I received feedback from my tutor, Dr Angela Rogers, with which I am very pleased because it is difficult sometimes to see whether I am really making much progress… I guess that it is always this way when you are in the midst of something and up too close.
Your sketches of buildings are searching and delicate.
Your commitment to investigation is impressive.
Your preparatory and research work is excellent.
You have taken on board my comments about an increased tonal range and extending your range of marks.
Generally your methodical approach to drawing demonstrates sound technical choices. I wonder if sometimes you overwork this aspect. Your quick sketches indicate that you could trust your intuition a little more.
Feedback on assignment
Well done you have chosen a good the subject and made a successful composition. You have created a sense of a real and particular place that the viewer can imagine being in. I commend you on the thoroughness of your research but as I say above I would encourage you to trust your intuition a little more.
Excellent preparatory sketches and well observed analysis. Did you faintly draw the underlying structure and perspective first? This might help you retain some of the looseness of your sketches if you feel confident you have already dealt with the underlying structure. Equally you might become rigid.
This drawing is more coherent and hangs together much better than your final drawing for assignment 2. As your notes indicate you are reflecting on the drawing as a whole and making thoughtful compositional choices.
The focus of sketch on page 4 is a corner between bookshelf and window, the impression of looking into a corner isn’t so apparent in the final drawing and the linear perspective is a little confusing. The floor looks sloping, check the far edge of the rug in relation to the base of the windows. Assuming the end of the rug is parallel with the bookcase check where the lines converge. Sketch on page 4 gives a more probable eyelevel.
I feel the colour choices made in final drawing were rather limited and you needed some neutral hues. I thought the colour choices of the sketch on page 2 were more successful, granted it’s smaller, a print and has more wash in it. I realise you wanted a warm palette and texture but the pinky red and purple are fairly dominating and can flatten perspective if used in too many places. I think the effect of falling light on the window frames works better in the sketch, although you have captured it on the bookcase in the final drawing. Your choice of paper makes it more difficult to show the bleached out effect of light as we can see the watercolour surface.
Your sketchbook work is impressive, and your methodological approach supports the development of your drawing – observe, reflect, and try again. As shown in the sequence of the power station. I especially like the way you have treated the Ecoline drawing of the Wehgang, this ‘abstract’ strategy is good for you as it balances your natural technical approach to create something dynamic.
In the view of Burghof with the hill behind, nice example of aerial perspective, and many of your drawings of buildings and trees I can see you are beginning to increase the range of your of mark making. I feel you have empathy for buildings and the built environment; you draw them with sensitivity and a lightness of touch. Your linear perspective is generally convincing.
I also enjoyed your sketchbook with experiments with colour, where you bring together colours in surprising ways.
Excellent research and reflection.
Look at Thomas Schutte’s watercolour drawings of flowers.
http://www.thomas-schuette.de/website_content.php and Marlene Dumas’s heads and figures. I am not suggesting that you make work like them but just see if there is anything in their work that you can bring into yours.
Try John Berger’s writings about drawing.
Pointers for the next assignment
Try working out the technical aspects, ratio of head to body, where the weight is, where the tension is, by making quick sketches. Do some of these just looking at the model not looking at the paper. Hold this information in your head whilstyou make a longer drawing and try to feel the form of the person you observing, almost as if you were stroking them with your hand to draw them. Also try to imagine yourself inside their body and feel where the weight is, where the tension is and what the dynamic shape of the pose is. Closing your eyes can help.
Keep on pushing your mark making.
Try working with wet materials e.g. ink and brush and explore ‘flow’ in all its senses, including the ideas of Mihaly Csikszentmihalyi