Drawing Final perspective 29th September

Final Perspective 29th September

Today started like most Mondays. I arrived early to find another large scale setup of various boxes placed at different angles, around and on top of a table.

The challenge for today was to use all the skills we have learnt so far to draw this arrangement. We started off making smaller sketches of just one or two of the boxes. This was to make us look at and concentrate on them individually. It would help us when we started on the larger work putting the various components together. Each object had its own vanishing points and we had to make sure they all worked and correlated. This was the hard part. If just one box was out of place, it would throw the rest of the drawing into chaos.

While I was working I had to remember to keep checking the scale, measurement and perspective. Boxes are good for this sort of lesson. If one angle is wrong by even a small amount, it instantly shows. I did have to adjust things several times because it didn't look right. However, I am noticing relationships more often, as well as becoming quicker at sketching the overall composition and deciding my starting point.

My improvement has been slow, but constant. As far as perspective goes, it may be the last lesson solely dedicated to it, but it is now something that will always be in the back of my mind.

Drawing Micro-maro Flowing freathes and group comments 26th September

Flowing feathers and group comments 26th September

As this Friday will be the last Micro-Macro session, I asked myself, how far have I come?

I started today with more then half the paper still to cover and very little time to do it, but I was determined to finish. I started by using white chalk to make quick smooth lines on the paper. As I continued working on my drawing, I realised I wasn't as apprehensive as I was three weeks ago. I found the large scale easier and less daunting now. I was also working a lot quicker.

As others took a break, I decided to work through. I wanted to finish as I was focused and didn't want to break my concentration. With each stroke of the white chalk I tried to follow the movement of the feather, blending in each line before going over it again to brighten it even more. I did that for a while until I hit a staple sticking out of the wall. I hit it with my hand and it pierced my paper. I stood there shocked and annoyed. Why was there a staple on the wall pointing out towards the room? Luckily it was only a small hole and after pulling the staple out, I covered the white that was showing through with more black. The hole couldn't be seen when you stood back, but I knew it was there. I then went over the rest of the wall for any more stray staples lying in wait to ruin my work. After finding three, I was happy to try and finish my work.

I was almost finished when I was told we were to do a group critique. This was something I was dreading as I'm not keen on everyone staring at me, but as it was talking about the process of making my work, I wasn't too worried. As I was talking, I remembered to speak clearly and to choose my words carefully. I told the group about the process, as well as my thoughts, problems and what led me to do the finally piece. After I finished speaking, the group made comments. They were all very helpful and positive.

Sadly I didn't get to finish the work, but the parts I had done, I was happy with. I tried to achieve a smooth flow and feeling of lightness. I also wanted to show the contrast of white and black, and the strength of the spine of the feather and the light softness of it. It was a interesting journey from start to finish, and I was pleased with the end result.

Drawing Monday Drawing different points of view 22nd September

Drawing different points of view 22nd September

Mondays drawing session was about perspective. Perspective is a technique that helps make an artwork look realistic by creating the illusion of depth. Perspective is about representing three dimensional objects on a flat two dimensional piece of paper. This 'illusion' tricks the viewer into seeing depth and space where in fact there is none.

The lesson started with a explanation on the board and on paper on how to achieve this illusion of space and depth with examples of one, two and three point perspective. The first example was of a cube. We were shown how to create a three dimensional feel by drawing and making a note of the eye line, (or the horizon line), and the vanishing points. The vanishing points are where parallel lines seem to converge and disappear. Positioning these points will ensure that the cube looks like it's sitting in three dimensional space.

Marking out the lines of perspective on some photos proved slightly harder, but after thinking about the explanation and examples, I got through them in no time. The next part was the most difficult. In the middle of the room was a collection of carefully arranged boxes, tables and columns. This gave a range of vanishing points which made drawing them more difficult than I thought. I started by establishing my horizon line in the room, then picking a starting point. I also had to decide how big to make it. I wanted to include a fair amount of the composition, so I decided to start with a smallish box on the left side and worked my way around.

As I was drawing, I found that this was not an easy task. Not only do you have to have the rules of perspective in your mind, but you also have to think about the composition, as well as considering measurement (proportion). As I drew, I tried to keep these three important things in my mind. Drawing these objects was more difficult than I first thought. However, the lesson passed very quickly.

Perspective appeared deceptively simple at first, but this drawing session proved to be challenging. In future I will hold back on making a judgement on whether something will be "easy".

Drawing Micro-Macro Feathers on a large scale

Feathers on a large scale 19th September

Friday's work was an extension of last week's study; looking closely at small subjects and drawing them on a larger scale. I looked again at the small white feather I brought in last week. I also had a close inspection of last weeks drawings, noting the many different ways I had drawn the feather. I picked a section of one of the drawings, and enlarged it further.

I'm not used to drawing on such massive pieces of paper, or standing up while drawing. However, having my work upright in such a large scale while I continue working on it, allows me to stand back occasionally and have a better look as it develops.

Drawing on large pieces of paper makes me more aware of how to fill and make the most of the page. Composition is important when doing something like this; draw too small and your competing with the rest of the white paper, draw too big and you risk not fitting your art work on the page. Achieving the right balance of positive and negative space is an important lesson to learn.

After much thought I decided on a blown up section of the center of my feather. It had a balance of both the soft light and the hard sturdy feeling I wanted to convey in this piece. Having mapped out the drawing on my paper, I chose to use charcoal. Having used it in my previous study I found it had the variety of marks I was looking for. Turning the piece of charcoal on its side, making soft wide marks was perfect for the light fluffy feel, and sharpening the edge, created a hard bold look which suited the hard lines in the middle of the feather.

While slowly marking out my first lines with the black charcoal, I explained to the tutor what I was trying to achieve in this work. We discussed what I'd done so far and ways to go forward. The tutor suggested covering the paper in black and then removing parts with a rubber. This was similar to a technique I'd enjoyed doing earlier this year, while working on black paper.

Drawing on black paper is a different approach which makes you look at light in a different way. Instead of adding 'dark', you add 'light'. Also, colours seem much brighter without the white to tone them down. Next to black, colours seem to vibrate. However, doing a small scale drawing on a black piece of paper is very different to a massive sheet of white paper.

It took a long time, and about three sticks of charcoal to cover half the paper. One thing I did notice while covering my paper was when making large fast circular motions, the dust from the charcoal made a beautiful spiral, spinning out over the paper before falling to the floor. This reminded me of the Milky Way Galaxy; a deep coloured centre of a cloud of dust, slowly fading into nothing.

After covering my paper with black, (and most of myself in the process) I paused to consider how I was going to remove the layers of charcoal I'd spent so long applying. It would be interesting seeing something appear, by taking some of the blackness away. It will be the reverse of the 'normal' way of drawing.

Monday Drawing On the grid 15th September

On the grid 15th September

Today was another Monday drawing lesson and this time we were working with grids. Grids are a good way to ensure your artwork is in proportion. They have been used throughout history by many great artists. Renaissance artists used wooden frames and string to make a grid. They placed it in front of what they were drawing to help guide them.

Today, thanks to modern materials, we used card and a grid on transparent film. We placed the grid in front of the subject and mapped out the grid on the paper much like the old artists did. The technology may have changed, but the technique is the same. Why not? If it helped the old masters then it should help us today.

Using the grid and looking at some carefully placed objects, I tried this different technique of drawing. I still had to figure out what objects go where, but the grid was a very helpful tool. It made me focus on angles as well as composition. With the grid dividing the paper up into squares, it made me aware of what was filling the page. Any gaps or large areas of blank space on the grid was blindingly obvious. It's a useful tool for composition as well as proportion.

Keeping one eye on the square I was working on, and the other on the object I was drawing, I finished two sketches. One was a bold line drawing with the grid still visible to show the technique I used. The other drawing was a shaded work without the grid showing. It was more of a finished piece.

What surprised me was how quickly I did the second drawing. After figuring out where on the grid everything went, I could draw the second sketch much faster. This showed me how useful the grid is, not only for a still life, but for portraits and landscapes as well. Using grids help develop observational skills.

Micro-Macro A study of small things on big paper 12th September

Micro-Macro A study of small things on big paper 12th September

What can I say about today? In a nutshell, small things can create big ideas.

I started the day running round the house trying to find objects that would fit in a matchbox. It's something that sounds easy, but when you stop and think, what can you fit in a matchbox that you would want to draw?

After hunting around the house, I stepped outside ready to walk to college. I looked down and saw the very thing I needed. (It became the small object I'd draw all day.) Now that I think about it, this 'thing' probably come from the very animal that sits outside my window and wakes me every morning. This made me smile as I remembered all the times I'd been woken up and said to myself, "That bloody pigeon!" I would never have believed I'd have him to thank for the subject matter of today's and next week's artwork. As this pigeon sat there cooing away at some unearthly hour, he'd actually been saying to me, "Yes Sarah, you may yell and swear at me now, but one day you'll be standing at college with my feather in hand, and drawing it. It will be an inspiration. You can thank me then." It's funny how things work out; one minute something common you see every day and not think about, can become the focus of an artwork. So yes, thank you pigeon for your feather.

I held the feather in front of me. I had to draw 'big'. It was something I'm not used to doing. I was a bit apprehensive at first, having only ever done A4 drawings, but this is the task they've given me and I going to do it!

As I looked closely at a feather, I noticed there are many different parts; the soft fluffy base, the strong spine, and the tip made up of lots of little soft spikes all held together. I picked up my charcoal and started working. The first thing that came to mind was 'soft' and 'fluffy', so I started with that, making use of the wall and the grainy texture under the paper. This worked well and I finished two big drawings. The tutor came around and pointed out how they were all 'soft', and I thought, that's what you think of when you say 'feather', isn't it? They're something soft, fluffy and light. The tutor then made this comment, "I wonder if a feather could be more then just soft?" That got me thinking. I tried a harder line with no smudging. It created a bolder image, but still soft. I then drew sharp shapes following the feathers outline. I think it was an improvement and it didn't look 'soft' anymore.

I carried on, trying out different ideas, occasionally getting annoyed at being stuck. I then followed another direction or idea until the same thing happened again. It was like following a trail of bread crumbs. One drawing looked like the wings of a bug, another a row of spikes with line or wire wrapped around them. I continued and it came down to a very small drawing of the feather. It was all one black line, but branching out into lots of swirls and shapes. This was something very different from the first drawing.

I started the day just thinking of a feather as 'soft and fluffy'. I knew it was the same thing most people usually think when they hear the word 'feather'. However, feathers represent much more than "soft". Feathers enable birds to fly. They're delicate yet strong. Quills (feathers) are related to the beginning of the written word. Words scratched onto a parchment by a feather quill have even killed men! The feather as a symbol is much more than just 'soft'.

Limiting a feather to just representing something 'soft' does not do the feather justice. This simple object left by my pigeon friend has a deep history and important associations. It is not 'just' a feather, it is a tool. With that in mind, I set myself a task, to create something befitting the feather. What shall I do, and how shall I do it? These questions I now ask myself are questions all artists ask. It is how an artwork starts.

Drawing Measurement workshop 8th of September

Measurement workshop 8th of September

Our first drawing class focused on the importance of measuring when drawing a still life. With one object as a starting point (used as a relative length), I measured the surrounding objects to bring them into proportion with the rest of the drawing. I focused on keeping the true scale of what was in front of me using these measuring techniques to make sure I was keeping things in proportion.

With the white box as a starting point, I measured the width of the box with my pencil, and using it as a reference, measured how far it was to the end of the table. I could then multiply the width of the box to the end of the table. Using this method I could work out the scale and proportion of the drawing with more accuracy.