Check & Log

- I have discovered that by mixing certain materials together can produce some great results. A careful use of water and a mixture of a variety of brushes. I discovered that old, dry, short brushes with spread and uneven bristles is good to use to re-create wood textures and rough looking textures. Along with this a careful use of cloths and scrap paper to regular water and colour strength I have found to be an effective technique.
I have tried Inks, with feathers, random bits of wood, as well as with brushes. I have ordered a specific pen for use with dipping ink to try and further experiment with this method.

- I am getting better with hatching. Small items I feel fairly confident with but do struggle with larger scale hatching. I have experimented with a range of different materials and have found the most success using fine line and biro pens for this technique. I find that I can control the form more accurately and describe the curves ok with these, see the pear and mug on the right.
Items such as charcoal that are very brittle I didn't find very successful at all. These are much better suited to blending and larger format pieces.


FROTTAGE: I'm has its place, but personally I have to admit to switching off almost instantly. You can get some really good effects and textures that i'm sure would be suited to more abstract work. I this way of working I not really my thing I can't see me using this method very much. I won't rule it out, but  it didn't really do it for me as at present I find it quite limited. I may yet prove myself wrong in this! (We shall see)  Below is one of my more successful attempts.

A drawing with textures

Water colour, Pencil, Pencil crayon

Initially I was very pleased with this drawing. I feel that I have managed to demonstrate a number of textures within the piece but for me again I need to be more confident with shadows to really make the objects stand out.
Trying to catch up with this blog to where I am in the course has really given me a valuable re-review of what I have done. This piece however was one of my first efforts at using watercolour and pencil crayon in the same piece. Previously it was something I had stayed away from, but I have really discovered that I like working in this way.  

USING TEXTURE: Experimenting with texture

Observing negative space and perspective

Check & Log

- I don't if i'm honest have any preference to man-made or natural object being easier to suggest three dimensions. Saying this, I do find it becomes more difficult a task overall when the object it packed with a lot of texture detail like dents/ holes etc as well as shadows. What I will say I back to a previous point I noted was that the three dimensions are far easier to suggest when lit more appropriately. These point would be my made pointers at this stage:

1). Strong light source to provide more a interesting look and character to each object
2). A little depth to the composition. This can be helps using a few objects positioned strategically and even suggest what the object is on.
3). Confident shadow and highlights!
4). Accurate perspective. A the very least try to have parallel lines and other relevant lines that share a relationship to be going in the correct general direction.

- My fruit drawing was fairly well drawn I thought, with a good composition providing depth. I just lacked a more interesting use of light and background detail to be a successful finished drawing.
- I deliberately tried to suggest movement in my drawing so that the picture takes you towards the back and then around and back to the apple. I pointed the curved banana, leaf, the flower stem purposely backwards into to background. The vibrant red apple was then placed in the middle and the flower stem across the arrangement, but still pointing into the frame, to try to create a little tension. I did play about with the layout and was happy with my final choices in that respect.
- I then wanted to draw from the front of the arrangement at an angle that I would have taken a photo of  the objects. I put them on the floor in my living room and sat on the floor directly in front and slightly to the right.

Composition of natural objects

Very happy with the shapes and depth to this composition. I especially pleased with how the daffodil turned out as I nearly threw my sketchbook out of the window. A little perseverance and it paid off! Well... it looks like a daffodil!
Again, looking back at it now as I started a blog after assignment one and am trying to back track, more darker tones and more confident highlights on each object.Light source here was from above but it wasn't really a strong source, just the living room lights so the object were more evenly lit. Result of that was a lack of interesting shadow/ light detail.
I have since made a mental note... USE A STRONGER LIGHT SOURCE FOR ADDED INTEREST AND TO MADE IT EASIER FOR MYSELF!!

Still life sketches of made man objects

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Check & Log

When looking at cast shadow and reflected light I've found that I need to be a lot more confident. Remembering to take a step back and look from afar to see the effects when adding in highlights and shadows.
After talking with a few fellow artists i've discovered that I have a slight issue with mid-tones!! I never really thought much of using a putty rubber so tried to avoid it whenever I could. Over the past few weeks however I can say that I am converted!! I used to start by adding in shadows, mid-tones and then try to leave the highlights. I've found it much quicker and even more effective to start with mid-tones, add in dark tones, then rub in the highlighted area's.
This technique is much better for getting in reflected light. I find It best to put in the cast shadows first and then work in the highlight's. As least at this stage these are my initial thoughts. I'm sure with more practise and experience I my develop this or a different approach.

In the drawing that I have tried to show reflected shadows I noticed that the reflections tend to bend away from the object in the reflection. That is if like the shiny coffee jug (Right) gets smaller towards the top. I deliberately wanted an object this reflective to really try to distinguish the reflections. I fear though now looking back I may have lost some cast shadows.

I certainly could have added more dark tones and been more confident with the blacks.

   

Research Point - Paul Caulfield

Paul Caulfield (1936-2005) - London born Painter and Printmaker associated with Pop Art.

Paul Cauldfield 'White Ware' Prints

His style was very abstract with lots of flat colour and reminds me of a cross between Roy Lichtenstein and Michael Craig Martin. Although there are many similarities it is the 'White Ware' prints that stand out as being different from the artists I just mentioned. 

When I look at these pieces they in my opinion have a very lonely and peaceful feel to them. It is as if he literally cut out the objects from the canvas leaving behind a void of empty space. 

Some of the white parts also represent actual light and not just the missing objects. The splashes of colour just add a little more interest which for me takes these ones to another level and make for a better piece of wall art. 

The careful positioning of key parts of each composition and the perspective create subtle tension and even some depth. 

I sketched a few drawings that were inspired by his style, each different from the other. I have to say I really enjoyed working in this way. I found it genuinely interesting and relaxing. Usually I like to work with music on, yet for these pieces I found myself happily in silence. 

I started with the top left drawing in pencil, then switched to a fine line pen to create a more rigid line. 

I had just had a cup of coffee and had left it on a case which was on the sofa. This I found a good starting point for a ready made scene. I used a 4B pencil to cross hatch in the tones and then decided to rub them in with my finger. Rather that sit thinking about it I just wanted to quickly go for it and see want happened. 

Next I had a go with the lamp drawing. I started in the same way but this time I wanted to try a splash of colour. For this I used some water colours to try to achieve flatter more even colours. I made a few errors with a few of the lines but learnt a lot. If I do this again I will try to simplify it even more that I did. 

My next drawing was in fine line and was another attempt at the negative drawing task for earlier in this course. For this I added some cross hatching to add some tone. Just realised I missed the shadow from the spoon on the bowl!!

These other works or art by PC again show clearly how his accurate and bold use of line to really make  objects stand out. The vacant space left behind adds to each piece and in a way makes it more personal and individual for the viewer as they mentally drawn in what they think should be there.

Roy Lichtenstein

The below and left image is one I found of PC's, and apart from not having any repeated lines or dots, could almost be one by Roy Lichtenstein. Both artists are not afraid to use space and are very confident with shape and colour.

Paul Caulfield

Roy Lichtenstein