Having watched the research videos I feel excited about the prospect of starting my own project and seeing how it turns out. I expect it will look nothing like I initially imagine and grow to become something other. I have taken on board that the finished pieces can have structural, almost architectural, essences. This was especially true of Monika Grsymala’s and Laura Ellen Bacon’s finished artworks, although mine will not be so large! But Helaina Sharpley used the shadows that her wirework created to great effect, and Debbie Smyth’s work she describes as changing depending on the distance you look at it from, and I think those things would be good to play with if I can.
I plan to begin on paper sketching some ideas, and then see if I can get the line to grow off the page. I think playing with types of line and ways of shading and then seeing if I can replicate that in 3D mediums is something I’m interested to try out.
I started with some sketches, trying to work out how I wanted to attempt it, and what I wanted my piece to look like. I chose to focus on creating my work in layers and would need to build a framework to do thatI took inspiration from my tonal drawing, to create similar shapes and composition
I used a garden chair and used bamboo, string, and picture frame wire to make three taut sections that I could build between and hang things from
Realisations I had along the way:
–After one attempt to create shapes with multiple materials I decided I needed to limit the number of materials I would work with, which improved my outlook on the process. I stuck with garden wire and embroidery thread from there on. –I realised I needed to find ways to keep tension, but that I also needed to go with the flow of the way the materials worked in my hands and how I could get them to interact in the space. –About halfway through I began to be able to think in 3D and to start to think of the pieces I was putting together as a composition. –After three days of sitting on the floor in stages to try and complete the work I reached my physical limitations in regards to my health and decided I needed to make the last two pieces away from the rest of the framework and attach it later. This worked well, though it means the front layer of my artwork looks a little different than the previous layers.
The process took me a long time, but it was fascinating seeing it come together
When it was finally finished I was able to set up to photograph in a spare space. Here you can see the set up I was working with from above, and three different angles that I photographed the work from
I also thought it would be more interesting to photograph with proper light sources and create some shadows, which turned out well.
I feel as though my piece does look like a still life if seen and photographed from certain angles, and I also managed to use the materials to create actual lines, which does invoke the effect of linework “coming off the page”. I think I was best inspired by Helaina Sharpley and Debbie Smyth, because their approaches lined up with what I felt capable of trying to do, and I think you can see some similarities in the approaches I took.
For instance, in Debbie Smyth’s work here, you can see where I found inspiration to try and create depth and tone.
If I had had better conditions (if I was physically able to sit in strange places to do more complex work, and if I had been able to procure materials that might have been more easily manipulated) I might have been able to do something more impressive, but I am pleased with the outcome I was able to create. I didn’t enjoy the process of making the artwork, it was frustrating and slow (and, for me, physically painful at times), but I have an appreciation for the effect I achieved, not least because I managed to translate my original idea fairly accurately.
My original sketch of the idea and the final work side by side
I had a lot of satisfaction completing this exercise, the method was enjoyable and it was interesting to see my own drawings appear identically, only larger or smaller. It felt like a technical exercise rather than artistic, but the precision was important and it took more concentration than I anticipated. The last of the three drawings I used the method on was harder to complete, it was a continuous line drawing, and it made me realise that more complicated drawings would take longer to transfer with this method regardless of the original size.
My three transferred drawings using the grid method, laid side by side with their original drawings. The first and third I made larger, the second smaller
I tried to complete each of the transferred drawings in the same manner as the original with the same line weight and tone, but I could probably have taken that further or made improvements to the original drawings before or after transfer to make them more interesting. I’d also be interested to try this method with a fully tonal drawing, or to shade an image after using the grid method to see how easy or difficult it is.
Two closer shots showing the size differences between two of my grid method transfers. From smaller to larger on the left, and larger to smaller on the left
Exercise 3.12 – Prick and pounce
My handmade pounce bag, secured with an elastic band
This method turned out to be less complex than I thought it would be, a straightforward work method once you have the tools arranged. Finding the images I wanted to use to transfer took some time, I didn’t want to attempt it with too complicated a drawing. I settled on drawings that I had fun completing during past exercises but that were still clean line drawings.
My first prick and pounce piece, a simple line drawing of a pizza cutter (original on left) and it’s copy
For my second prick and pounce method piece, I completed the final transfer multiple times to create a repeating pattern. The original image of the soap dispenser can be seen side by side with the first copy in the second photo.
For my final practice I used a more complicated drawing. After joining the dots of charcoal the linework was a little wobbly so I went over it a second time for a cleaner finished look
I enjoyed using the last of the three transfers in a way I imagine you would work to create an all-over pattern/print. There were slight variations in the the way the charcoal came through the pricked holes by the last two transfers because of placement and smudging, which made for slightly differing images once I joined the dots – I like the organic feel of allowing some variation, but can see how if you wanted it to be exact you may need to clean the tracing paper between transfers and be extremely careful on placement and movement.
This straightforward exercise took a little time to get exactly right, but with a pleasing completed effect. I was hindered slightly by the size of tracing paper I had to hand (and being unable to purchase more with the country in lockdown!) but I found some good images to work with from previous thumbnails and speed drawings. I can see how you would need to be especially careful with placement and transferring the drawing if you wanted an absolutely identical image every time, but I managed to complete one set of repeats on a larger piece and add colours and shading and I’m very happy with the outcome.
My three chosen images to turn into repeated patterns, photographed after they had been traced
All three pieces completed up to the point of creating the repeating pattern, photographed next to the original traced images, and photographed together.
The final piece which I took a step further and actually created a full repeating pattern on an A2 piece of paper
Topic 4 reflection
This section felt different from other recent topics, a selection of practical techniques and methods for turning drawings into designs after the initial artwork stage. I learned how to pick and choose which drawings are fit for purpose, and therefore, I hope, how I would need to draw in the future with crisp and clean linework, so that my artwork would more easily be transferable and replicable. Learning to draw boldly is something I am getting more and more comfortable with as the course progresses.
I can see connections to creating good compositions, having to choose small drawings that would look appealing for the repeating pattern, and in finding individual drawings with enough detail to be interesting without overwhelming the transferring processes. I think back a lot to part 2 of the course (Surface and Texture) and especially drawing exaggerated surfaces and expressive mark making: creating print-like repeats here reminded me again of that and of how to find images that spoke to me as an artist.
Along with my research on the topic [found here] these are the three exercise for this topic on composition.
Exercise 3.8: Thumbnail drawings. An exercise for learning how to test out compositional ideas, to enable considered decision making for larger projects. It was something I have done in the past but I had fun putting into practice the theories I had researched and seeing so many options side by side. It was especially interesting once I started adding light and shadow.
The objects I used for my thumbnail composition tests, and the two pages of annotated thumbnails
Some closer shots of my test annotations and ideas
Exercise 3.9: Short Studies.
I really enjoyed this exercise, I chose two different ornamental objects to explore and play with on the page, to look at how I could use short studies to get to grips with a new subject to draw. Each drawing took between 5 and 10 minutes, some very loose as a test of forms and tone; some more detailed with carefully sketching surface patterns. I annotated my sketches with why I chose to draw them the way I did, and what I thought might be useful about those choices.
A shell, and a page of quick studies of it.
A wooden ornament and several of the studies I made of it
Exercise 3.10: Still Life Drawing. For this final still life drawing to put all the theories I’d explored into practice I made thumbnails and some quick studies before deciding on the final piece. I also decided to use a mix of full tonal drawing and some more stylised choices- leaving bright areas as largely untouched page, as well as letting some of the line-work show by not fully shading every part. This was partly to have fun playing with what I could do and partly to show what I have learned through this section of the course. I am very happy with the finished piece, although I can see discrepancies between it and the subject matter (especially as I forgot to photograph the objects before moving them, and they weren’t arranged for the photo in the exact same set-up) I think it works well in its own right.
The vase, flask, lamp-shade, salt shaker, and teapot lid that I used for my composition– and the final piece.
Some photographs of: a section where I left line-work to show up and forgo full shading; the light parts of the piece where I used minimal pencil work for starker contrast overall; and the darkest shadows which I marked in with quick sharp pencil moves, leaving some crosshatching visible
The main things to take away from this series of exercises are the many ways to think about how to arrange what you want to draw, and how to find the best angles for the details and subject matter. In noticing how the compositions affected the feel of the scene I was reminded of experimenting with emotional and charactful lines, of how what and how you put on the page can convey expressive things and change the overall look. The quick studies were a good exercise in exploration too, and it might be interesting to combine quick studies with continuous line drawings and find new ways to quickly but accurately depict what’s in front of me.
The goal of this research was to learn about well known theories of composition and write down their main principles, alongside some example images of artwork utilizing several theories. This is what I could find out about several of the theories and how one might intersect with another.
Rule of odds: This is the theory that an odd number of objects in a composition is more pleasing to the eye than an even number– which can appear too formal or unnatural, too well balanced. The objects do not have to be the same subject multiple times, like three figures or still life objects, but an odd number of points of interest against the background.
Rule of thirds: This helps in making sure not to place the composition too centrally or symmetrically. An imaginary three by three grid laid over the composition with the idea being to place points of interest on the intersecting lines, especially at the points where lines meet. Placing the subject matter on these points keeps the eye moving, creates interest in the composition, and feels less static. It’s also a good idea to keep each section of the as unique as possible, and not repetitive.
Active Space: Compositions have positive and negative space, the positive being the subject, the negative being the space around it. The active space is room in the composition around the subject to make it look alive, to give the illusion that there is life around the subject, a space for narrative and movement or motion. The subject (especially if the subject is figures) can be placed to lead the eye toward the space, as if the subject could move into it, or something else might take place in that space. It keeps things moving and the audience invested.
Strong Diagonals: A strong diagonal will help lead the eye through an image more-so than a horizontal or vertical line, it creates a feeling of movement during a static image. It brings tension and has a strong impact. Can be used to great effect in conjunction with Leading Lines
Leading lines are a way to draw the eye through an image, to direct the focus to the main subject or to the areas of greatest interest. They can be achieved with the edges of objects or with changes in tone. They should be subtle and feel naturally a part of the composition, and it’s important not to lead the eye off the page or point to nothing.
Framing is the placement of the subjects and the points of interest within the piece; of situating them for grestest effect. A way to think about focal points and what you want to draw the eye to, and using other elements within the composition to frame them. You can do this by using tone, light and dark, to draw attention to part of the subject and highlight it, or by placing other objects to “look through” and surround the thing you want to draw the eye to. I feel it could utilize active space and using the two theories together might be very effective.
Filling the frame is a way to get a very close up view of the subject and make it the entire focus of the piece. This is done by extreme cropping and is especially effective if the view is so enlarged that the subject spills out of the edge of the frame. It results in most of the composition being positive space with only a hint of background or negative space.
Paintings and drawings I found with examples, and annotated with my observations:
Artist:Edward Lear, Artist Info:British, 1812 – 1888,Title:Santa Maria della Salute, Venice, at Sunset, Dated:1865/1884, Classification:Drawing, Medium: watercolor and gouache over graphite on wove paper
Artist:Adriaen Frans Boudewyns, attributed to, Artist Info:Flemish, 1644 – 1711, Title:A Rocky Landscape with a Stone Tower and a Waterfall, Classification:Drawing,Medium:red chalk over traces of graphite on laid paper
Image used with copyright-free permission from: https://images.nga.gov//assets/thumbnails/255/7/24752a105332581001c2b5f0474388f5.jpg Artist:Adolphe Etienne Viollet-Le-Duc II,Artist Info: French, 1817 – 1878Title:A Rocky Hillside with Dead and Dying Trees, Classification:Drawing, Medium:pen and brown ink with graphite on tan wove paper
It was an interesting look into composition, which I hope to make good use of in the remainder of this topic
I’ve paired together both topics for this learning log as both were fairly short.
Topic 1: Edges and Plains
Exercise 3.1: Different line qualities. A series of lines drawn to practice the pure line, the bold line, the lost and found line, and the broken line. In various pencil grades
This topic reminded me of the alternate and emotional lines of Part 1 only with four very specific ways of interpreting the objects with my tools (pencil, in this case). Reducing down the options is restrictive in a way that enhances what’s on the paper by making it cohesive.
It was an exercise in focusing on the simple shapes and looking closely; which was similar to looking for the detail in the textures during Part 2, Topic 1 (surface and texture). And the continuous line drawings of only the outer edges of the objects made them into more abstract shapes and that made me think about how each subject is a sum of its parts — but it’s noticing you can pick and choose which parts to show for greater effect. It was a short topic with some interesting ways to approach the subject.
Exercise 3.2: Translating an object into line. A selection of some of my continuous line drawings, trying to vary pencil pressure to denote what I was seeing. I didn’t realise until I read the instructions for the following exercise that I wasn’t supposed to look at the page at all during these drawings, so they are more representative of the objects than the exercise required, but I think it was still good practice.
My three natural objects for exercise 3.2
My collection of still life objects for exercise 3.3
Exercise 3.3: Contour Drawings. Drawings created using the four lines types and representing five household objects. I had a lot of fun doing these and finding different ways to show which objects were nearer or farther away, and using different grades of pencils to see how that changed the effects.
Topic 2: Light and Space
My chose object for the next two exercises
Exercise 3.4: Positive and Negative Space
I had to train my eye to focus on the negative spaces as shapes of their own, but once I did it really helped shape more visually pleasing drawings. The blockier the shapes of the positive spaces — melding together individual parts of the object that overlapped in my line of sight to form one larger shape — the more successful I find the overall drawing to be. I noted down whilst drawing that the dark forms stand out but that, to my eye, the white jumps forward, I don’t know if this is how other people would see it. It also brought to mind the continuous line drawings I have done previously during the course that were filled with colour, I liked seeing that similarity in creating an image out of separate parts.
I don’t think all of my drawings in this exercise were successful, it took a couple of attempts to get to grips with the task. These three images are the most interesting and fill the brief to the best, I think.
The harsher the light and dark (blacker pencils against blank page) the more cartoonish and stylised the drawing ends up, it creates a bold and energetic look and I hope to hold on to that boldness as I move to more life drawings.
I was also very pleased with the page where I picked out interesting negative spaces and drew them again, and how I managed to overlap and line them up next to one another to create a interesting page of drawings.
Exercise 3.5 : Light and Shadow
I used more than one grade of pencil per drawing to get greater effects and the many ways of applying shades of grey significantly altered the final looks of each drawing. The starker differences make for more interesting drawings, but I also personally enjoy the effects of flattening everything by colouring each part with similar shades of grey because it really makes me notice the positive and negative spaces, and the shadows, as shapes that make up the whole.
A contrast between a piece with darker shades and starker differences, and one where the greys are more similar in tone
I tried to complete some pieces in a smaller time frame (the second two images), and devoted more time to others, to see how that effected the final pieces of work. Working fast does create some lively drawings, but considering more carefully which sections to colour wasn’t bad either.
Playing with light and dark also makes certain forms look bigger than they are, making things appear more abstract. Using bold lines or dark blocks of shading brings forms forward on the page, it was good to cement that idea more fully after beginning to notice it during Topic 1 (contour drawing with the four line types). I also learned to really look at what I was drawing each time I moved the chair around and not presume I knew the shapes just because I’d drawn it a few times over already!
One of my favourites in terms of using the shadows to help create more negative spaces and in choice of shades of grey.
Exercise 3.6: Tonal Gradient
An image of one completed tonal gradient, and the other in progress with only a light cross hatching filling the boxes
Working on the tonal gradient was something I had already learned myself in the past but it felt good to stretch those muscles again and remember the various skills needed to get it right. I feel good about each end result but I had the most fun using multiple pencil grades together, deciding when to swap to the next darker shade. It felt like good practice for the upcoming exercise.
Exercise 3.7: Tonal Drawing
My first tonal drawing, lit by the light source the objects (left) were lit by
From my first tonal drawing I realised I needed to be bolder, create sharper edges and bigger contrasts. I moved my light source closer to the objects for the second and third drawings, and also made sure to remember to build the tones in layers across the entire surface as we had done in exercise 3.6; this helped them be more even and shift from light to dark more fluidly. I don’t dislike any of my three still life drawings but I hope I am right in seeing improvement as I progressed, and I think the second drawing may be the most successful in terms of object placement and application.
My second tonal drawing, where the light source was moved closer and the objects rearranged, photographed under the light source.
My third tonal drawing. I changed two of the objects to keep myself interested, and put the light source higher to light them from a different direction. Photo of the drawing taken under the same light conditions the objects were positioned under.
I have learned through this section to look at an object in relation to its surroundings, using the negative shapes in a variety of ways to create interesting images (the extreme light and shadow tones on the drawings of the chair) or to help shape the object at hand using the in-between spaces as a guide to get the form correct. And also to see how to translate a drawing into a more three dimensional form, or how to choose to flatten a three dimensional form to create impact.
Completing the tonal gradient was remembering to hold the pencil in different ways, as we’ve practiced in previous sections, to get lighter tones of gentle shading or press harder to create deep shadows. I could also look back at how doing the subtractive drawings in Part 2 of the course laid some ground work for understanding how to shape form with tones. Sometime it takes me a while doing a new exercise to remember to draw from past instruction, but it’s becoming easier with each new section to amalgamate what I’ve learned and apply it where needed.
My overview of the entirety of Part 2 of the course, the pieces I had the strongest reactions to and my feelings on the drawing approaches covered so far.
Every piece of work created in topic 2, laid out together
Let’s start with the 2 pieces I have a less good reaction to:
A subtractive drawing, in charcoal; a drawing of a collection of objects I could only feel not see, drawn with felt tip pen
What frustrates me about them is I had the right ideas, and a good attempt at the right technique, but the final image leaves me feeling displeased. Both images needed more dramatic differences, the charcoal in tones (I had no white chalk), and the collection of objects with more nuance in the mark making – which the tool I chose didn’t fully accommodate.
A drawing done with ink and a homemade non-traditional tool — a spiral of string stuck on a pin badge.
This third piece I don’t like as much as I hoped to, but I love the idea of it — two background colours in one piece of work. I like the stark differences in tone and the fact I only used one tool in various ways to create the marks brings a unity. I just wish I had applied the initial patches of black ink more carefully so it looked less messy.
Three pieces all created with patterns of mark making with non-traditional (white on black) and homemade tools (grey and white paper)
These are my favourite three from the end of topic 1 – Expressive Mark Making, all three just pattern like surfaces made with my homemade tools. I like the simplicity of the one on the grey paper, each mark made with the same tool used in a different way and with two ink colours – but it draws the whole together and makes a piece that I find easy to settle and look at. The one on white paper uses a variety of tools and methods, it is more chaotic – but I feel I left enough blank space to counteract this and make a piece that leaves room for the eye move across the page well. The third piece is a series of all over patterns, and I find it just makes me happy — it is a by product of a long session of playful work and the contrasting shapes and sizes play off each other well.
Blind drawing completed in pencil, of a silicone pastry brush.
The final of my selections is a piece from topic 2, completed with my eyes closed and paying attention to haptic perception of the object in my hand. I like the uncontrolled, abstract nature of it; the way it sits off-centre on the page, and the differences in line quality. It looks joyful, funny, and uncontrolled, and I found that a nice counterpart to the other pieces I chose above.
Final Thoughts
The contrast of pieces from topic 1 (left hand side of the image) and topic 2 (right hand side of the image).
I can tell looking at all these pieces of work together how much more confident I am in approaching new ideas, I feel much more able to look at the expectations of the exercises and know how to make a start and what I need to accomplish. I no longer feel daunted by observing objects and subject matter with different viewpoints, I can see how to take the information in front of me and gather it on the page in the way that is needed.
I had never really anticipated using anything other than traditional tools to draw with, and I enjoyed using the alternate tools so much more than I expected. Not only am I feeling more equipped to choose which tool to use, and how to get the most out of the marks it can make, but the freedom that has been opened up in all the other ways there are to affect the page, or what’s on the page, is an entirely new way to think.
At the start of the course, I thought the best way to make an interesting piece of work would be to make a completely representational image. I can see now the appeal in abstracting information and using it to create something that is entirely different to the starting reference. I feel much more drawn to pattern, printmaking, and abstract imagery than I ever thought I would be.
Because of problems with my nerves, I have very little sensation in my fingertips which made these exercises an interesting challenge. I did what I could with what I could tell, and picked objects which either moved so I could notice how they moved, and did a lot with my fingernail — feeling the bumps and crevices rather than the sensation of the textures. I still think the topic went well, overall.
Exercise 2.6 – Drawing sensation
(For this exercise I focused a lot on how the silicone bent beneath my fingers, as well as noticing where the harsh edges were and feeling what it was like to roll the strands between my fingers)
Two drawings (and a close up of the first drawing) of the top of a silicone pastry brush
Drawing no.1 shows the differences more starkly by the look, the lines are descriptively different but not as informative as drawing no.2 where the changes in line are more pronounced — they feel, and look more tactile. Without concerning myself with the placement of the lines I got more imaginative; what I touched felt bigger in my minds eye and thar translated to the page and how I moved the tool.
Drawing no.2 looks more abstract but you can also tell it’s rendered from an object, the final look reminds me of the print-like abstractions from the previous topic. The subtle variations on drawing no.1 are able to show a little bit of how the object moved, as well as the look.
Exercise 2.7 – Linear surface translation: eyes closed
The objects I used for this exercise
Having my eyes closed made it harder to be sure the tool was being used differently enough – but it did make me aware of the physicality of the tool as well as the physical presence of the object. The mark making of the lines were not as wildly different as during similar exercises in Part 1 of the course, but the changes were organic and subtle.
The series of lines created by feeling my way along each object, with various tools
2.8 -Linear surface translation – eyes closed
A series of lines, made of vertical marks, to represent the changing textures of a bag strap
This became easier after a few rows to get used to the task. It was tempting to change the shape of the lines to convey what I was feeling, I had to remind myself to stick to verticals.
Once I started combining different tools into the row (once I even tried holding two at the same time) the effect became even greater, I found it easier to make the line quality different. Graphite sticks worked best for my chosen object.
The one page of a well crafted line felt like expanding on a small amount of information again, exaggerating and abstracting as in Topic 1. I like the quality of the line, of how it stands alone and also how the increased size helps to convey more information about the object at hand.
One well crafted line of vertical marks representing the bag strap, done with pencil and pen.
2.9 – Tactile Forms
A collection of various small items, including materials, sponges, plastic items, a hook, a screw, pieces of foil and paper, tied together with thread and ribbon. Put together by a family member so I did not see them until after the exercises.
For piece one I mostly managed to ignore the overall shape as much as possible, but it does still look a bit like the collection of objects. I managed to include plenty of different line qualities but I did work fast so that I couldn’t overthink and it was intuitive but this did end up with loose mark making and it looks a bit flat as a final piece.
Piece 1, a collection of objects touched without being seen, as I tried to draw what I could perceive with my fingers. Drawn with pencil.
I realised I needed to work bigger and exaggerate, don’t picture anything in my minds eyes and just to depict what I felt, and to either move the object around in hand or move my fingers — not both.
Piece 1 – feels lacking texture wise, the mark making too light handed, the middle is especially vague. I feel aesthetically it would have been better if had had filled more of the page.
I took several passes around feeling for texture on pieces 2 and 3 so they convey more which I like even though they are messier. Pencil worked better than pen and piece 2 I find most successful because of this — it has hard lines plus multiple types of soft texture conveyed, plus different form and shapes. It’s probably least like the collection of objects in question with all the lines going in different directions but it makes the most interesting piece to look at.
Piece 2, drawn with pencil. Piece 3, drawn with a round tipped pen.
Piece three there are differences but they are harder to discern. I like the blank space around it and how that plays off the hard edges of the object.
2.10 – Textural drawing
Finding different types of marks to make seemed like it was going to be difficult but there turned out to be endless possibilities and discovering what I could do was a lot of fun.
My piece with 20 different 10×10 squares each with a different texture.
The squares where a dramatic change in lighting created the most visually appealing, or different, effects.
Adding directional light to the images creates even more options, conjures more visual appeal. The patterns take on new qualities under the light and I find it is tied back to the emotional line making of Part 1, some look more imposing or angry, other angles create soft or worried looks.
A cross section of squares where the light effect brings out a “worried” look in the fainter marks, and a square where the lighting makes the mark making look angrier.
The light can highlight jagged texture or soften discreet marks down to almost nothing. I find it interesting to think about the ways I could attempt to convey this with traditional tools.
For Piece 2 I had more confidence, but tried to be careful and precise to create the same effects as in the squares on piece one. I chose textures that ranged from visually subtle in the first column, then disruptive to the texture and sight, and then went back to visually subtle but actually broke through the paper.
Piece 2, lit from above, and then from the side to highlight the differences in the opposing textures.
2.11 – Drawing with Texture
The headphone I drew with texture for this exercise.
The textures I chose were not too destructive to the paper, so the overall look is soft. It captures the object well, my initial outline drawing was precise and the textures filled the shapes without going over the “line” onto the rest of the page. I chose textures to try and match the object. I especially like the tactile quality brought out by the inside of the headband and the shine look for the crosshatch markings denoting the smooth plastic.
Two close up shots of my textural drawing of a pair of headphones. The textures were so subtle that a photo of the entire page didn’t let them show up on camera!
The fact that these series of exercises called back to part one gave me confidence to complete them, I feel had an intuitive sense of what was required and of how to put that on the page. The early exercises conveyed a lot of information about the subjects without being representative of the objects — line marks that got me to think on a more physical level not just visually about what was in front of me. The very last exercise was fully representational but it is less noticeable upon viewing the page. It has all opened my eyes to the dynamic changes that can occur depending on how you experience the objects and artwork itself, and that texture plays a large part of form and shape. Playing with those effects leads to some interesting visual qualities.
What I have learned throughout these exercises:
The more expressive the marks can be, the better
Subtlety doesn’t convey as much but can be used to great effect
Some tools will be better to use than others, but mixing a range of tools is effective
That what an object looks like can say a lot about texture, and I can use that when describing the form on the page
How to create an impression of something using abstract shapes and pattern forms
How to break down the surface of something into its base parts
How the delicacy or softness (or the opposite!) of an object can be described by lines of varying weights and movement – both the texture of the item and the sense of space it takes up, and that these things can have an emotional feel to them
It married the two sections from parts 1 and 2 and I would be interested in trying to recreate the textured physical marks into marks drawn with traditional tools, to take it a step further and see what could be achieved
Exercise 2.1 a) Crumpled paper, subtractive drawing with charcoal
From my first attempt with the charcoal to my second I: Realised I needed to apply the charcoal to the paper differently so it would rub out more easily, I applied crushed charcoal for the second piece and wiped it over the paper rather than colouring the entire sheet with a charcoal stick. Learned I needed to work across the whole object at once, rather than attempting to work and finishing one area before moving on. Saw that sharp edges really helped show off the subject matter. Learned that a dirtier eraser helped to remove less charcoal and get the mid tones easier.
Exercise 2.1 b) Subtractive drawing on charcoal
This worked better by applying the above techniques, perseverance was key to make it look the way I intended. It’s not as effective as depicting the 3D form as I’d hoped but the overall look I prefer than my first attempt. Perhaps I also chose the wrong object to depict, one that didn’t have enough contrasting tones?
Thinking about light and dark tones in reverse is a new perspective. Realising that all forms are made just by subtracting or adding to the image depending on light, medium, or style. Rather than seeing dark points as the absence of the subject, they’re just part of what builds it in another way.
Exercise 2.2 Material Edges
The three objects I worked from for the remaining exercises. Untreated wool for something fibrous, a knitted hat turned inside out for something looped or piled, and a rock for something porous/perforated
Exercise 2.2 a) Image done with masking fluid and black ink. (Image of the hat not exactly at the angle I was seeing while drawing)
I found the process — applying the masking fluid — tedious and difficult. It felt more like constructing an image than drawing; this became a theme as I moved through this part of the course, and something I enjoyed more over time. The effect at the end was pleasing, however.
Exercise 2.2 b) Image of a rock, done with masking fluid and layers of grey ink
The first work (a) is bold and stark, somewhat imposing, and fairly representative and recognisable as my chosen object. The second work is messier than I would have liked (my masking fluid didn’t cover very effectively in places, letting the ink bleed into layers it shouldn’t), but the finished product has a blocky tonal variation that keeps the eye moving across the image.
Comparing these two sets of work; the charcoal is softer and more transient, and has more nuances in tone to appreciate the longer you look. The cast shadows make the objects looks more real, to me, and they are more representational – or easier to see what you’re looking at. The masking fluid works draw the eye more, and I worked in lots of fine detail especially in piece a.
Exercise 2.3 Exaggerated Surface
The non-traditional tools I used, including a feather (not pictured). Using these tools with ink was freeing and inspiring, and a lot of fun.
Three test sheets of marks made with non-traditional tools. To represent the textures (in order) of a rock, untreated wool, and a knitted hat
I liked this series of exercises, it was like finding the building blocks that make up the base surface of the texture — breaking it down into a simple series of shapes.
A side on view of my three objects with their textures exaggerated. The top row, a hat drawn with cardboard and string; then a rock drawn with a circular pin badge; and wool drawn with a feather
All over patterns taken from the favourite marks on my test sheets. From right to left they were made with — dangling string; cardboard twisted and stamped; pin badge stamped and moved; a feather in a sweep and curl; tile stamped and wiggled
I found the value in the exercise to be looking very carefully and closely, and then working out how to translate that into playful marks — and also how to represent something in a limited number of marks. It’s an exercise in how to convey the feel of the object rather than a lot of specific information. How to “cut out the noise” and see the important or interesting parts. It was also a good way to understand that large marks can represent intricate detail on a larger scale.
For use in textiles I imagine the overlap of information is good for creating bold patterns for fabric design, and a way to gather abstract information from a source material as a starting point for a pattern or print — to be inspired by what’s in front of you and take it to create new and interesting projects.
Exercise 2.4 – Expressive Mark Making
The tools I made.
Sticking string onto a badge to create a spiral effect
Wrapping and sticking string around a cotton bud
Using blu-tac to hold three mosaic tiles in place at an exact spacing
Using pins stuck through cardboard to hold it in a stiff zig-zag shape
Sellotaping three cut off ends of cotton buds inside a peg
Sellotaping a leaf and a feather together, after snipping the feather into hard lines
Fraying string a holding the two ends in place with a paperclip
Sticking pins into a piece of cardboard to create a rake-like tool
The most effective tools were: the cardboard zig-zag — for stability and the options it provided, and how easy it was to use. Paperclip holding frayed string for the variety it afforded, especially compared to the stiffer, more rigid tools
The pins creating a rake like effect were not as effective at putting ink down but offered a nice simplicity as a counterpoint to the more involved tools. My favourite to use was the string rolled around a cotton bud for how fun it was, getting messy and using it in a very different way to the others (rolling or dragging it across the page). Most tools held up well and were interesting enough to craft an image, but I focused down to 5 of the 8 that I made for most of the pieces, and added a sixth one in when needed.
Out of the 10 drawings, 4 represented objects or their texture, 5 were all over pattern prints, and 1 was simple showing of a complex pattern that the tool could make.
My 5 all over pattern prints.
My 1 piece showing a complex pattern making tool
2 pieces that represented the hat, one as a close up image, one depicting the texture
One piece showing a close up of part of the wool
The piece representing the rock, which I depicted as though the surface was a flat pattern that I could copy onto the page
All but one of my pieces ended up being drawn in landscape but the all over patterns look good whichever way you turn the paper which is nice. The two all over prints on black paper are the most uniform but I still tried for variety – with some larger sections of white ink to fill in the space as well as using the black background to the best effect I could come up with – to move the eye. I worked a lot on diagonals and rule of thirds to attempt to make them as interesting as possible — this is especially noticeable on the piece with the pink swirls, and the complex pattern from my rolling tool. And I particularly like the piece where I parts of the white paper with black ink before starting with my pattern making because it feels the most unique compared to the others.
The white ink on black paper is striking, but the marks are softer and as the ink didn’t define the texture as well. I enjoy the hints of pink in several pieces to change things up, and on the grey paper it stands out especially well.
Exercise 2.5 – Transient Surface
I wasn’t sure what expect from this exercise, or how I would modify the marks I could make depending on how the substrate reacted, but it was fairly intuitive to not just dig into my chosen substrate (almond flour) to see through it to the surface underneath but to cause cascades of movement with my objects and move the flour around. Creating patterns in the flour that were made of gaps as well as small pile-ups of flour. I took pictures of my favourite parts of piled and moved flour, as well as a full shot of each image – see below.
Two substrate drawings, each with a different tool
Two substrate drawing with two different tools –
Two different substrate drawings, two different tools
Two substrate drawings, done with two tools
I think if I’d been asked to draw these three chosen objects with traditional tools or mediums it would have been a long, slow task to get them looking representational and depicted well. Learning how to use gestural marks with unusual tools and expressive print-pattern designs to suggest surface qualities opens up a whole world of possibilities for intuitive mark making. Seeing different types of marks sit side by side, or different amounts of ink/charcoal covering different areas has been a valuable lesson in composition and the many ways there are to fill the space on a page. I have enjoyed seeing large swathes of colour (in this case mostly black or white!) blanket a space and still represent something, or still show the detail of the tool I chose to use. And it’s interesting to see how the thought-out compositions in exercise 2.4 look much more intriguing than the test sheets that use the same mark making techniques, it shows how well placed marks can really utilise the space.
The biggest points to take away from this Topic have been that not only do the surfaces of the objects I’ve been drawing inform the marks made, but the surfaces I’ve been drawing on can change the end result drastically. Finding out the best ways to make use of this have been the most valuable tasks. And hopefully from my above observations of each exercise you can see that I’ve taken plenty of care in noticing how each surface, tool, and coloured drawing surface affects the outcomes.
The main things I’ve taken away from this topic are:
Explore what each tool, or way of mark making, can do before beginning a piece
Do a task more than once to improve the end results
Exaggeration of marks leads to more expressive pieces
How to take what a series of marks looks like and turn the marks themselves into a point of interest
How to suggest the quality of a surface more abstractly
How to use tools to create a large variety of marks with the same medium
In this first research exercise I looked at the artworks of Laura Slater, Eva Bellanger, Roanna Wells, Thomas Trum, Julie Mehretu, and Anastasia Faiella. I don’t know if my tutor will read through all of this (hello, Tutor, if you do!), but it seems a good point to take stock of what I have discovered and note down the methods and finished pieces that I particularly took a liking and inspiration from, and those that made me consider working in new ways.
From Laura Slater’s work the things i picked out and liked the most was the way she overlaps textures and shapes of differing colours, to make one cohesive whole [For example in her Assemble/Configure collection]. The way she uses repeating textures and applications of marks, but in different shapes is also very effective, and showed me you can use one tool or way of applying media and make it interesting by varying the size. [Grid Collection]
Looking at Roanna Wells’ work I saw how it looks good from a distance as a whole, but that the marks themselves are a large part of what I found interesting (the way the paint pooled and filled each mark slightly differently), so that looking up close I found it more interesting the longer I looked. [Her Brushmarks Series shows this especially well]
I attepted to try out some mark making and letting the ink pool in a similar way to Rowanna Wells, as well as trying out some overlapping texture designs.
Thomas Trum’s work has simplicity used well, overlapping of one type of mark varies the depths of the shade and creates a kind of texture of its own [Most evident in his gallery works like this: Solo Gallerie Vivid] as the overlap ripples across the surface. The blank space around his marks in a lot of his works looks like part of the design too, well thought out.
I used a paint roller to apply different amounts of ink in a way inspired by Thomas Trum’s artworks
I particularly enjoy Julie Mehetru’s work – which first discovered when reading Drawing Projects by Mick Maslen and Jack Southern – I was drawn to it, and I had fun looking into her process for my research. She seems to centre her work on a theme of repeated marks, or with all her different marks leading the eye to one focal place on the canvas.
In an Interview with Tim Marlow she talked about erasing into her art work ““[And] I keep working into the painting and then I usually push it too far and then I have to erase back into it” . Which made me think about how erasing is mark making in itself, and how altering media once it’s on the page – pushing or scraping through wet ink, some of which i did in previous exercises – is another engaging way to break up and alter the mark making.
The mirrored and repeating marks in Eva Bellinger’s work drew my eye, and how she uses the same shape in differing colours to create interest. She also uses the background to make up part of the pattern itself by having her marks and shapes touch and overlap [as seen in her Print Pattern Collections], it seems like something that would take a lot of practice to get right. Her textile work matches and mirrors her work with drawing media too in a way I really like, the stitching or different materials creating pattern in the same way her drawings do; everything can be a piece of a drawing if you use it right! [Sahara Collection shows this similarity to her printed work well.]
A test of the different ways a palette knife could apply ink to create repeating patterns with the interest being that each one turns out slightly differently
Anastaia Faielle works on a large scale, and it shows off her mark making really well. She scrapes media across the canvas [Trust Me – oil and graphite on canvas, is a good example], and uses lines and marks that look like they are made quickly and intuitively. Her pieces that are made up into strips of different mark making that slowly change down the canvas from one to the next, changing a little more each time, I found very appealing. Something that might be easy to replicate, but making a canvas so busy seems to work well because of her limited choice of mark making.
I like the question she asks herself in her artist statement: how do I use my hands? How do I develop a craft? Reading is different from looking, and making is different from painting.” – mundane and ordinary things we all have can be used to great affect, I learned this in the previous exercise, I’d like to take it forward too.
Ink applied with cardboard in a sweeping/scrapping motion, creating a descending pattern of different groups of marks down the page
I hope to take at least some of what I’ve picked out and found effective from their works as I move into the next part of my own mark making process and the next exercises in my course. Particularly the use of the same textural mark making in different sizes or shapes or colours; repeating marks over and over where the mark itself becomes the point of interest; using marks to draw the eye around the page, or to create a directional flow; and using simplicity to great effect. These are methods I found interesting and feel I could understand how to replicate, and also that call back to previous work (like the communicative line or coded lines I explored in part one of the course, for instance) as well as perhaps being a good starting point for exploring the ways pattern and texture can enhance images or be used in design as I move forward.
A little look at my favourite pieces, and my thoughts on part 1 as a whole.
Compared to the rest of the pieces I’ve produced this one feels weaker, the placement I chose on the page doesn’t help. I chose an object to draw that I thought might be easier, which may have been a mistake. It’s interesting to see what is capable with the nondominant hand – which was the goal – but I don’t think this piece shows it to its best capability, partly because it’s small, so any visually different effect from the wobbly hand is lost somewhat.
The tongs and pizza cutter pieces both have very expressive lines. They’re bold, unapologetic. I like the lack of hesitancy, and the visual differences created by the lines, they’re cheerful. Both of these exercises aimed to show how a difference in line can create feeling and movement, and I didn’t expect to find it that useful, but I think both exercises taught me things I’ll take forward more than any others.
The alternate colours I picked to draw my continuous line drawing make it stand out to me, it’s unobtrusive but it holds my attention once I look at it. The slightly wobbly and rushed lines feel playful, but it’s representative enough of the subject that I feel like I paid enough attention to the subject as well as the technique. I think it could have been placed better on the page, if it had been an exercise in completing a refined drawing, which makes me feel it’s both good, but could also be better!
The watering can is by far my favourite piece, the flat filling of colour for the plant – drawn with a continuous line – adds a contrasting effect against the coded lines that depict the feel of the surface of the watering can. It pulls together two of my favourite techniques and it’s a carefully drawn depiction that hasn’t lost any vitality by being representative. Choosing my favourite techniques made me really think about what I enjoyed as well as what looked appealing to me, and this is the best combination of those things.
How my feelings toward the approaches and the drawings has changed over the course so far
At the start of the course I wasn’t sure what to expect from drawing techniques that were so different from anything I’d tried before. I assumed it would get me into the flow of drawing, I didn’t expect to come across any techniques that I liked enough to want to take forward to other pieces – or into other drawing projects entirely, or to practice with in my sketchbook – which I have! (Particularly the coded lines, from topic 2.)
I was apprehensive about my drawings being messy, and simultaneously less representative, but I now like the freedom and looseness of most of the drawings. I particularly like the effects of continuous line drawings and the blind drawings.
In the past I always wanted to take the time to plan a drawing very carefully and drawing lightly in pencil before committing to pen. Exercises that were done with speed, immediacy, and directly with tools that weren’t pencil, was nerve wracking to start with. I’ve realised speed can be an asset, and unplanned changes or unexpected results can turn out just as well. And I chose to do some refined drawings with that in mind, after seeing the effect of them all laid together.
Working large is also not something I’ve done a lot of, and it’s worked out okay, even though I’m very small and don’t have a long arm reach! Larger scale pieces give options for detail and scope I enjoy, more than I thought I would.
Adding more pieces with colour into the mix with my refined drawings, and more pieces done with bolder, thicker lines makes the collective look more complete to me; and I want to try and take that confidence for larger tools, on larger paper, forward as I create more drawings and artwork.
The body of work challenged my drawing habits and I can see that in the variety of drawings and outcomes – some look tentative, others strong. Some taught me new ways to hold a tool; others new ways to put pen to paper – but all are still creative and confident, and I can recognize my own hand in them all.
Drawing of tongs, looks tentative
Continuous line drawings, which look bold
The exercises done with my non-dominant hand and the continuous lines seemed messy at the beginning. And though they are, I can also now see them as lively or amusing. The later ones with mixed media and characterful lines are a bit more closed off – too tightly controlled perhaps, they’re not as free and loose as the work from topic one.
A continuous line drawing, which looks a little messierLines drawn to attempt to depict the objects material quality. Very controlled and precise
Topic one’s speed and surety of making marks and not erasing means the lines themselves are as, if not more, interesting than the overall pieces and the objects I was trying to depict. It helped cement the idea that there is no wrong way to make a drawing. The pieces are bold, unapologetic, and look strong side by side. The impact on me has been to let go of the idea of good or bad drawings – some (non dominant hand for instance) are objectively messier and less representative, so I would have said bad before I started, but now I can see they are just more fluid and playful.
Topic two engaged more of the creative eye and brain. The end results are different from each other but both made of interesting lines. It forced me to think about the ways a tool can be used to mark the paper; suddenly one tool has multiple applications, almost like holding several tools at once. It shows how a line can depict more than a shape, and makes me as a viewer want to look closer to see what information is being relayed by the drawing. This makes them look tangible, and expressive. Rather than only looking outside the box for ideas, this topic got me looking closer and examining what I wanted to draw, both before and after the drawing was complete. These pieces are more representative of the objects, the placement of the lines more controlled and precise. But they still evoke a light hearted, playful nature once they’re complete.
Topic two’s results next to each other. Different but both interesting in their own way.
Seeing the pieces of work together, the objects drawn in different ways, gives me a new appreciation for the work. I know I can consider more ways in which a drawing could turn out and the knowledge gives me new notions of how to start a piece – or what to expect of a finished piece. Or sometimes just to let go of those expectations altogether. The continuous line drawings done with coloured pen are some of my favourites, they’re accurate without being prescriptive, there’s still life in them. I also especially like the tongs drawn with two tools at once – makes it seem like leaping off the page. Although I could see myself spending more time now deliberating over how to use a tool as I know there are so many options– as proved by doing the emotional and characterful lines– I can also appreciate the vigour and confidence of getting straight to work, knowing there’s no such thing as right or wrong; as I learned by drawing blind or with the wrong hand. There’s an element of feeling more confident about starting to draw, now that I can see the ability to create a vibrant and visually different body of work after only a couple of months of practice.
Two of my favourite pieces
Two closer shots of the work all laid out together
Rebekah's OCA Learning Log 
