Month: October 2014

Overall Comments

You have maintained a very high standard in the work you have produced for part two of this module Mark. I can see that with every new process and experimentation an even greater and more concentrated progress will occur in your practice. If you maintain this focus you will notice that your output will go from strength to strength.

Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Assignment Two brings together the skills you have attained from experimentation with different coloured media, the manner and method in which you use them and focuses on their suitability to subject matter and the size and format of your finished piece. It also puts you in the position of getting used to confidently employing methods in the arrangement of interesting compositional constructions and refining your ability to render form with accuracy.

The subject you have chosen was undoubtedly an emotive one. Often these heartfelt themes can produce touching imagery and you have successfully done so with this piece. Firstly, I was greatly encouraged to see that you had diligently worked on multiple preliminary studies for the composition and had made detailed and clear annotation with regards ideas and working methodologies. The subtle colour palette utilised has a poignancy that works very well within its compositional arrangement. I was pleased to see that you had really thought about the narrative of the set up and had not fallen back on a conventional still-life arrangement. The placement of the still-life in a bathroom setting with its reflective surfaces of mirror, white ceramic tiles and porcelain basin was also a nice touch. This has strengthened the end result and added a tender feel to the piece, not to mention the inclusion of roses, which have an obvious relevancy. To be honest I feel your choice of working on white paper has worked for you – a coloured support would have made the drawing appear overworked and would have contradicted its intrinsic mood of sensitivity and restraint. It was good to read that you had used the influence of Antonio López García, an artist whose work I greatly admire. There is some very nice drawing here Mark. The delineation of form and reflective surfaces in details such as the tap and the apricot-coloured vase is very effective, as is your utilisation of the compositional device of the rule of thirds – a very well-considered piece.

I have to admit I had never heard of the rule of thirds until now but now at least I can put an artistic phrase to it. 

Learning Logs or Blogs / Critical essays Context

Just as in assignment one the learning log has been kept up-to-date meticulously and outlines your thoughts and discoveries scrupulously. It is a breath of fresh air to read your thorough investigation into the research points with regards your chosen artists. I read with great interest your piece about Eliot Hodgkin, an artist whose work I did not know – what a wonderful discovery. As you have suggested, his compositions and depictions of what some may call ‘mundane’ subjects, opens ones’ eyes to the beauty of simplicity. It also confirms that there is beauty in the everyday or commonplace. I can see the inspiration for your leaf drawing. I think you may find working with tempera interesting Mark. If you can’t find any, try gouache which has a similar finish and is more readily available and equally wonderful to work with.

I was hoping to try and put off tempera, gouache and any other paint mediums until the Practice of Painting Course but I made a promise to myself that I would try to get to use either one or the other by the end of this course.

Sketchbooks 

You have delivered an impressive amount of work for your sketchbooks Mark. Your adherence to the exercises within this part of the module is admirable and a high quality of work has been maintained throughout. What I find particularly encouraging is your willingness to experiment not only with a diversity of media but also the manner in which it is manipulated.  There are many good examples here and I will not mention them all: I especially liked your experiments with dip pens and markers – these display a demonstrability of eye and hand and what appears to be a natural sense for composition. I will also mention that, just as exemplified in your assignment piece, you have a knack for using colour in a way that is sympathetic to your subject, in this case, one that is fearlessly vibrant. The ‘Still-life group using line’ drawing and the study of the dying leaf in stipples and dots also show a considerable dexterity with ink as a medium.

I have to disagree with some of this, I really want to work with dip pens but I feel that I am lacking any reasonable amount of control with them and it is something I working hard to change. It was my effort with the marker pens and applying ink using a brush that made my dip pen work look good.

The leaf in stipples and dots however remains one of my favourite pieces and one that I am very proud of, It reflects the crispness of Elliot Hodgkin’s paintings as researched in the research point in this part.

I am sure the benefits of living in an exotic country are numerous but one that stands out is the wonderful fruits to choose from when setting up a still-life – obviously the watermelon and apple in the ‘Drawing using oil pastel’ exercise are recognisable but the gno is wonderful, reminding me a little of a sea urchin. The piece you have produced for this exercise displays good balance both in terms of colour palette and composition. It is a strong and lively piece and you have successfully proven that you are willing to experiment with new, untried media. The form of each fruit and its overall perspective has been effectively rendered and considered and, generally speaking, possesses a believable compositional balance. The inclusion of the yellow cloth is a bold pronouncement but works perfectly well with the overall colour palette. The detail of the diagonal folds in the cloth in the foreground is also a nice touch as it balances the slightly left-handed arrangement.  If I were to be picky however, there are things worth looking at: there is a minor inaccuracy with regards the ellipse of the plate, most noticeable at the rear edge as it disappears behind the watermelon and apple and the shadow cast could have done with a slightly darker rendering; the delineation of the reflection of the apple on the plate needs closer observation – the dark hard line and the highlight next to it in the reflection has created the appearance of a dip in the surface of the plate. Having said all that I feel this piece shows a keen observational ability and an encouraging competence in handling new media.

Again this is another piece that I feel strongly about and would like to submit it for assessment. What I let myself down on here is that I did not make any sketches of other compositions so it may be wise to make more sketches and if necessary redo the  piece.

The only piece I felt didn’t quite have the strength of the aforementioned drawings is the study of roses and orchids in a vase, in both colour pencil and crayon and oil pastel. My problem with it is not necessarily the handling of the media, although both examples don’t display the same confidence or strong delineation of light and shade as the others, I feel that in comparison it is its less considered composition. The close cropping or the lack of ‘breathing space’ around the arrangement needs closer scrutinisation.

This is a piece that I am hoping I will have the time to redo. However, I already took what I didn’t like about this composition and used what I learnt from it for my second assignment so is it really necessary?

Suggested viewing/reading Context 

It is clear that you thrive on researching the work of other artists and enjoy the process that entails. My only suggestion would be to continue doing this as it obviously has a beneficial effect on your work. With each new discovery, a new direction will open up for you. Keep up the gallery visits too! 

Pointers for the next assignment

 The next part of this module is about the outdoors and I’ve noticed you have already made a good start on the work. Try, as much as you can, to work from life rather than from photos. Although you have a keen eye and a good visual understanding of space and form it is always good practice to work directly from three dimensions. This will add an even greater perspective to your work. 

I understand your aim is to go for the Painting/ Creative Arts Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, and providing you commit yourself to the course, I suggest that you are likely to be successful in the assessment.

Overall Comments

You have made a particularly good start to the module Mark. You have displayed an encouraging talent for observational studies, showing a good and competent technique and a willingness to try new media. You do however tend to tighten up when producing the final finished pieces. As time goes on and your confidence builds I have no doubt that you will produce some very fine work.

‘Tighten up when producing final finished pieces’ This was so true, most of the techniques I had learnt in this first part of the course were all about fluidity, a relaxed hand, using the pencil in ways that would have probably made these two finished final pieces look very different. However, I did use a lot of these techniques in my final pieces, I just think that they are not visible enough.

Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

The first assignment is treated as a diagnostic tool to allow the tutor to see where help may or may not be needed with regards your future drawing endeavours. The amount and quality of preliminary work you have included in your sketchbooks clearly outlines that you have a focussed and deliberate way of working. The drawings show a willingness to confront and question the suitability of materials to the subject matter you aim to portray and have been honestly contemplated, and this shows in your final pieces. The two finished studies are thoroughly researched and considered in terms of compositional structure, materials, colour palette and technical application.

The natural object study has a balanced compositional arrangement and successful harmonic colour palette however I feel it has been cropped a little too tightly. The composition as a whole would benefit from a larger area of negative space, especially at the upper framing, around the pebble or rock in the background. The addition of this negative space would accentuate a sense of perspective or feeling of receding. Looking back on your preliminary work in relation to this piece I found that the compositional development sketch in colour pencil worked a little better. It has vivacity and more space to breathe and this I feel is missing from the finished piece. The development sketch possesses a more gestural and immediate rendering whereas the finished piece appears more guarded, as if you were slightly hampered or aware that it needed to be ‘finished’. The pressure we put on ourselves to produce something that is finished and ‘special’ can often hold us back, impeding a more direct and fluid representation.

Yes, I totally agree here that the finished piece was a little too cropped, I had been following other students’ blogs and thefeedback they had received from their students, leaving too much background space etc. and I wanted to fill up the paper, however if I had positioned what I drew in the study better I would have accomplished this as well as not omitting important negative space.

As with the natural object study the preparatory research you have done for the man-made piece demonstrates a true motivation to understand your subject. You have thought long and hard about its conception and have displayed excellent indicators and developmental information, in the form of preliminary sketches and annotation, to describe the creative process. It was interesting to read your considerations for choosing the subject matter for this piece and also to read the reasoning for discarding your original compositional idea of the traditional Buddhist items. I would have quite liked to have seen a quick sketch of the latter, maybe even a combination of the two cultural elements – in visual terms it would have been a nice juxtaposition. Having said that, I feel your finished piece for the man-made study worked very well. It is evident that you are dexterous with graphite pencil and have delineated the objects with sensitivity, and portrayed their material properties observantly. The composition has a comfortable rhythm to it. I particularly liked the way you reconsidered the placement of the plastic spray bottle to improve the composition thus alleviating the possibility of it ‘kissing’ the cage of the fan. The drawing has good differentiation of tone and representation of volume. The manner in which you have rendered the transparency of the fan blades is particularly well observed. I must admit however having seen the colour photograph of the composition I feel the addition of the limited colour palette would have made for an interesting drawing, with reflected colour on the base of the iron, spray bottle, towel and base and blades of the fan. Try not to be held back by insecurity when using a new medium – you have the skill and adventurous spirit to overcome this Mark.

‘juxtaposition’ and ‘limited colour palette are two new art terms that I learnt from this. The reason for not going with the Buddhist items was that I wanted to work in pencil as a contrast to the hard pastel on the natural objects, I tried colour pencil on the Buddhist objects but the colour wasn’t strong enough. The fact is I should have used pastel on the made objects and colour pencil on the natural objects. I do have some preliminary sketches of the Buddhist items which I will include for assessment.

Learning Logs or Blogs / Critical essays Context

Your investigation into the research points in this first part of the drawing module has been delivered meticulously and with great enthusiasm. You have written your thoughts articulately and with obvious interest in the subjects and have offered reflective opinion on other artists’ work and how it relates to your own. This research and in turn practical discoveries into the artists’ work –artists you were not familiar with – will expand your critical thinking as well as enhance your drawing skills.

Sketchbooks

Your sketchbooks are full of some very promising work Mark. It is plain to see that you are committed not only to the course but to learning and the development of your art practice. You have shown an open-minded dedication to experimentation with different materials and media as well as a determined approach to new methodologies and conceptual constructs. This trait will stand you in good stead for future modules. Your drawing is thoughtful and investigative and shows a good ability and understanding of the fundamentals of composition and perspective.

These are inspiring words, I personally thought at this stage my keeping sketchbooks weren’t up to scratch, to read positive words words like this is definitely a push in the right direction.

The exercises have been considered honestly, with a clear view to getting the most out of the projects. I could see in your mark-making and doodling exercises a direct influence of two of the artists you researched: Max Ernst and Odilon Redon. I also felt encouraged by the inspiration you absorbed of both Patrick Caulfield and Van Gogh. The example of where you work in the style of Caulfield for instance shows good observational skills and an understanding of the artist’s oeuvre by taking that inspiration and producing a piece that represents his style but at the same time maintains your own creative integrity.

I have enjoyed researching new artists and have absorbed pieces of them, I know this to be true. I do feel though that the research points are in the wrong place in the coursework and so have to read ahead to the research is helpful in the right modules. 

The basic shapes and fundamental form exercises (books and boxes, jugs and jars and supermarket shop) have been tackled diligently and with determination. You have a keen sense of observation and focus but can sometimes lose the rhythm when being overly careful with your finished pieces – check the ellipses on the jars and cans in the supermarket shop drawings.  The still life of fruit and veg could do with a little more depth in the cast shadows. Try to be a little more expressive with colour; see how the reflected colour of the table plays on the green and red peppers and how the yellow of the third pepper is cast on the surface of the plate. You have observed and delineated this especially well in the reflected light exercise.

So true, the tightening up as mentioned earlier is probably the cause of this losing rhythm, that and my relief when a drawing goes the way I like and fear that I will mess up if I go further. One thing I do have to say here is that if I hadn’t shown the photo of the composition the colour of the table wouldn’t have been known. Because I made this into a mixed media drawing I felt that I could depict the reflected light while omitting the colour. I do agree with the shadows should have been a lot darker though and shall go over them as I feel this is a piece that could be submitted for assessment.

All exercises have been methodically researched and thought through and I have no doubt that if you maintain this determination and enthusiasm you will see a steady and confident progression in your work.

Suggested viewing/reading Context

It is good to hear that you have now discovered the joys of art galleries! It is imperative that you immerse yourself in current and historical examples of visual art. It will be interesting to see if inspiration develops from these excursions, especially any Thai influences. Already, with the introduction to new artists, you have broadened your own visual vocabulary. Gather as many references as you can. One practitioner I think you may find interesting is the Spanish artist Antonio López García. Below are a couple of examples of his work:

Here is the research point for Antonio López Garcia .

Pointers for the next assignment

Continue to work just as you have been doing Mark but try not to get bogged down or tighten up when faced with the final piece. Maintain a loose and fluid hand. The next assignment gives you the opportunity to further experiment with different media but is also about observation in nature – be prepared to capture movement.

Assessment potential (after Assignment 1)

You may want to get credit for your hard work and achievements with the OCA by formally submitting your work for assessment at the end of the module. More and more people are taking the idea of lifelong learning seriously by submitting their work for assessment but it is entirely up to you. We are just as keen to support you whether you study for pleasure or to gain qualifications. Please consider whether you want to put your work forward for assessment and let me know your decision when you submit Assignment 2. I can then give you feedback on how well your work meets the assessment requirements.”

I am hoping to work through the B.A. (Hons) painting so I will be submitting my work for assessment.