My work is all back complete with my tutor’s report. I certainly have some work to do, but from the report I do at least know which areas to concentrate on first. Going through the report:
General comments
The basic one here - sending work flat. That really is something I would prefer to do. I do really dislike the tubes supplied, and I had a real battle to get the work for the first assignment
in the tube. I’d rather send it flat packed whatever the cost.
I did leave the book work until after I had send off the assignment, so there were no log book entries at the time Richard looked. However, that said, the books recommended with this Assignment are mostly based around practical painting and the effects of light, so I was not intending to look at the work of other artists in detail at this time, but will now.
Assignment Questions: My Answers.
Seems I choose something that is not really straightforward. But then that is a question of interpretation, the course book suggesting things from the kitchen or everday items in the home. My definition of everyday items around the home, would be things I have to dust every week. Music is a large part of l
ife in this house, listening to it, playing it, and in my husband’s case writing and recording it. Thus there are a large quantity of musical instruments that I dust every week, and play some occasionally. Anyway, Richard’s point is well taken, now that I have actually stopped to think about it. That all objects are derived from cubes, cylinders, spheres and cones is something I know, but do not always remember, so I will try to make a conscious effort to think in these terms in the future.
I can now see why looking down at the objects ended up with me drawing them so small. At least I made the right decision in putting the table in. Richard has asked that I go and look at the still life work of a number of artists, and I will be doing that next. He said how devices such as a knife on the edge of the tab
le pointing to the viewer can help emphasise dimensions. There is a still life in Bristol Gallery by Pieter Claesz in which there is a knife pointing to the viewer and hanging off the edge of the table. At the time I studied this, I was looking at what it had to say about the period, morals and politics at the time it was pai
nted and not with regard to the actual composition. As this is a painting I really like, and is easy to go and visit, I think along with the list of artists I have been given, I will also go and see this one again, as this is an opportunity to analyse if from a different perspective, which appeals.
It seems that painting straight fine lines is going to be a questions of trial and error and practice, along with the occasional use of masking tape. I am heading off to the art shop to look into the list of mediums which will help to improve the coverage.
I am also contacting the college to see if I can obtain a copy of the booklist which will be going with the new Start Painting Course. Particularly as I have already come across the problem of some books being out of print, and not even available through my local library.
Assignment Work:
Project 1: From Drawing to Painting.
Richard is right when he says that I lack confidence as evidenced by the uncertain lines. I do need to do more regular drawing practice and am currently increasing this. Unfortunately due to last year being very difficult on a personal level, and the course work being essay based, my drawing practice did really come to a standstill. However the other problem I had in doing these drawing was the instruction to use A4. I had originally got out an A3 pad, as charcoal was required, however on re-reading the instructions it stated to used A4. This resulted in my being aware of being really constrained by the size of paper. So it is actually with a sense of relief that Richard has said there is no problem with using larger paper for this in future. I see A4 as fine with a pencil, or one simple object in charcoal, but far too small for anything more if using charcoal. I can see what he is saying about the maracas looking more like wooden spoons. They are something that initially looks like a simple shape, but as you draw they proved to be much more complex than first thought. The other problem, and I am not sure if this is good or bad, is that I really do not like being beaten, so instead of swapping it for a simpler object, and perhaps coming back to it at a later date, I keep working on it in the firm belief I will eventually succeed.
Shadows are something that I know I need to work on. Whilst I can see the difference between immediate and diffused shadows, I find it difficult to reproduce when my light source is not overly bright. Also I find if I am running off the edge of the paper, I seem not to let the shadow just run off, but instead curve it upwards. It seems my brain goes off and decides all the shadow shape should be there, even it there is not enough paper.
As to the series of paintings, I think, from Richard’s comments that I misunderstood the instructions. I was thinking that shading was required to achieve 3D, but read the instructions as being flat blocks of colour, resisting the temptation to add more.
Colour Mixing Exercises
I did enjoy this voyage of discovery. Finding out that the hidden background colours are important in order to know what to use to achieve the colour wanted. I am looking forward to practising this, even though I think there will be a level of paint wastage!
The report has encouraged me to practice more, and I’ve decided to just take a week or two to just do simple single object drawings, in an effort to improve my solidity and 3D. before moving on to the next assignment. I think this will be time well spent, even if the next assignment ends up being a week or two late.
