PART ONE Mark Making and Tone 2

Enlarging - An exercise that has proved very valuable as I find that drawing with this method is alot quicker. Looking at this enlargement I see my problem again - the curves are pointed, that is, the bottom and top of the cup! I really must get that right.

Another exercise in enlarging.

Assignment 1: Wild Boar Skull - white pencil on black paper. Unfortunately the quality of the photo is not great due to reflection. I have recently found a tutorial from OCA regarding photographing art - hopefully my next post with be an improvement!



Assignment 1: Wild Boar skull - oil pastel


Assignment 1: Wildboar skull - charcoal

Assignment 1: Wild Boar skull - graphite pencil


Assignment 1: Mechanical engine - charcoal

Assignment 1: Mechanical engine - oil pastel

Assignment 1 : Mechanical Engine - pencil drawing

Assignment 1: Mechanical Engine - coloured pencils - unfortunately I used incorrect paper, but this again is a learning curve!

PART ONE Mark Making & Tone

Experimenting with different pencils I found I prefered the Darker graphite pencils as opposed the the 'H,s'. I don't like working with charcoal merely because my hand drags through the work and causes smudges - when I have tried using fixatives I found the drawing becomes muted, dull and the sharpness disappears, perhaps I have used too much! Holding my pencils closer to the nib controlled my mark making as opposed to when I held the pencil at the end.

I tend to work in a rather tight fashion - I am striving to 'loosen-up' so experimenting with the ink and stick was liberating. I really enjoy working with oil pastel, I suppose again this is indicative of wanting to have control - placing layers of pastels over each other to create depth and then being able to manipulate the medium by scraping off layers to create texture and shape.

Further experimentation with various pencils applying pressure.

Continuation of mark making with a variety of mediums

I used sticks of soft pastel - I find this very similar to charcoal which is not my preferred medium. It is not very refined - the soft pastel pencils are more refined as they can be sharpened, I prefer these; although it does occur to me that I should persevere with charcoal and soft pastels to help me loosen up!

I could've carried on with this exercise as I thoroughly enjoyed allowing the pencil to do it's own thing over the paper! I felt like the pencil was dancing over the paper ( I did have music playing!!).

Mark making with ink using a rigger and stick. I must learn to work slowly building up the ink rather than putting down too much at first.

Doodling which I do whenever I talk on the phone or listen to talks. My favourite thing to do when I don't want to think!

More doodling!

As I mentioned before, charcoal is my least favourite medium - I did not spray this page with fixative and the result is evident - the work is smudged. I have tried to lift the charcoal with a putty rubber but this did not work. I find charcoal sombre and almost depressing - I love colour but this medium can certain express a serious mood.

Looking at boxes and their composition.

Cylindrical objects - again a challenge and definately needs more practice until I can achieve symmetrical cirlces!

Colour pencil study of boxes - supermarket items. I tried to depict the correct sizes and shape of the boxes, but realise the logos and writing are not correct. The Cherry Box challenged me - this is what I saw although it does not look correct - I wonder if I should've manipulated the shape to 'look correct'.

Tonal study of mechnical cog. I was interested to see that the ragged edges are not reflected in the shadow due to light direction.

Quick sketch of reflection.

I enjoyed looking at the objects and seeing the reflection that perhaps I have not noticed before. The shadows cast also reflected within the shadow. I used a range of graphite pencils 9B to 6H to achieve the light and dark of the reflective shadows. Never consciously observing primary light source or secondary reflected light before, I am now aware of the magnificent patterns, designs of the different tones and shades that are apparent in the shadows. I am definately looking at objects in an analytical fashion now; lighting, shadow and reflections that I did not take note of before, I am now aware of their influence on the portrayal of an object/subject.

I used oil pastel to depict the reflection.

Quick study on the direction that shadows fall - influenced by natural and artificial lighting.

There is natural light coming from the right and artificial light from directly above. Again the shadow reflected within the shadow.

I researched Patrick Caulfield and hope I achieved a similar cryptic style to his. Perhaps my next course should be History of Art as I have realised I do know much at all - not having studied art at school or on a tertiary level.

I tried various angles or compositions for this still life see below for the one I eventually decided upon.

After completing this study I realise that I had drawn the second brush on the left too big! I left this as a reminder to LOOK, PLAN and DRAW more carefully.

A quick study in the midday sun one with the sun infront and the other with it behind.

I did a few more compositions, but I was not comfortable with any of those.

Natural still life of lemons. The shadows are very faint so this was quite difficult to reflect this in a soft and delicate fashion. I tried to create solidity with shading, tone and curves. I tried many different compositions before I decided on which would be my final piece. The direction of natural light also influenced my decision. I eventually positioned myself seated diagonally oppposite the still life. I was slightly elevated from the still life.

The questioned asked do I think it is easier to suggest 3 dimensions on man-made or natural objects. In my opinion I think it depends on the artists style, perhaps it is easier to draw natural objects if you draw in a loose fashion, as nature is free and unpredicable, whereas man-made objects are generally geometric and controlled forms. Perhaps my opinion will change as I grow through this course.

Negative space!

Negative space of my son's weights. I found it difficult not to drawn in the details!

Drawing without lifting pencil.

Drawing without lifting the pencil.

Textures of any articles natural and man made I found around my home. I enjoyed this exercise, but I realised that I could only use thin paper, using thicker paper I did not get the effect and the paper was stressed.

Recently I visited a gallery in Johannesburg. In doing so I discovered another mark making technique. The artist had used white boards (those used in classrooms) and cut into the white board (like lino) and the rubbed charcoal over the entire board. Her whole exhibition depicted moth wings which looked soft and velvety using this technique.

Texture in the nature.