Monthly Archives: November 2016

Part 2: Project 4: Exercise 2: Composition an interior

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Reflection on Part 2: Project 4: Exercise 1.

Which areas were difficult and frustrating to work on?  

There’s a two part answer to this… If I extend the ‘area’ to mean point of view it was very frustrating to try and draw an area that involved moving or turning my head. So, if I decided I’d draw a section of the room, say as in a whole corner of the bathroom. Then it was nine drawings stuck together! And it was very difficult to draw all of that as one drawing.

I was constantly crossing out and redrawing lines to relate different ‘pieces’ of the drawing to each other and ended up (at best) doing two sections.

An answer would be to stick pages together to make a giant drawing or, physically or mechanically, get enough distance to see the whole corner in my field of vision.

Secondly the bathroom and kitchen were difficult because the space was cramped and the floor hard. I hadn’t realised that physical freedom (and comfort) was an important part of my drawing.

Holding the pad in one hand, or resting it on my knee, while drawing with the other was also difficult… so I realise just the mechanics of supporting the drawing surface and how you physically relate to it is important.

Which areas were interesting and stimulated your imagination?

All the areas were interesting and stimulating in that I saw new patterns, line and shapes I hadn’t seen before because normally I walk in a room and see everything from six foot in the air.

So drawing on the floor gave me a new perspective such as in the bedroom looking up at the shelf or in the kitchen, again on the floor, at cooker height.

There were lots of foreshrtening problems which were fun too. As in the bathroom where I was at shelf height and could see sea shells. My brain knew there was a flat shelf wide enough for the shells and it was very difficult to believe that on my paper it was so thin. I was ‘seeing’ things I knew to be there rather than drawing them. A fun battle!

But what really stimulated my imagination was looking at an area I knew well. Such as in the lounge. I sit on the sofa every day so it wasn’t the unnusual visual perspectives that were interesting (there weren’t any, although I was looking at them more intently) but the new emotional ones.

Bringing the everyday to life – drawing the emotion not just the object was what I really loved.

Which are your strongest drawings and why?

The lounge because they have a freshness and spontaneity… especially the one with the easel.

This is partly because I was physically comfy (sitting on the sofa) in a warm area… the pad was easily supported and I could focus on the field of vision. But more because everything meant something to me.

Structurally there is interest top, bottom and middle – the black charcoal makes it bold and the lines are fluid. And objects overlap giving it depth.

For me it stands out above all the others.

Which drawings did you enjoy most and why?

The drawing of the easel corner in the lounge – I moved back out of the garage!!!!!

For all the reaons above but something strange happened with this drawing. I stopped thinking and let the charcoal flow over the paper… there was a connection from the eyes to the hand to the paper. It was drawing in a different way.  I was part of the process rather than external to it.  Like the charcoal, the paper and me became one thing. Weird!!!!

Which area in which room do you want to study further?

I want to study the easel corner more fully because that’s the drawing that has the most life and I want to build and develop on that.

What I learnt!

  1. Our field of vision is very small and we are constanly glancing round to build the world around us. This is fine if we are drawing a still life or a landscape that’s in our field of vision. But is a nightmare if want to draw a wider picture that involves ‘stitching’ together several different fields of vision.
  2. How you support your board and physically relate to the drawing surface is vitally important. It changes how we draw. So to add to picture surface and drawing media we could add drawing support and body position!
  3. Physical comfort – hot, cold, unbalanced all affect our drawing. It really is a record of much more than what we’re drawing.
  4. When we draw we don’t draw an external reality we draw an internal one – the painting of my art area is as much about my relationship to creativity as it is physical objects in space. What we’re really drawing is ourselves… a moment in time… an idea… a relationship or an aesthetic.
  5. In any case though the tree may have some objective reality ‘out there’ it will look different to everybody ‘seeing it’ and we can ever only know what it looks like to us.

 

 

 

Part 2: Project 4: Exercise 1: Quick sketches around the house (Downstairs)

Quick sketches around the house. Four quick sketches with notes from ‘each room’.

I’m going to do this post twice… two rooms downstairs and two rooms upstairs. Here we go… the kitchen and the lounge:

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Lounge:

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