Still Life, Made and Natural Forms

This was the most enjoyable exercise so far, although I still found it very challenging. The first part using man made objects gave me some problems, as initially I couldn't decide on a group of themed objects which would make a composition I was happy with. I tried some very basic studies with packets and boxes from the kitchen cupboard but wasn't happy with them, so tried something a bit more interesting using ceramic objects.


I finally disregarded the garlic pot and settled on 3 small jugs, one rustic and highly glazed (like slip wear) a delicate porcelain, and a Mason Cash measuring jug.


These provided a range of surfaces and allowed more interesting use of light and reflection, and although the shapes were similar they were quite distinct. I liked the shape made between the lips of the two larger jugs, which I found exciting, and it gave a formality to the composition, contrasting with the smaller jug, carelessly lying on it's side. I think the composition is fairly solid, but I wished after I hadn't drawn it in my sketchbook, as it would have been better larger! I realised after although I didn't make sketches of all the positions I tried, I spent a long time looking at the subjects and thought a lot about how I would best place them. I used pencil as a thought it would suit the subject matter best.

The still life with natural objects I thought I'd find a lot easier but, again, choosing the objects was hard, I began with a dried poppy head, stone and clove of garlic, but they did not "work" so I revised how I was doing the exercise.


My sketches were too detailed so I kept the garlic, plus a field mushroom and a pepper and did a series of very quick sketches in different placements to show the tonal values and light. I then chose A2 paper! and pencil, because I wanted to see how I would manage using it on such a huge (for me) paper!


I chose the final composition as I wanted to show the intricacy of the gills and how the light reflected on them giving small shadows, even in the direct light from the window. I liked the texture of the mushroom, which was a little bruised and battered, against the smooth, sinuous, almost perfect form of the pepper, and the papery, crisp skin of the garlic clove.

I enjoyed drawing the natural objects more, but made was much more fun than I had expected, because of the lessons I've already learnt. Changing the composition and considering shape, form, structure, tonal values, light and reflections helped a great deal in expressing the form of both types of objects. I do prefer the natural world, and personally, find it easier to express this three dimensionally. I have previously veered away from the made, but it is now becoming a more interesting and attractive option because of the lessons I am learning. I think I will always be drawn to natural objects though!

Getting a new perspective.....

One of the great things about doing this course is finding out about artists who's work is new to me, and who, before, I might have dismissed out of hand as not something I would understand/enjoy. This is a really positive aspect to having never had any formal art training before, a whole new world is opening up!
So, a few days ago, I came across the paintings of Franz Marc. I'd heard of him, but had no idea what his work was like. I am now completely converted! Amazing use of colour and form and such vibrancy. I love the way that he presents his subjects, but this one is my favourite.

Looking at Reflected Light

I chose a shiny ceramic bowl and a blue, faceted glass perfume bottle to do the exercise on reflective light, as I wanted to try another made object which would not normally appeal to me as a subject, but the bottle was probably rather too complicated! Still, it was interesting trying to attempt it. I don't think I captured the reflections as well as I could, as the drawing was on A4 and probably should have been larger. I think I am making things a bit hard for myself, but I did want a challenge!


The second part of this exercise I found really hard as I had to work on A3 in charcoal, and I'm really not comfortable with either the scale or the medium yet! I did a small sketch in pencil before I started to give me confidence, and that worked fine, but when I did it properly it was as if my sense of proportion went out the window, and it seemed to take ages to get the dimensions of the mug right!
Finally I succeeded, but the handle is still not right. I was able to get the areas of light right though. My problem seems not that I can't identify the patterns of light and shade but that I'm really scared of working to a large scale, because I've never done it before and I'm terrified of charcoal, which seems to just run away with me and have a party by itself! I'm going to have to practise, maybe I'll be more comfortable using it with less structured forms.

Tone and Form

Looking around the unlit room was like squinting when you have sunglasses on! The objects in the room without light were dim shapes, almost blocks, of dull tones, with deeper shadow. As my eyes became more accustomed to the gloom, I could make out areas of reflected light around them. The white painted door and the mirror still reflected light from the glass and gloss pain surface. Smaller objects were difficult to make out clearly
Colour was absent from the room, there was only varying shades of grey.

The same room, well lit, was bright and colourful with a strong source of primary light, reflective light and shadows everywhere. Colours were clearly seen in every tone and hue.

My first drawing looking at shadow pattern and light formations didn't work well, because I used an item that was too complicated and then couldn't simplify it! So I tried again with an apple and a mushroom, and this worked much better. It was surprising to see where the patterns actually fell with two non reflective items. I also changed to a slightly softer pencil which helped with the tonal values.
















I then used fruit and vegetables to demonstrate tonal values and shadows using cross hatching. I understood how tonal patterns give the objects its form and primary sources of light but hadn't really considered the effects and patterns caused by secondary, reflected light before, and it has made me see things differently. It is interesting how the first few exercises have already altered my view of things, and made me start thinking about seeing the world in a different way.

Moving onto shapes

After feeling a lot more confident getting the first exercises completed, I initially came a bit unstuck again, as I seemed totally unable to understand the first part of this exercise, about drawing overlapping shapes to make a three dimensional one! My brain is certainly not mathematical and I was trying to make this so complex, until it suddenly hit me, and then all became clear and I really began to enjoy this exercise. I drew a number of objects in which I could see basic shapes, and then, to test myself I used a triangular shaped soap dispenser and tried to draw all the shapes contained within it. That was great fun!

This exercise was really useful for me as I have normally preferred to draw natural objects from personal choice and this is the first time I have really considered the shape and structure of made objects. Once I understood the concept I found I am beginning to look for shapes everywhere, so I do think this has been a very valuable lesson for me.

Assignment 1 Making Marks

The first exercise went back to the basics of simply making marks on paper, using a variety of media and with different techniques to create doodles. I'd never done anything like this before,
(apart from doodling on my notepad at boring work meetings!) and was surprised at how quickly I became drawn in to the process.

Previously I have normally tried to draw in detail and am used to pencil and pen on A4 maximum, so this exercise was quite stretching for me; but actually found it very liberating.

I was surprised how well some of the thicker media worked, and especially at some of the delicate work that I was able to produce with a basic biro. I particularly enjoyed using the softer grade of pencils and ink pens, especially the bamboo pen, which I'd never used before, and which I felt was akin to using a felt tip pen in it's softness.




The second part of this exercise was to allow a subject to influence the marks being made but without specifically creating an image. Then I went on to look at techniqes for holding media, using charcoal and finally looking at line.








I found myself being carried away in creating 5cm boxes and was very surprised at the number of different ways I found of making marks. Using colour also brought a whole new aspect to the process. I decided to limit the use of the media I used and repeat the different marks with each media. Some of the results were obvious, like charcoal not being effective for delicate cross hatching, others were a surprise. I used a stick to draw with ink, and then as that worked well, screwed up a piece of kitchen roll into a long shape and used it as a pen, flattening the end, which produced some interesting shapes. Ink blots produced a "spider's web" effect.

I found charcoal difficult to use in the small squares, and responded much better to the larger, more free parts of the exercise. This was interesting as I was quite "afraid" of using it, but it was much less daunting in a large space. It still seems that it almost runs away with you!



Using the media in a different hand hold produced some interesting results, except for ink pens, where marks only varied by use of pressure.

Thick charcoal moved in a circular motion produced "windmill" marks, which created a pleasing design, I would like to try this with soft pastels when I obtain some. I found that particular techniques and media really resonated well with me, like this one, and I wanted to carry on creating with them. When an attempt felt "wrong" it was hard to finish the square! Different marks provoked different feelings, and also affected the pace I was working at. When I was making long on/off strokes or dots for example, I felt very calm and relaxed, but long strokes just filling a square were frustrating.







































As I had so many, I cut out a variety of squares and stuck them into my scrapbook with notes about the processes.

Learning Log

Welcome to the on-line record of my learning and development whilst I'm following OCA Drawing 1. I'll be recording my progress through each assignment, trying to analyse the creative process and explain my thoughts and ideas: and illustrating the journey photos of the work I have produced on my way through each assignment.

I've been trying to think about why I think we want to draw and create art, before I begin to read the many wonderful reference books! I've come up with one theory for myself.

Making marks and the creation of drawing is the oldest magic of all. Man discovered he could create marks and subsequently, representational forms that others could identify; this eventually led to the creation of the first writing systems. Although writing evolved and allowed us to openly express facts, thoughts, feelings and our imagination, once we discovered that we could create pictures, we did not want to stop. Art did not cease once man began writing. Pictorial representation can show meaning and stimulate the imagination as the written word does, but we often have to use our minds to look deeper to find out what was in the artist's mind, and that is why it is so exciting. There will always be some mystery, even though the picture may have been reviewed a thousand times, and that is such an attractive prospect!

I wonder how this perception will change as I progress, and what others I will develop as I look at more artist's work and read the work of Gombrich and others! I'm looking forward to learning lots of new and exciting things and having my eyes opened to a different world.