Response to Tutor’s Report Assignment 4

Once again, I appreciate the way in which you have analyzed my blog and artworks. I am relieved that you seem to be satisfied with my progress. Your comments are helpful in giving me guidance.

Essential Elements

I found your comments about working from photographs found on the internet interesting, as I had not thought of the fact that the photograph itself is probably distorted. I really struggled with these drawings of the male model. I kept measuring and re-measuring my work, and yet they just did not come right. When I shared this comment with my husband, he agreed that various lenses distort reality. The fact that on occasion I have been able to work from photographs that my husband or I have taken has been helped by the fact that we have always used a standard lens. It is useful to bear this in mind.

Structure

I found it interesting that my sketch where I overlaid images of hands appealed to you. My use of color was to try to hide the fact that the drawings from the previous page had bled through the page. So this was a “happy accident.”

Structure Figure Drawing

I agree that the effect of the watercolor marker in this drawing is very illustrative and tight. I was not pleased with the result of this drawing. I far preferred the pencil drawing of the previous study. It is interesting that when I used watercolor markers only for the odd area in the drawings of the bird-of-paradise flower and my last self-portrait submission, the markers worked well. I think this was because I only used them to pull out the odd detail, and in the case of the portrait, I used markers to show the tarnishing of the brass in the vents.

Your own Face

I found the comment about the use of black very helpful. That explains why I find this such a stark, unforgiving self-portrait, putting across an image of my face being harsh and severe. This would contribute to the impression that my daughter got of my looking more depressed than in reality.

Seated Figure

I am pleased that I was able to use found papers successfully. I did enjoy doing this drawing, as my mom was an excellent model. She sat still for quite some time in order for me to be able to execute it. I agree that some darker tones are necessary to give better definition to the area under the arm. I think that this method of working will be worth exploring further in my next assignment.

Reclining Figure

I am pleased that this drawing is effective. I enjoyed working on it. The angle was challenging to get proportioned, but I did agree with the recommendation to have a contrast between the clothing on the lower body, as to the upper body. I would never have thought of this myself, but it really helped to add some dynamism to the drawing.

Final Piece

I must admit that I was nervous about submitting this self-portrait, as I had not strictly followed the instructions: I did not use a mirror and my lighting was the fragments of rainbow cast by the diffracting lighthouse lens. I also wondered in the patches of luminous colors and illuminated shapes would make for a confusing image for a viewer who had not seen my process. I am delighted that you saw it is a progression from my previous works. I know that half way through it, I really did not know if I would be able to pull of the drawing of the face, as it was far more challenging than anything I have ever tried before, and my sketchbook trials were still not at the level that would match the background.

Sketchbooks

I think that this is probably my weakest point. When I view the sketchbooks of the students who are modelled on the WeAreOCA weekender, I am left feeling inadequate. Studying through OCA has been my first experience of working with sketchbooks. Seems crazy seeing that I have studied art before. So, I either approach them with a perfectionistic paranoia, or I just do preliminary sketches in it, I don’t feel like I utilize them enough. Do you have any suggestion? Part of my problem is that the quality of paper in the sketchbooks I have tried – and I have tried the complete range available to me in the South African shops – all allow liquid media to seep through pages, and pencil and charcoal media tend to transfer onto the adjacent page.

Something that concerns me is that I read today in the instructions for final assessment: “Include all sketchbooks and your learning log.” Previously I had read: “Tutors are keen to see your sketchbooks but please do not submit more than ONE sketchbook each time you send work to your tutor to review.” As we have moved twice since I commenced this Drawing 1 course, and we were restricted to using airline weight restrictions, I have only kept the last two sketchbooks as I felt that these showed a better use of my sketchbook than previously. (I saved a few of my favorite pages from previous sketchbooks to attach to whatever I submit.) So I am a bit worried about this statement that says that I must submit ALL of my sketchbooks. Do you know whom I should communicate with regarding this statement?

Points to remember

1) Use watercolor markers to pull out the odd detail or to emphasize the bleeding of specific lines, but rather use regular watercolor paints for larger expressive areas.

2) Consider the tonality of the clothing when working with a clothed model. Contrasting tonality in the torso and the lower body helps to create a dynamic movement along or up the figure.

3) Ensure that any photographs used as reference are taken with a lens that minimizes any distortion of the image.

4) Keep looking for ways to communicate a creative approach to traditional subjects, e.g. my final self-portrait piece.

5) Use sketchbooks to greater effect to explore and invent new techniques and media applications.

Clare Wilson's (tutor) responses to questions raised

As an OCA assessor I can give you a few Do’s and Don’t with regard to sketchbooks in relation to your submission for assessment -

DO Include at least two but ideally three or four sketchbooks. A range of sizes is good but not necessary. You might have a small sketchbook with quick sketches and a couple of larger ones for more experimental studies.

You can always stick some of your project exercises into sketchbooks - in fact I think that would be good for you as you have made so much work.

DON’T Include a sketchbook that is only one third full (that might sound obvious but you would be amazed how often we see this) I’m particularly partial to a sketchbook that is bursting at the seams!

And don’t worry about your sketchbooks looking perfect - they are all about investigation and experimentation and we expect to see mistakes.

As with the rest of your submission, it is quality over quantity so if you only submit two sketchbooks but they are - full, lively and experimental with a good sense of your creative journey then that is far better than four ‘going through the motions', pedestrian sketchbooks.

Quite often, a students submission will gain points because of the quality of the sketchbooks if they are more rigorous than the finished drawings. You have some good drawings but it would certainly help your submission if you sent interesting sketchbooks to back it up.

I suggest you treat yourself to a watercolour sketchbook. Can you get the brand Moleskine? They make really beautiful watercolour sketchbooks - I also really like their one that is just cartridge paper but heavier than most and can take some abuse!

A watercolour sketchbook will help you enjoy using watercolour and ink as it is so much more satisfying when working on heavy, absorbent paper.

You could always make your own sketchbook using heavy papers that allow you to experiment with media and collage. By that I don’t mean getting it expensively bound - we see all kinds of handmade books.

I think for you it might work if you start by filling lots of pages just with washes of colour and then going back to make some drawings over the top. You might also like to start by layering paper as a surface to then work into.

This approach might take away the fear of the white paper and help you find a way in.

Assignment 4 A portrait or self-portrait combining line and tone

Three nights ago, my husband and I had the pleasure of staying a night in Cape Agulhas with friends from some thirty years ago. What stunned me about the interior of their living room were three tastefully framed, first print signed copies of Vladimir Griegorovich Tretchikof (1913 - 2006). They had evidently been bought from the artist by our host's mother and then stored in a chest. His work had been on display in an up-market clothing store, Garlicks, and he had personally signed it for her. The prints were unknown to her children and only rediscovered when she died. The colors are still jewel-like and are stunning portraits of what is believed to be his Eurasian muse, Leonora Moltema.(Tretchikoff Renaissance, 2006) The prints I got to view were: Lady from the Orient, Miss Wong and Balinese Girl.

Fig.1. Tretchikoff, Vladimir. Balinese Girl.

My favorite of the three prints was Balinese Girl (fig. 1). The model appears enigmatically absorbed in her private thoughts. There is a certain aloofness about her expression, yet the attention to her attire and the seemingly hapless colors in the background, add to the intrigue of the picture. According to the website, he shocked viewers and critics by painting his colors straight from the paint tube. Hence, the jewel-like colors muted only in his use of tones and tint of this hue. The skin of the sitter is without blemish, showing idyllic beauty in its luster and the smooth transition in tones. His treatment of tone is very subtle, with intricate linear details found in the drapery and jewelry.

On arriving back at Somerset West, I researched Tretchikoff's life via the website dedicated to his work and memory. I was amazed to find out that although Russian born, his career was launched as a result of his escaping execution by the Japanese during World War II. On his release the Japanese General expected him to report to the artist known as Kono, where he would work on the sets for a production being put on in Djakarta.(Tretchikoff Renaissance, 2006)

"Express your passion. Do what you love. No matter what." - Tretchikoff

His world-wide fame ironically commenced when he travelled to South Africa to be reconnected with his wife, Natalie, and eight-year-old daughter, Mimi. Initially his works were not recognized by the "underexposed" South African art scene. Andrew Lamprecht, the curator of the Iziko South African Gallery had this to say of his work: "Tretchikoff’s early work was bright, incorporated abstraction, often surrealistic in ways (this is the early work, I’m speaking of here). In any case the critics and the establishment did not like what they saw, and worse it was by a “foreigner” and even worse – a Russian!" (Stupart, 2011) His works were, however, eventually displayed to unprecedented gallery crowds throughout South Africa, and lead to his taking a tour of America and Canada. His work was extremely popular during the 1950s and 1960s.

I have decided to try to incorporate his rich use of hue and subtle tones in my next self-portrait.

Fig. 2. Diffracted light from lighthouse lens.

Fig. 3. Diffracted light playing off my face.

Initially, I was planning to do a portrait with the sun streaming across my face creating stark contrasts in light and tonality. However, when my husband and I visited the southern most tip of Africa, Cape Agulhas, I discovered this exquisite patch of diffracted light cast onto the interior wall of the lighthouse (fig. 2). I have always been mesmerized by diffused light, especially in the many places one finds the saturated colors of the rainbow. For fun, my husband suggested that I place my face in the path of the light for an intriguing image. After a few shots, he got the one that immediately inspired me to use for my final portrait study (fig. 3). I know that I am not technically looking into a mirror, but I am using prisms from the lens of the lighthouse as my light source and I was delighted with the prospect of being able to do a totally different version of my face.

I started out with quick pencil sketch to familiarize myself with the angle of the pose. I have never drawn this kind of angle before so I knew that my analysis of the facial features would be crucial to getting a realistic portrayal (fig. 4).

Fig. 4. Sketchbook practice.

I then tried out my various media in my sketchbook: watercolor pencils, tubed watercolors, water dissolvable fine markers, and ink pen. The more I practiced the more I realized that the face was definitely going to be the hardest part. The effects of the diffracted light over my face puts a very interesting twist to the lighting effects playing across my face. Through my experiments I realized that I needed to use watercolor paints on the face, and avoid lines that are too dark as they make the features to clownish. I also played with how I would interpret the nose and mouth. Both of these features were really tricky to get right (fig.5).

Fig. 5. Facial features practice. 

I liked the effect of the saturated watercolor paints with black watercolor pencil and pencil in the clothing, to emphasize the folds. I thought the loose rendition of my scarf would also work well in the final drawings (fig. 6).

Fig. 7. Clothing and hue practice.

I commenced by gridding off the face and trying to draw a proportioned sketch of my face and the background onto A2-sized white paper. I then worked in the entire background. Firstly, I shaded in the greys of the interior of the lighthouse, and the details of the metal work structure. I used washes of differing tones of grey, overlaid with pencil work and white watercolor crayon to add visual texture and interest to the surface.

Fig. 8. Painted metal detail. 

I then worked on the bronze vent that is at an angle behind my head. It is interesting how the shadow of my head totally changes the tonality and hue of the metal to the right of my head. I started with watercolor black pencil and green water dissolvable marker in the details of the vents. Over time the copper has marked areas with the green copper tarnish. I then washed the whole area with a brassy hue made from tubed watercolor paint. I worked white watercolor crayons and black pencil onto the surface to create the shine of the metal in the limited light.

Fig. 9 Bronze air vent detail.

Fig. 10. Neels, Alice. 

Virgil Thomas, 1971.

At this stage I was very nervous of working the facial features as I still was not satisfied with my working of my features in my sketchbook. To gain ideas, I reflected on the work of Alice Neels. She has executed numerous portraits in a loose style, which although executed in oil paints, have an almost water color luminosity to them. Her work, Virgil Thomas, 1971, has a similar angle to the face, although the light source is from the other side. Studying the features of this painting helped to give me the courage to tackle my features.

I started my face by working from the right side of my face (left in the picture). I laid down tonal layers of varying skin colored hues to create the shadows and highlights. I then went on to work the eye in detail, slowly adding darker hues. I started working on the glasses, but as the paper was still wet, the colors started to bleed, so decided to leave these details to later.

For each of the diffracted light zones, I used watercolor pencils with a slight wash of clear water to soften the edges and to blend the colors. Compared to the hues of my practice sketches, I aimed at browner deeper hues and tones. As I worked across the face into the more shadowed areas, I kept darkening the tones of the hues. The second eye was difficult as a lot of it was in fairly dark shadow, yet, there was still a lot of definition. I tried hard to ensure that the eyes did not appear depressed, like they had done in my previous self-portraits. I kept reworking the tones into the shadows around the eyes. At a later stage I went back and added the details to the glasses. I have enjoyed the challenge of trying to portray glasses in many of my various portraits.

The nose was a challenge as I not only had to make the hues and shadows convincing, but I also had to add the highlight at the tip where the light just caught the end of my nose.

Fig. 11. Eye details.

The lips were tricky as the light falls across them in an interesting manner. I eventually decided to understate the lips and teeth etc., as without this it would have made my face too clown-like. I think the way the light falls across the chin helps to make the upward thrust of my face convincing.

I worked the hair by firstly shading in patches of tones according to what the general hue and tone of the various areas were. I then tried to use calligraphic brush strokes to suggest individual hair configurations.

At this stage, I showed my husband my portrait. Together we decided that I need to look at the soft, fairly simplified style in which Tretchikoff handles the clothing of his subjects, to create a similar effect. I did not want the clothing to detract from my face. I also went back to my initial sketches and decided to keep the colors in the left shoulder lighter, than my initial sketch. I also tried to emulate the looser approach I had achieved in this preparatory sketch. I used watercolor black pencil to work the folds and suggest form.

Fig. 12. Final Self-portrait

On the whole, I feel that I have really stretched myself in this final portrait, beyond what I have previously been able to achieve. I tried to be innovative in my use of the diffracted light across my face and the upward view of the pose.

The area that I think was not as successful as I would have like is the hair. It looks a little contrived, but it does not detract from the facial features, which I think is positive.

I think that I have been able to create convincing facial features and the stance is an interesting one: I stand straining to get my shoulders against the walls of the lighthouse, while raising my face to meet the light.

This section of the course has definitely honed my ability to represent the human form. I feel as if I am starting to get to the point where my strokes are more expressive and indicative of the movement of the stance. I wish to continue to do gesture drawings as I feel that these have helped a lot in my being able to get general body proportions down, with less effort than previously.

Illustrations

Figure 1. Tretchikoff, V. Balinese Girl. [Art] Available at: http://www.vladimirtretchikoff.com/gallery.htm

Figure 10. Neels, A., 1971. Virgil Thomas. [Art] (National Portrait Gallery, Washington, D.C.).

Works Cited
Stupart, L., 2011. Deadly Serious. [Online]
Available at: http://www.mahala.co.za/art/deadly-serious/
[Accessed 10 August 2016].

Tretchikoff Renaissance, 2006. Tretchikoff 1944: Meeting Lenka. [Online]
Available at: http://www.vladimirtretchikoff.com
[Accessed 10 August 2016].

Assignment 4 Figure study using tone - Reclining model

As I wish to use a similar technique to Ian Hodgson, I decided to use a mid-tone smear of black conté, into which I would work white and black contés, charcoals and pencils - both graphite and white chalk pastel.

For my subject, I chose to use my daughter as my model, wearing tight spandex trousers and a light, decorative cream long-sleeved shirt. I wanted to get a sense of foreshortening in the pose so positioned myself at about 35 degrees to her prone form.

I experimented with the materials in my sketchbook, as can be seen in (fig. 1). I wanted to create a slightly darker background to what I had previously used in my figural studies in earlier exercises.

Fig. 1. Media study

My initial sketch had Sacha's knees folded together and bent (fig. 2). Although I liked this, I later thought that the pose did not allow for a flow of movement than a pose with her legs curled and lying flatter had. I experimented with the camera to try different poses and came up with my second preliminary sketch (fig. 3). I feel that this pose has a greater sense of flow towards the head - the focal point of the pose.

Fig. 2. Preliminary sketch in sketchbook

Fig. 3. Contact sheet showing varying arrangements of legs, position and lighting. 

I completed another preliminary sketch to check whether the composition was as I wished it to be (fig. 4).

Fig. 4. Second preliminary sketch showing changed placement of legs to enhance movement up the figure.

Once again, due to my restrictions of moving country in just a few days time, needing to transport my artworks via airplane, and eventually via post for final assessment, I chose to work on an A2 format, instead of the suggested A1 scale.

As the media I chose to use is fairly messy, I chose to work from left to right. I sketch in the whole figure very lightly in 2B pencil. I then started with the darkest forms found in my daughter's trousers. I tried to contrast my handling of these trousers, with a more sketchy approach to the interpretation of the couch cushions.

In studying the lighting on the forms, I realized that there was a main shaft of whiter light that cross against the main axis of my daughter's pose, highlighting her hands and top of her head, the cushion behind her hands and the patch of light on the floor. I think this adds a bit of movement and tension to the scene, as her face is not receiving the main attention to light. By this stage it was already getting late into the evening, and I had to call it a day.

Recommencing my study in the morning was hard as the lighting was slightly different, and it was harder to see my preliminary sketch. However, I eventually got back into the swing of what I had been working on and completed the sketch.

Drawing my daughter's chest and the end of her ponytail was tricky as she has died her hair in the ombre style meaning that the tips of her hair are less defined and blend in with her shirt colors, causing it to be tricky to create a convincing differentiation in forms.

I also found her face rather tricky to get a likeness of her. Once again, I had to draw someone with glasses, which is challenging. Fortunately, the media I was using is forgiving, and allows the reworking of forms. I was eventually satisfied that her face was a reasonable likeness and was proportional (fig.5).

Fig. 5. Final drawing of Sacha Johnston.

On the whole, I think that this drawing shows that I am gaining freedom in my rendering of tonal values. I am also better able to play with light to create movement and a sense of tension within my figural portraits. I think the panel of medium tone just behind the head, helps to focus the movement between my daughter's eyes and her I-pad tablet, creating an area of interest. What is she reading or watching?

Assignment 4 Figure study using line - Seated model in an upright chair

Fig. 1.

For this study, I chose to draw my mother at work at her computer. She has recently had a knee replacement, so opted to sit on the couch with her feet up. I chose to draw her from a 45° angle to the couch, giving a foreshortened view of the end of the couch and her propped up feet. The light source was from the windows to the left of me, and I closed off all other doors in the vicinity that would have interfered with the light source. As she had organized herself for maximum comfort, she is sitting in a slouched form, propped up by the armrest and a cushion. (Fig. 1) This is very suitable for an extended pose, and also conveys that fact that as a free-lance published author, my mom spends hours in front of her computer, often resorting to working on the couch for comfort.

I started out my study with two quick pencil sketches of her pose to acquaint myself with the body proportions and gestures of the pose.

Fig. 2.

Fig. 3

I found the idea of using found materials in my work quite a challenge as I tend to work with a clean paper surface, so deliberately altering the surface of the paper was going to be a challenge for me. The previous day, I had collected found papers from the mall near the cottage where we are staying. They were newsprint advertisements of their various produce. I stuck down an advertisement into my sketchbook, applying a smear of cadmium yellow deep hue acrylic to try to dull down the stark contrasts of the adverts. I applied green chalk pastels to the couch and blocked in the white wall and dark door behind the couch. I then used watercolor black and white crayon to sketch in the lines of my mother and her computer, seated on the couch. I did not particularly like the shapes of the blocky adverts in the underneath layer.

Fig. 4. Sketchbook - media exploration

For a slightly different approach, I tried wrapping paper with speech bubbles on it. This provided a humorous touch. I then applied a muted down sap green acrylic over the diagonally placed strip of wrapping paper. I applied the paint with a small palette knife. I did not apply it evenly, leaving some areas of white paper. I further applied white watercolor crayon to the couch. I then used pencil and black acrylic paint to the lines of the portrait. The lines were harsher than when I had used the crayon in the previous sketch. At this stage, I felt confident and I had a mode of working.

Fig. 5.

I was unable to find A1-size paper to work with in South African art supply stores. I also know that I will need to send my final assignments as part of my final assessment, and as this will most likely be from Montenegro, my current country of occupation, I considered that it was more appropriate to contain my drawing to A2-size.

I sketched in the placement of the couch and figure roughly onto my A2-sized paper. I stuck down the wrapping paper, but stuck it down in a more upright position than I had in my sketchbook. This time around, I roughly tore out the shape of the computer and my mother so that these areas remained white. I worked in the Sap Green acrylic color with the palette knife, but kept the area of the figure white. I stuck down a strip of brown paper for the area of the door behind the couch and worked this area using brown chalk pastels and black watercolor crayon. I then worked the couch with white watercolor crayon.

I used a mixture of 6B pencils and black watercolor crayon to draw in the lines of my mother and her computer. I then added linear details to the couch, especially in the button details of the backrest.

By the time, I felt that I was finished; I was thoroughly dissatisfied with this sketch (fig.6)
. The figure seemed to be pertly perched on the couch, and had none of the slouch that was actually in the pose. My daughter, who is an art graduate, and has been my student during her high school years, was of the opinion that the drawing in no way communicated of what I am capable. Her suggestion was that I needed to revise my lines, creating thicker lines where the fabric was darker, in order to suggest at form, and vice versa. I was thoroughly disgruntled with my artwork so we decided to go for a beach walk.

Fig. 6. Original study - A2-size

After reconsidering my previous sketches in my sketchbook, I decided that I had radically altered my approach in my A2 drawing and had lost some of the spontaneity of the previous studies. I decided to stick down the gift-wrap paper in the area of the couch back once again, but at a diagonal angle rather than square on. I also decided to follow my daughter’s suggestion to stick more papers down in other areas so that there are more designs in layers behind the drawing. I stuck a large black and white advert where the computer lid is, and random adverts and some more of the wrapping paper into the bottom of the couch and its two sides.

I also decided that my use of the sap green totally dominated the composition. Instead, I decided to keep my next drawing to achromatic tones, with only the touches of the adverts and wrapping paper printed color and the brown in the door to provide slight color contrasts. What I also did was to take a photograph to analyze, to help get my foreshortening correct. This enabled me the ability to correct my couch dimensions and the foreshortening in the feet and knees. It also enabled me to play around a bit with the placement of the figure in the composition. I did not alter the position much, but enough to help the face to get the majority of the attention.

I used a warm grey to apply all over the couch and background. I tried to anticipate where the main highlights on the figure would be and used my palette knife to spread the acrylic across the surface of the found materials, seeking to push them into the background. This time around, I tried to vary the tonal value of the acrylic lines from pale grey to black. I also tried to make the thickness of my line more calligraphic. I found it hard to get the details on the face, as the features required far finer lines the rest of the body. I did these with an 8B pencil and then touches of grey and black acrylic lines. 

Fig. 7. Final drawing

This time around, I felt far more satisfied with the result. The color scheme does not dominate the composition. I think that I have been able to push this drawing beyond that of the previous one. I tried to imply lines in a few areas where the highlights fall. I think I have been able to arrange the composition in such a way that the attention is on the face and the interaction between the figure and the laptop. I think that this drawing has greater “fluidity and spontaneity" than in the previous sketches and drawing.