Part 3. Assignment 3. Tutor Feedback.

Student name Angela johnson Student number 513795
Course/Module Drawing 1 Assignment number 3

 

Overall Comments

 

A fantastic submission Angela – your hard work is really paying off and I am very pleased for you.

 

Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

 

project 1 exercise 1

 

These three drawings show you being prepared to add sheets of paper to a drawing to enable you to reach a certain composition, and also show you really enjoying using a repeated mark to build up a flowing pulsating surface – very nice.

 

project 2 ex 2 and project 3 ex 1

 

The first set of drawings I pulled out here depict a scene where a village is set against a huge rock face. I can’t help feeling materials could have been used to enjoy that quite shocking juxtaposition. The architecture and the rock are treated exactly the same, whereas the relationship between the two elements seems much more interesting than that. Having said that, you say that these drawings are an information gathering exercise and that is perfectly valid – perhaps it is just a question of reminding yourself about not making assumptions about hierarchies of information – so that a mood or a feeling might be just as important to record precisely as an angle?

 

As you say, the printmaking opened up your expressive mark making and allowed you to attack the structure of the image and create something dramatic and romantic. The treatment is still the same between the two elements, but now that reads as if the natural world has overtaken the built environment.

 

Inventive use of composition and highly inventive use of media.

 

Project 3 ex 2

 

Yes, sorry I called your lines stodgy – that was a bit rude of me. This is a nice delicate drawing and the lines are broken, delicate and over traced or partially rubbed out to give them subtlety making the whole thing more interesting, intriguing and something I can move around visually myself without being stopped short.

 

Project 4 ex 3

 

You can take this work to the next level (in answer to your question) by building in more sophistication and depth into the surface – easier to do in paint though. Alternatively you can be slightly less finessed in some of your marks that could maybe called ‘arty’ and use a mixture of mental focus and deep physical engagement with your subject (whether that is observed or felt) to make more authentic marks. Things don’t have to take ages to be important – Primal screams for example. If you are feeling guilt there probably is something in there to be learned though? For me when I feel that it’s because I am resting on my laurels and being arty for effect which is fatal! I just went to an interesting talk by Luc Tuymans and he does the actual painting of his paintings in one day – with a great deal of run up but basically a one off fast painting spree.

 

The brown one isn’t very nice because the treatment of the back is as solid as the front so no aerial perspective which brings it aggressively forward and squashes the space, plus some of the black drawing is too regular and unbroken – coarse maybe. I feel like I want to pour a cup of water on each side at the top to open out the edges.

 

Project 5 ex 1

 

Great stuff here. You are really enjoying all the angles and straight lines and that feeling of pulling and scraping a straight edge into place. I feel as if diagonal lines are your thing! You seem to really enjoy and understand them and how they relate to the physical act of bringing them into being and through that the tension in the human figure and life more generally!

 

I’m not quite sure yet where we are going with the mixed media piece but I like it as it has the broadest range of marks and range of pace – big flat bits and little wiggly bits. This can be hard to do when you are pumping out assignment pieces for a course, but being able to orchestrate a drawing like this is key. It goes back to the previous comments about pace of execution – an alternative is to stop and start, making different stages in totally different ways.

 

project 5 ex 5

 

More funky diagonals and some subtle drawing. If I was to be really picky (!) then I would say that the central chimney is slightly overstated. I find my eye drawn to it whereas I suspect I am supposed to be drawn down the street to a point to the right of the third chimney?

In answer to your question, you can go part way by doing the charcoal drawing and then adding the colour after with pastel but it is hard as pastel is a pain to remove so each time you draw somewhere you shouldn’t then that area becomes the new white if you know what I mean – the new lightest part. Fancy pastel paper which is a little like wet and dry sandpaper holds the pastel in a clean way so you can get it off with a really stiff brush or sellotape. I attach a ‘how to’ guide for removing pastel but I did see on the internet that a can of compressed air can be used which makes sense, although I haven’t tried it.

 

Ass 3 prep

 

Hurrah – I’m glad you are using diagonals. I hope that head isn’t in the main piece when I unroll your tube.

 

I don’t quite know what you are saying when you say that you were trying to avoid line – this seems to be all about line? You may be referring to me extolling you to be less heavy handed with outline, but I feel as if you have sorted that out already by being more interesting / varied about how you approach edges.

 

These are really lovely drawings. The compositional studies are cracking – inventive risky and dynamic. The slightly blue piece has something of the always wonderful Michael Andrews about them.

 

 

Final Assignment Piece

 

Well done Angela, this is a great drawing and a personal success for you as it tackles and deals with everything that you set yourself to conquer. You have used aerial perspective and a shift in marks to create convincing spatial depth. You have used a dramatic and inventive composition. You have used a variety of pace to set up sophisticated and interesting relationships within the drawing. You have used tone and colour together, and you have immersed yourself in process to the point that it has enabled you to take advantage of those moments of inspiration that lead to things like the red dashes on the left hand side.

 

Sketchbooks Demonstration of technical and Visual Skills, Demonstration of Creativity

 

You do a great deal of preparatory work. You do not submit sketchbooks as such but you always submit lots of prep and images on your log which may well be in a sketchbook. You are always focused on what you are trying to learn or discover and you work very hard to build understanding through process.

 

Learning Logs or Blogs/Critical essays Context

 

I think the fact that you enjoy the area beside the head underworked is important – bear it in mind when you are thinking about composition. The idea that the man was blacking himself up is much more interesting than that head suggests. It is quite balloon like and generic. I wonder how far a destroyed black head would be interesting. Like your semi destroyed French (?) village of earlier?

 

In answer to your question about complete accuracy – no it isn’t necessary and it doesn’t even feel accurate sometimes as we are not monocular beings and we move about when we look at things so perspective is always shifting in real life.

 

 

 

Suggested reading/viewing Context

 

I’m glad the Jerwood was inspirational (and Bryan too no doubt!) Remember that the back catalogues for the Jerwood are all available as pdfs online so you can always dip into them to remind you of the potential of drawing.

 

http://www.artspectrum.com.au/old/colourfix/techniques%20for%20removing%20pastel.pdf

 

I think John Vertue was a great person to look at (was it my idea!?). As you progress I suspect the line between painting and drawing and printmaking will fade and that is fine – I am happy for you to produce mixed media work or whatever you need to to continue on your journey. Look at artists who you feel you can learn from – and try if at all possible to get in front of really good art.

 

 

Pointers for the next assignment

 

Enjoy yourself, make work that is powerful for you. Don’t be blindsided by the subject, absorb it into your practice. Don’t get too hung up about me being rude about line – you have covered that easily and line is important to you – just remember how varied and informative it can be.

 

 

Tutor name: Emma Drye
Date 07/11/2015
Next assignment due 18/12/2015

 

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