drawing one unit 5 – the personal project my thoughts

I really enjoyed working on my personal project – it was a challenge choosing what to focus on and I enjoyed the numerous possibilities that the project offered. I carefully considered my options looking at the course criteria before making a decision- it was also interesting looking back over my work and assessing my personal progess.

it was also strange not having exercises to do!

i produced 5 main pieces – two life drawings one in pastel and one in charcoal both of these drawings I am quite happy with.

i struggled with  working on a self portrait ( I do not enjoy drawing myself) – the coloured pencil  drawing  on red paper I think is a good likeness of my physical features which is interesting as I was not interested in capturing a likeness! I was pleased with the nose I feel that I have captured the sense of the roundness of the nose and the nostrils

the charcoal and white chalk self portrait  drawing on grey paper I feel is not my best work. It seems very dark in tone although I drew it in semi darkness with a torch placed close to my chin as the  only light source. I also feel that I drew some of the facial features badly particularly the nose and mouth.

I did a charcoal drawing of my daughter sitting on a bed. I think the proportions are ok and I like the negative shapes but I am less convinced with the drawing of the face? And the hands ? Both areas that I need to work more on.

I enjoyed being creative and experimental in my sketchbook.

I enjoyed a visit to the Tate gallery and the  Dulwich picture gallery both helpful. I am going on two OCA study trips Georgia Okeefe on the 10th September and William Kentridge at the Whitechapel gallery in October.

i feel I have come along way in my studies since starting drawing one nearly a year ago – I feel I have worked hard so hope I have achieved enough to pass the course?

I would like to thank my tutor Doug Burton who has helped me overcome my doubts with myself and has provided very useful feedback – I am now moving on to studying my next course which is printmaking one , as I now know that I want to pursue a BA in drawing.

Drawing one – part 5 the personal project – research point

As I am looking at figure drawing as my final assignment but with a focus on  using drawing to add form and dimension with the use of mark making – I have looked at the work of some artists that record the complexities of  figure drawing.

HENRY MOORE 1898-1986

One of my all time favourite artists is Yorkshire born Henry Moore. Moore is chiefly regarded as being one of the greatest and finest British Sculptors . But Moore was also an excellent draughtsman – and produced during his long career some haunting and emotive drawings. With his sculptors eye he observed the physical form of what he was drawing in an original and experimental manner.  During the Second World War Moore produced a series of haunting drawings of Londoners sheltering in the very bowels of the London Underground – this subterranean world is rendered in a powerful and visionary manner. The “sleepers ” ghostly , skeletal and unearthly appear to inhabit an uncertain world. Moore used mixed media in an experimental way with  wax , charcoal , and watercolour washes all in black and white monochrome. Over the  greasy texture of the wax crayons , Moore applied an wash and defined the structure of the form with ink. I liked the way the medium adds a luminosity effect to his drawings.  Moore uses lots of curves to convey the fullness of the human form. I like the way he has produced the unruly nature of sleep, mouths  open, and arms thrown back. My favourite image is ” tube shelter 1941. ” The drawing shows the rounded curves of the tube tunnel receding into the distance  with a clever use of perspective. Within the rounded structure of the curving walls of the tube we see  lying rows of people – faceless , gender- less like pale deathly white cocoons trapped and penned in – faceless and nameless. – there is a sense of stillness , as though time has Stood still. The drawing is very emotive and atmospheric – are we looking at ghosts?

 

Several years ago my grandparents gave me a book for Christmas  ” Henry Moore sheep sketchbook ”  today it still reminds one of my favourite books , when researching  Henry Moore I had another look at the book. In 1972 Moore was living in a small Hertfordshire Village outside his  studio window were gathered in a nearby field a flock of sheep – which Moore observed and recorded in his sketch book. These drawings are more figurative than the tube drawings but still allow an insight to Moore’s working and thought processes. I can sense his love for nature and his empathy for the sheep. There are several elements in the sheep drawings that he revisits often in his art including Mother / child relationships – the drawings of the ewe and her lamb are very powerful , affecting and certainly emotive. I also like the way Moore explores his drawing medium mainly ballpoint pen to capture the roundness and the solid physical form  of the sheep. He uses a variety of experimental marks in a vigorous manner – using swirling zigzags , scribbled lines, bold marks  and hatching to convey the skeletal and muscular body of the sheep beneath the fleece. Moore altered the pen pressure and used lighter marks to record the texture of the scorn sheep . I also like the solid form of the heads of the sheep and the way he has captured their personalities and expressions. It is clear to me that Henry Moore had a very unique and clear vision.

JENNY SAVILLE BORN 1970

Jenny Saville a figurative painter was born i n Cambridge in 1970.  Saville is concerned with the body particularly the female body and body image . For many years she recorded obese bodies – with fleshly mottled skin and seems often to be compared to Lucien Freud with a feminist viewpoint? When researching Saville I found quite a lot of debut in the media on whether she is a feminist artist – which I found quite interesting. Saville’s work is very graphic and not always easy to look at – I feel a little disturbed by one particular large work “Torso 2″ 2004 – the painting brings to mind a large heavy frailed torso hung up as though displayed on a butchers hook. Saville interest in the female figure envolved and she began to question the physical ideals of feminist beauty. Saville went as far as looking at distorted body image and looked in depth at cosmetic surgery producing several works as a response to perhaps the reality of the beauty industry and the harsh practice  of plastic surgery. Her pictures of woman about to undergo surgery show a sense of the sitters vulnerability . I feel these works are extremely powerful , visceral , harsh and have an element of despair. ” Knead” 1995-1996 depicts just the head of a woman she is heavy faced as she Has clearly been anaesthetised – the tube can be seen inside the sleepily lopsided month. It is a very emotive and poignant painting. In 2014  Saville told journalist Mark Hudson ” I like the Down and dirty side of things ” ( source http://www.telegraph.co.uk ) certainly during her career Saville has been concerned with capturing all bodies and also looked at transgender bodies.

Later Jenny Saville became a mother and changed her direction ” I used to be anti beauty ” ” it was having children that changed her work. ” I find watching them so beautiful That I have accepted that sort of beauty into my life” (  source wwww.theguardian.com   16th April 2016) I found this u-turn quite interesting and fascinating. For the Ashmolean a Museum in Oxford Saville worked on a series of drawings using various drawing mediums including charcoal. The drawings are Saville’s response to the museums old master drawings. These drawings are much lighter in tone celebrating motherhood. The drawings have a much more delicate feel , yet are incredibly expressive. She uses gestural marks to build up subtle layers of the form of the figures. The end results are some beautiful drawings with a pure ethereal quality but imbued with a Comtempory feel that appears very emotive and expressive. Saville’s working process Is interesting as she layers delicate figurative drawings on to the paper overlapping ,  erasing , and drawing some more over the images , to  Build up the form in layers. On top of the finished drawing she sometimes adds  bolder gestural expressive marks to add interest to her drawing.  I enjoyed researching Jenny Saville  as she seems to have a passion for her art and I like how she explores her themes .

ARIANE LAROUX born 1957

Ariane Laroux is a contemporary artist that really interests and excites  me – she has an unique style of drawing that really  inspires me. I first became aware of her work on a study trip to the British library drawing room. I really liked Laroux drawing processes – while working on a sitter she interviews her models. Laroux uses really  precise  drawing marks placing each Mark carefully. The marks seem feathery and remind me of a series of carefully drawn veins flowing over the planes of the face – the marks are      Placed carefully to build up a sense of texture on the flattened plane of the paper. Laroux appears to demonstrate that portait drawing is a careful process and is primarily about decision making including where each indidual Mark should do . Interestingly Laroux omits areas of the face and figure leaving the viewer to fill in the gaps. The eyes seem very important element of Laroux”s   drawings as they are really well developed – I wondered if she drew in the eyes first? Before adding the other facial features?  An approach that I find fascinating and really works to add something novel and new. After the study visit  I decided to find  out more about this intriguing artist. Laroux is certainly a mystery as there is very Little information on her on the Internet.

All I could find is that she is French and studied history at the Sorbonne before attending art school in Geneva. She seems to be primarily a portrait artist although I did find some examples of some urban landscapes using a similar drawing technique that were interesting .

FRANK AUERBACH born born 1931

A recent poll in the media placed Frank Auerbach  as Britains most important living artist. He certainly is interesting and has a very long and successful career. I agree that he is an interesting  artist but I feel that his drawings are often overlooked. I really like his drawings in charcoal and find them very inspiring. The drawings are often in in monochrome  – worked on and re-worked on sometimes for a number of years. Auerbach uses the charcoal medium in layers building up the form then erasing the drawing , drawing ontop of the erased drawing then erasing and repeating this process. The effect is powerful and very visual. He appears to have an obsessive quality to his art.  The drawings are lively with movement and structure. Interestingly Auerbach only did around 5 self portraits, he gave an interview once saying he prefers to draw other people. I think Auerbach must be a perfectionist as he often  drew  the same sitter regularly for a number of years. Auerbach also seems not to be concerned with capturing a likeness but with recording the form and structure of the body.

SOURCES

http://uk,plaid on.com/agenda/art/article/2013/December/11/Henry-Moore’s-spectral-images-from-the-underground/

http:/Christies.com/lotfinder/drawings-watercolours/jenny-saville-umbilical-5485995-details.aspx

britishmuseum.org

http://www.vrac.ch

the drawings of Henry Moore – Tate gallery publication 1977

the sheep sketchbook by Henry Moore published by Thames and Hudson

http://www.Tate online

http://www.gagosian.com

http://www.theguardian.com

http://www.saatchigallery.com

http://www.telegraph.co.uk

https://www.royalacademy.org.uk

 

 

 

 

 

 

 

 

 

 

 

 

 

Drawing one – part 5 – my personal project

after planning my final drawing and selecting the viewpoint that I liked. I drew my final drawing. I used A1 paper and soft charcoal pencils In various black tones, a white charcoal pencil and a putty rubber. I loosely sketched in my composition then using the pencils I used marks to build up and define the form of the body. I also included the white bed covering as the shadows were interesting. I also lightly sketched in the pale curtains. I found positioning the figure a challenge and also capturing the profile of the face. The model my daughter had her head tilted downwards looking at her hands – her hair was loose with her hair falling around the nape of her neck with a long section of her hair over one of her shoulders. I was fairly pleased with my drawing although I feel the facial features are the weakest area of my drawing. I think the proportions are relatively correct? I also felt I need to practise drawing hands as again I am not sure whether I should have developed them more as they appear a little too sketchy. I really enjoyed working  on the drawing and I definitely want to develope my figure drawing skills

 

 

drawing one – part 5 – the personal project- portrait study

imagePart of my personal project is to product a portrait study – particularly looking at using drawing tools and mark making  to add dimensionality .

i used my daughter as a model as I wanted to produce a companion work to the charcoal drawing that I did of her reclining in a chair for assignment four. Again I was interested in capturing her in a natural pose. During late August we went away to the Cotswolds for a short break. I found the pose I wanted to draw, by chance  at 7am on an early but warm sunny morning. She was sitting on a hotel bed and I was struck by how the bright light steaming in from the window produced interesting light patterns on her bare arms and on the white bed covering. I did some quick studies in my sketchbook primarily recording the light source and tonal values and also looking at the composition from different angles, using pencil and a marker pen. I also wrote some notes for reference .  I then did some close up drawings of her face and head in different angles ,  using coloured pencil on red textured paper – I was interested in  looking and focusing on the planes of her face recording blocks of

shapes.

Winifred Knights – at Dulwich picture gallery visit

on the 18th of August I visited the Dulwich picture gallery in London and saw  ‘Winifred Knights 1899-1947’ a major retrospective of a largely unknown 20th century woman artist – these are my thoughts and reflections of the exhibition

London born Winifred Knights is an artist that prior to the Dulwich show ,  I knew nothing about.

I was hoping to be enlightened and I was not disappointed. Interestingly the exhibition included lots of drawings, studies and preparatory works for  her major  paintings – which was really interesting and allowed the viewer an insight into Knights working practices as well as giving the visitors a sense of personal and  intimate thoughts .

Armed with a notebook I made notes on what I saw  – these are my notes:

Born in 1899 Knights first studied art at the age of 16, at the renowned Slade school of art in London. The first room  of the exhibition grouped together many of her drawings from the early  period of her life. One of these ‘self portrait c.1916’ a luminous pencil drawing , I really liked  particularly as she seemed to have  captured a piece of her personality  – i liked the way she  had conveyed   her direct and confident stare , she  seems to glaze at the viewer. I felt that the  early pencil  drawings seemed to show a competent use of the medium with subtle mark making and shading. There is a delicate lightness in these early drawings with fine hatching that  adds dimension. There was also an interesting drawing entitled ‘Portrait study of Joyce Knights during a thunderstorm ‘ pencil on paper dated 1918. This  drawing captures the models  face in a three quarter profile. Knights used  delicate parrellel hatching which was  popular at the Slade that had been introduced by a former professor called Alphonse Legor. This style of drawing seems to add a real sense of drama and structure to the planes of the face. I felt the drawing had  a quiet and emotive feel. There was a larger figure drawing ‘full-length  female seated nude , three quarter view 1917 ‘ that I thought was interesting. Again a really good example of how to use  pencil  marks to build up  light and form, the drawing demonstrates Knights fine draughtsmanship  skills and her precise use of delicately applied hatching – with  this drawing Knights  was awarded a first class certificate.

Winifred Knights was  initially intending to study to become an illustrater and there were  some  excellent examples of her illustrative work including ‘Little Miss Muffet’ a stylised self portrait with many strong design elements including vertical and horizontal stripes as well as an interesting elongated neck and long thin hands adding a sense of drama and atmosphere to the composition . During this period at the Slade students were taught to draw with the intention to develope strong compositions. Knights was tutored by Tonks and Derwent Lees. For two years she worked almost solely on figure drawing. During the early stages of World War One Winifred Knights had a nervous breakdown and left the Slade to recuperate at a family farm in Worcestershire. It was during this time in 1917 that she met socialist philosopher Edward Carpenter. Carpenter greatly influenced Knights and she moved away from illustration becoming instead concerned with scenes of rural life. In 1918 she joined her family in rural West Sussex – producing work that was far removed from what was happening in the war. I feel that these pictures have an almost visionary quality to them. The pictures have an almost peaceful sense of harmony – the colours are muted and soft.  The people in these works seem , to work together sharing a comradship regardless of their social postitions, working together in unison. Knights included local buildings and scenery building up a fascinating picture of an almost rural idyll away from the harsh nature of the war. Some of this work during this period  is remarkably  ambitious including some detailed and interesting studies for a wall decoration – it was interesting to see the preparatory works which included detailed squared up colour studies. Also on show was an inquisitive pencil drawing ‘Eileen November 1918’  she perfectly captures the delicate contours of her sisters face using careful shading that successfully conveys the subtle  lights and darks of the facial features. Also fascinating in a glass cabinet was displayed a selection of Knights sketchbooks including one for ornamental design and  one for anatomy studies.

SECOND ROOM – the Slade 1918-1919

Knights style has now envolved and she is now focusing on meticulous composition a discipline she appears to have excelled  at. She won the prestigious summer composition prize in 1919 with ‘ a scene in a village with Mill hands conversing’ I think it is an interesting painting with lots of different elements including  beautifully painted figures and a busy background with buildings. I really like the shapes of the buildings and the way Knights has suggested the faraway glimpse  of the undelating curves of the hills in the background contrasting with the straight blocks of the buildings. I feel it is a very confident and competent painting  for an artist aged just  20!

also on show were a number of studies for the painting which hi light her working processes as it is very apparent that Knights spent  a lot of time  planning her major works.

ROOM three

In room three  were some very interesting self portraits I particularly liked a drawing from 1920 that demonstrates her drawing skills as the medium used is silver point,  a very difficult drawing tool. The exhibition curators state ” natural extension of Knights interest in Renaissance drawing , the technique requires precise craftsmanship to allow for the subtle rendition of light and shade” ( source Dulwich picture gallery).  Also interesting is ‘self portrait with compositional figure study 1919 ‘ the medium is pencil but what i thought  was interesting is that the drawing seemed fairly experimental . The head and facial features of the figure are developed with Knights usual style of hatching to capture tone, light and form however the body and costume of the figure is very loose and sketchy  rendered with no tone or hatching . to the  the right of the figure , on the wall like a framed picture is a squared up compositional study of a rural scene.  Also interesting is a oil painting from 1920 entitled ‘Life study Eileen Knights. ‘ The young model is painted nude and Knights has captured her sisters youthful adolescent awkwardness, the teenager appears to have a sulky expression on her face, the contours of her body suggests an uneasy gawkiness. The colours are again on the neutral spectrum reminding  me of the palette used by another British woman artist and former Slade student –  Gwen John. Also on show were a variety of works produced for the Slade sketch club that explored compostition. I really liked the small coastal landscapes in oil depicting Beer in Devon. Although the two small paintings at first look very simple in nature and style they are beautifully executed particularly the way she uses composition and colour.

FOURTH – room

I found this room very interesting as it showed the direction that Winifred Knights had gone in her artistic career once she had left the Slade. In 1920 she had become the first woman to win the prestigious scholarship in decorative painting. The four selected finalists were tasked with producing a painting and cartoon in an eight week period. The set theme was “the deluge”. This room documented the sheer hard work that had gone into the competition. The large canvas painting ” the deluge 1920″ I thought was extremely powerful, very visual and visionary in its timelessness as although inspired  by the Biblical scene of the great flood and the ark the figures clothing and their features seem very modern. The  very angular figures almost appear to be dancing in formation with their strange stances and outstretched arms. It was easy to spot A self portrait of Winifred Knights within the painting in the foreground. The composition is  striking and is filled with interesting shapes , with a lively perspective and good use of negative spaces. The dance like movement of the panicking figures reminded me of  the moving figures produced by members the  “vorticist ” artistic movement?  Knights also  used members of her family as models for ‘the deluge’ ” the biblical flood was often used as a metaphor for World War One ” ( source Dulwich picture gallery)

also on display was a large cartoon in pencil squared. Although a study the facial features of the figures are beautifully rendered with her fine use of shading. There was also another working cartoon which was used to add the essential forms of the elaborate compostition onto the canvas , this study had less shading but instead seemed more concerned with shapes. There were 3 other small pencil sketches of “the deluge ” and 2 colour studies one with watercolour as the chosen medium, the other oil over pencil sketching in loosely the colours for the background of the painting. It was fascinating to experience how Knights worked and her thought processes , and  remarkable  to remember she was still only 21.

FIFTH ROOM – the British school

Winifred Knights won a scholarship to spend three years working in Italy. The scholarship artists  were required to study and produce large paintings essentially focusing on composition.

‘the marriage of cana’ a large oil painting dated 1923 I thought was very exciting and mesmerising with an interesting composition I counted around 35 figures in the painting .  The setting of the tables laid with white cloths I found fascinating and the direct facial expressions were powerful and emotive. The carefully painted trees seem to be posed and appear to frame the story of a elaborate theatrical marriage ,  the trees revealing a tableau like scene almost acting the role of stage curtains pulled back to reveal the scene. Again Knights colour palette is largely neutral in tone with a sense of peaceful harmony. It appears like a happy scene. My eye was particularly drawn to the table off scene just glimpsed though a square like building structure. The composition is very balanced with strong vertical and horizontal lines. The whole work had a serene quality and is very decorative and  Is clearly inspired and influenced by Italian Renaissance art. There were also examples of Knights careful preparatory studies setting  out in detail her working processes including an oil study squared up on paper , a thinned oil sketch on tracing paper that is mainly concerned with looking and plotting colour and tonal values. The last study was a  squared up sketch using wash on paper. It’s seems that at this stage in her career Winifred Knights is concerned with producing very much a narrative style of painting allowing the viewer to intrepate a  multi-layered story visually unfolding .

I liked ‘ study for Jairus daughter ‘ 1921 again inspired by a biblical story. The drawing depicted a simple bedroom with a beautiful and harmonious use of light to add depth to the drawing. There was also hanging with this another sketch ‘study of sleeping nude for Jairus daughter’ 1921 again an exquisite and delicate sketch  very reminiscent of an old master drawing. Also in this room there were some Italian landscape studies for paradise that I found interesting.

SIXTH ROOM – Italy 1924

in March 1924 after completing her scholarship Knights returned to Italy and in Rome married the Rome scholar Thomas Monnington and the couple spent some time on a pilgrimage to the sanctuary of the Santissima Trinita near Vallepietra in Lazio. Much of the 6th  room explores the Italian work. ‘The Santissima Trinita ‘painted 1924-30 is a large powerful painting capturing the lush Italian scenery in muted yellow and green shades. I liked the vista of the mountains. The figures in the foreground look as though they have strayed from a Renaissance painting, the folds  of their flowing robes are minutely observed, The composition is again planned and harmonious and Knights includes a banner that is painted with precise and minute detailed brushstrokes. Although the painting has a stillness to it with the languishing relaxed figures  there is a sense of  the texture in the way she had painted the grass and haystacks  that appears to suggest movement. I thought it was a very relaxing painting imbued with symbolism.  Another large painting also stood out ‘ Edge of Abruzzi boat with three people on a lake 1924-30’ this work is inspired by the legend of Melusine , Monnington, Knights and a male friend are depicted in the boat – their expressions suggest a reflective mood , again the Italian landscape features in the picture. Also on show are several interesting landscape and  mountain studies  using a variety of drawing mediums including pencil and thinned oil , also some pencil figure studies for the Santissima painting – again demonstrating Knights  very precise and ordered working processes.

SEVENTH ROOM – ENGLAND

The final room focused on Knights later work including a number of sketches and preparatory drawings on tracing paper, looking primarily at the composition for a work called ” scenes from the life of Saint Martin of Tours c.1929″ . This work is again inspired by medieval art and mythology  and some of the drawings reminded me of the watercolours illustrations that the Pre-raphaelite artist Dante Gabriel Rossetti produced during the nineteenth century as his response to the work of the medieval poet Dante. Some of Knights studies in this room seem much sketchier and looser than much of her earlier work. But I still thought that they  still manage to  skilfully record  light , shapes, form and some colour , there were also some interesting pencil studies including ” study of a tree in winter” 1929 I particularly liked the way Knights had explored the entwined branches.  Also of note ” study of an angel for scenes from the life of Saint Martin c.1933 – a pencil drawing. The Angel   has a fragile look with an almost unintelligible unworldly  look that reminded me of a Raphael face. Also interesting are two large Cartoons for ” scenes of Saint Martin” one was a full sized drawing made to plot the placing of the figures , the vanishing point directs the viewer up to the landscape  beyond the main Narrative section  of the art  work. There was another delicate drawing inspired by Piero Della Francesca.

Winifred Knights died  suddenly of a brain tumour aged just 47, and her work disappeared from the public eye – much of her work appears to be in private collections. I left the exhibition wondering what may have been if Knights had not died?

 

MY FEELING ABOUT THE EXHIBITION

I really enjoyed the show particularly the way the curators had chosen to include many of the drawings and preparatory studies relating to the major works – it provided a fascinating insight on how Winifred Knights  worked and also provided clues to her thinking processes and how artists were trained during the last century. I was also stuck by her energy , her  sheer hard work and her passion for her art and Italy.  I liked Her obvious draftsmanship  skills -how she  managed to explore composition and perspective. I liked her use of delicate mark making and how she managed  in her many portrait drawings and  studies to capture a sense of the personality of her sitter. However I feel that Knights large oil paintings although interesting lacked the spark of her luminous  drawings,particularly the flattered forms of her  figures who I felt seemed too stilted , stiff and angular. But I did fell that show was helpful to me and that I learnt many things that I could explore on my own artistic studies  and

I came away totally inspired about pursuing my own creative journey.

Interestingly there was a small display of work done by young  teenaged artists on a display in a public gallery space  . These works were a response to the Winfred Knights  exhibition  – the artists have taken Knights  themes but added a modern twist and  slant, it was a fascinating to see the young people’s ideas , and it was definitely  interesting and worth looking at as a response to Knights work.

 

 

 

 

 

Drawing one – part 5 – personal project – self portrait final drawing

After doing  my charcoal  self portrait drawing i visited the Winifred Knights show at the Dulwich picture gallery. The show  included several self portrait drawings – and despite the delicate drawing style i was very impressed with the way Knights with very careful fine cross hatching was able to  convey the  form and structure of her face. The drawings are very intricate and beautiful. I have also been looking  at Comtempory artists Jenny Saville and Ariane Laroux. I have been focusing on Jenny Saville’s recent drawings which are her response to Renaissance master drawings and  very different in feeling to her body image works.. Ariane Laroux uses feathery marks to suggest facial features building up her marks to add dimension to then facial features  particularly the eyes. For my coloured pencil drawing  I  tried to include some inspiration from the art that I have been looking at. I used  the coloured pencils on red toned pastel paper. I build up the layers of colours careful to define light and tone . Using the pencils I was able to   – like Ariane Laroux make careful  decisions on what to include in my drawing leaving areas of my paper bare  to add contrast to the shadows on the nose and eyes –  I feel pleased with my effort and feel that I have make a lot of progress  – I feel that I have learn a lot about drawing faces and I feel more confident about exploring self portaiture again. I am especially pleased with how I have captured the nostrils  of my nose- the facial feature I find most challenging. Although is was not my intention to capture a likeness , this drawing is a very good  likeness of my face and facial features.image

Drawing one – part 5 – personal project – final pieces on self portraits

For my final pieces on self portraits- I did two final drawings. The first drawing I used grey heavy paper as the support  I used charcoal and white chalk as my drawing medium.  This drawing I did at night time with a torch as the only light source there was very little light in the room so it was a challenge  –  the whites of my eyes and part of my  of hair were the lightest tones and appeared almost to glow. I used willow charcoal and compressed charcoal  as well as charcoal pencils as a hi-lighter . I Also used a putty rubber to lift out  areas of tone. I also left all my  drawing imageerrors on the page as I was keen to show my working process. Overall I quite like elements of my drawing although it looks slightly dark but I feel that this is a fair representation of the tones. The areas that I am confident about in my drawing is the month is looks although it has been drawn clumsily – I think I may have over worked it. I think that it may have better if I had used a lighter tone of paper ?

Drawing one -assignment 5 – final project self Portrait drawing – sketches on paper

after using my sketch book I did some A3 sketches 2 on white cartridge paper using a graphite stick and a sketch on coloured paper using watercolour pencils and watercolour washes. I feel that the coloured drawing is very weak and too static – and lacks substance and it lacks structure and form and I think the facial features are poorly drawn. The graphite sketch using looser marks works fairly well and I think that I have captured a sense of movement however I feel the drawing may be a little too loose and I probably need to take more care with my drawing. The other pencil sketch is so-so  the hair works well but the eyes are poorly drawn.but I feel I am starting to make some positive process.

Drawing one – assignment 5 – more self portrait drawings

after doing my initial sketches – I went on the further explore my face using different mediums-  I did a drawing using ink wash and using marks to add volume inspired by ‘Henry Moore’ I also explored collage using torn paper and explored some techniques taking inspiration from Henry Moore’s ‘ shelter drawings’ wax crayon , ink and graphite which was really challenging as the wax crayon made the surface of my drawing very greasy. I still feel that I need to solve many of my weaknesses in drawing portraits.

Drawing one – assignment 5 – final assignment personal project – exploring the structure & form of the figure – self portrait

I found exploring self portraiture very challenging and I have struggled with it. I found drawing my own face very difficult and not something I enjoy – so I was determined to really try and produce some work that I feel happy with. I was also determined to explore structure and form to add dimension to my drawing but also to inject an element of creativity to this project. I am not concerned with capturing an perfect likeness but to capture an essence of my personality.   I spend a couple of weeks experimenting with basic drawings of my face using line and tone in my sketchbook  – I used  graphite pencil, marker pens, coloured pencil, and wash. I was chiefly concerned with  Looking at shapes, forms and tonal values. I found drawing the nose the most challenging and I also struggled with  trying conveying a sense of

movement to my sketches. I looked at mark making and lines. I was looking at capturing the blocks and planes of my facial structure