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.
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.
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!
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.
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!
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.
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