it matches quite well with my own feelings while sketching and drawing.
I am going to do a series of drawings of the subject of the the bridge and architectural features from Ex 2 from project 5 (townscape study in line) as my tutor suggested using pencil, grey marker pens and possibly white ink or gouache. Here I will explore a more abstract approach, the structure, its form and space. To answer the question: Can abstract with a fusion of lines and marks be as interesting as a representational narrative?