Select or create a composition comprised of man-made objects. Choose objects that offer potential for creating meaning and make notes about your ideas in your learning log.
Using a pencil or pen, draw two or three thumbnail sketches in your sketchbook using different arrangements and different viewpoints. Always make quick thumbnail sketches of each composition before you move the objects in case you want to return to an earlier idea.
Use a light source to help create strong lights and darks on the surfaces of the objects and in between. Use a range of tonal values to indicate form. Make shadows an important and interesting part of the composition.
Make notes in your learning log about the drawing technique you’ve used and why you used it. Note down anything else you feel is important or useful and which might help you reproduce the images on a larger scale.
I chose a wooden carving of an otter that I had made some years ago and made some different angle sketches, along with bottle.
Tried to bring this together in a composition. I quite liked seeing the wooden base through the glass of the bottle, but in the end I discarded this idea as it just didn’t seem to hang together for me – what do an otter and a bottle have in common – other than the fact that both were man-made, one by me and the other found.
Picking up on one of my other interests – photography – I thought to try out some initial ideas with some of my own kit. Pencil on paper.
Looking to advance this idea I included some other bits and pieces – a wide angle and telescopic lenses and caps – better I thought.
Pencil outline showing table top, background screen, clamp and tub of ink markers beyond the screen on A2 220gm heavy weight paper.
I was conscious of my tutor’s comments on my first assignment regarding not closing in the composition, so I decided to crop the drawing.
Thinking some more about my tutor’s comments I chose to try and eliminate any signs of a fixed foreground/background by pasting on cut-out images around the central focus of the drawing, trying to give a kind of flatness to the surface across the paper doing away with the background/foreground split and hopefully allowing the viewer’s eye to wander around the main drawing without getting stuck. Paper given a white gesso wash, then initial idea sketches printed out on inkjet and cut up/stuck onto sketch. Lightly washed with yellow/orange/brown water colour and left to partially dry before deciding on the next steps.
Once partially dry I decided that I didn’t like the effect of the cut-out camera sketches as I felt that they would distract from the focus of the drawing. I therefore took the radical step if stripping off the cut-outs and gave the whole background a covering of yellow ochre soft pastel and brushed off excess. Left to dry completely under heavy layer of card and ‘big heavy books’ – aiming for a distressed look to the sheet of paper with some ghostly remains of camera sketch shapes where some of the inkjet colours have left their mark. I think this will work as my ground for the drawing, once completely dry.
Faber Castell Polychromos pastel pencils. This is a reasonable first final draft. However, the tones seem washed out and the lights and darks not distinct enough to my eye, so I plan to attempt to pull it all together a bit better, without over-working the drawing. And – I missed out a shadow!
Soft pastel and B4 graphite pencil to pick out highlights and shadows – just needs tweaking, I think.
This is the same image with an overlay of the ‘rule of thirds’ The design and analysis software is PhiMatrix available from www.phimatrix.com. My main focal point was the lens of the wide angle in the lower left of the composition – I didn’t quite manage the centre of the lens.
Some more white and grey soft pastel applied as well as B6 graphite and polychromos pencil to help pick out the contrasts. I think I made better use of the negative space around the objects in this composition and there are no real edges as such to stop the eye moving around the picture.
This has been a bit of a journey, from initial ideas that I discarded because of a disconnect in my mind – just objects placed on a table, so what? – through a series of sketches to arrive at a composition that pleased me, meant something to me and, I feel, was executed with thought and reflection – if not quite enough drawing skill. The ‘distressing’ process of the ground was, well quite distressing! I thought I was going to loose the paper to wet scrapes of detritus. To recover, I probably over-worked parts of this drawing and equally probably could have done more to enhance it – but it is what it is.
Stuart Brownlee – 512319
3 July 2015