Drawings working as a sequence or hidden narrative – bedroom watercolour
Interesting compositions with different viewpoints
Thinking about both these points I decided to work on two further A 4 drawings to accompany the A 3 pencil drawing of the lounge to see how the different perspectives and compositions of the same subject, added to the narrative.
I like how these suggest a movement of time and changing of view from inside looking out to outside looking in. I think they could have worked better if they were all the same size and I used the same colour range.
Things to work on:
be bolder and more confident- substitute large brush for pencil
go smaller with finer tools – push pencil or silverpoint
consider different supports – e.g. gesso primer, unusual formats
use sketch books more for preparatory drawings – experiment with media
After receiving my report I had a further conversation with my tutor. We had an interesting talk about size and how I could think about drawing with different extremes. How would one of my portraits look if enlarged further ? What impact would a more detailed drawing of an interior have if drawn on a postcard size support framed on an A1 sheet. What demands would it make on the viewer?
These are all considerations I will take with me on the next stage of my drawing journey.
I found this exercise very challenging as I could not seem to capture any details in the seconds it took for people to walk by. In the end I gave up and worked from a photograph that I took of the town seen. In looking at others artists approach to the moving figure, I really liked this drawing of the business men rushing to work , seemingly oblivious to their surroundings which the artist has only hinted at.
I decided to experiment by reversing this idea with the buildings and stationary structures given the colour and solidity compared to the vaguer outlines of the passers by. However it is difficult to see the people’s outline amongst all the colour. I know the exercise wanted us to recapture the colour of the day but I don’t think that has worked here. The support is wrong for a grey cold day and the chalk doesn’t work with the coloured pen. I think that I have captured something of the moving crowd of shoppers.
I found some useful advice from a site called ‘Urban Sketchers’, that suggested if you wait awhile someone else will come along in a similar position, so you might end up drawing the legs of one person and the top half of another!
No model for this exercise I had to resort to the live online resource .
I worked on an A1 support with charcoal stick. I found it difficult to get the right marks to describe the range of tones that I wanted and instead seemed to get smudges and marks where I didn’t want them. Using an erasure on her hair helped to describe some lighter tones. I feel pleased that I have managed to achieve the twist in her torso and feel that the overall proportions are correct, although maybe the head is slightly too large. I didn’t worry about facial features for this exercise but tried to think about the underlying structures and the interesting angles of her body.
This time I used chalk sticks on a black A3 support . I am not at all sure how I feel about the results, in one way I like the roughness and texture of the chalk and in another way the brown outlines are too harsh. The image seems more about form than what lies underneath, maybe because the chunky chalks make it difficult to describe detail.
I think I have the proportions and the outer leg appears nearer to the viewer as it is larger.Also I feel I have achieved a sense of weight of the models head resting on the stool. I don’t think I have managed to describe the tonal contrast as well.
Here I worked on an A1 support with brown ink dip pen and brush and conte stick for the background. I started with broad sweeps of ink with a mop brush to place the head spine and limbs. Unfortunately my initial marks were out but I don’t mind them. I then alternated between dip pen and brush building up the form and tone of the model.
l’m not sure that I have convincingly described the model’s balance of weight and I had trouble with the left foot’s proportions and had to adjust these later. By putting in the background colour it helped me see the model’s form more easily but also helps to excentuate the tonal highlights. I also found it helpful to look at the areas of negative space when drawing the arms.
Overall, this is my favourite of the 3 drawings, I feel my marks are looser and more interesting and I like the contrast of media.
I was unsure how to approach this exercise so I started taking a series of photo stills of my daughter jumping off the bed. After drawing some sweeping colours on my support I then used a charcoal stick to sketch the images – it resulted in a dynamic picture although the forms are rather naive. The second drawing is on a gesso support with oil pastel to outline the pose. I experimented with curved lines in the background to add a sense of movement.
Neither of these really worked for me, so this time I used ink with a brush and a dip pen. I started with the brush, placing the head position and then using broad sweeping strokes to place the direction of movement. I then used the dip pen to describe the model’s shape. I feel much happier with these final images and could feel myself loosening up with my mark making as I worked.
Lacking a model for this exercise, I used an online resource, ‘ Croquis Cafe’, for live figure drawing .
I used with oil pastels and and tried to focus on the mid-line, drawing the position of the head first and drawing a curve to place the spine. I tried to stick to about 3 minutes for each pose. I feel quite happy with these images and like the effect of two tones of blue on the red pastel paper.
I continued with a second model, this time trying pen, pencil and charcoal pencil. I’m not sure why these were not as successful – maybe using a finer point restricts me from making quick gestural marks and not getting caught up in details of models forms which is difficult to do in the time.