Tutor report 5

Student name

Eve Andrews

Student number

512408

Course/Module

Drawing Skills

Assignment number

5

Overall Comments

Thank you, Eve, for your final assignment on this course. This is a solid response of work and it is pleasing to see your subject matter expanding beyond your familiar adeptness with people. The room views are engaging, and whilst you continue to play out your specific observations on structure and detail, there are new ventures into the realms of colour and tone, and additionally further developments with your inclusion of collaged papers in the drawings. The tonal studies do take your drawing a step on, with some pleasingly simplified content, such as in ‘dark hallway leading to the door’ or ‘ink, coloured pencil and collage’; venturing towards something abstract in nature.

I would question whether the final drawing really does justice to all of this, as it lacks some of the subtlety and unity that the majority of the smaller drawings possess; but further practice at this scale might resolve that.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Draw and Experiment

The body of work you produce in this initial section is full of observations, of work dealing with perspective (sometimes well, sometimes not, as you note), backed up with your immediate reflections on what works, what doesn’t, why you think it doesn’t and how you might alter it next time. Further practice will indeed improve on the perspective and angles. Whilst these sketches are intended to be quick notations, there is an acuteness of observation and picking out of detail of interest, that they form a cohesive group in total. You have broken them down, room by room, but also by colour or approach, and you create an interesting resource here.

The hatching employed to state shading often has the effect of highlighting other forms or the lit spaces themselves; it will certainly be intriguing to see how you apply this to paint in the future.

The final kitchen pencil sketch has a quality of subtlety in the line used; the variation in the thinness or thickness of the line imbues the drawing with a transient quality. Visually pleasing.

Composition – the first pieces you explore have strong vertical elements in them; a tool Degas used frequently to his advantage. Then you explore other horizontal options, such as the coloured pencil study of dog, couch, cups and shadows. Your ideas of composition continue with the overlapping forms in the table view; this often makes a working arrangement. However, you also favour a vertical framed format, such as the corridor view, which focuses the attention on the dogs and background interior space; the vertical format was often used by Klimt, influenced by Japanese art.

The tonal studies overall do give your work a fresher dimension, becoming somewhat painterly, in looking at tonal planes and form, but also containing a less detailed response to the subject. Your use of ink and brush and the soft pastel work is a move away from your preference for the precise line, and in these studies the dynamic shifts to a whole tonal view. You practice this quite succinctly in the A4 tonal ink study( following the oil pastel sketch); the ink piece has spatial depth and three dimensions, which feel quite meaty and are visually pleasing. This is a different world to the precise line work you are capable of, yet the two could combine.

The further exploration of oil pastel and wash as a combination makes for some effective sketches; you still apply

strong observations with the chunkier oil pastel, so scaling up your drawing with this medium is certainly a possibility.

The A3 graphite drawings take an ever looser turn, perhaps being influenced by the Auerbach and Twombly work; the notion of the surface marks being more to the fore than the subject itself is something intriguing to explore.

Line and wash – the ‘map book page’ takes us back to a familiar approach in

line for you, but you develop the idea further with the application of colour

washes; this is effective and plays with both surfaces of the original text and

the drawing you develop. Keeping some paper tone as highlights might be

beneficial, as the purple washes on the ‘old road map’ page keep some of the

space in the image far more one dimensional.

Final drawing – It can be difficult to filter all the ideas or approaches into one

piece, and keep some freshness and spontaneity of idea. In this drawing there

are parts which work in themselves, whilst the overall unity, so evident in the

remainder of the assignment work, is less strong here. You may well be right

that a wash applied over the floor area and blanket might bring this together

more, as the wash areas in other parts here do pull elements together

elsewhere. The tonal aspects work in terms of light, shade and in places

space, but I would suggest that the red, so full on and bright and flat,

overrides some of this. Your previous sketches have combined oil pastel and

wash cohesively, so it may be this view just has too much subject matter

content. Less is more? Taking a smaller part of the view and letting it fill the

page more, might be a more unifying or better approach.

Nonetheless, you are experimenting more with mixed mediums and some of

your previous compositions here have held a more concise and pleasing

visual balance.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Always a delightful part of your work, this extends and builds on the core

approach you bring in your drawing. Continuing to experiment with different

paper bases, or collaged in papers / pages/ texts, apart from mediums, will

push your drawn response along more.

Learning Logs or Blogs/Critical essays

Context

As discussed with you, it is worth double checking the artist and image, and the use of noted gallery sites, such as the Tate online, or the Courtauld Gallery, where you can find good drawing references. Your log has continued with your clearly laid out format, and has some research of close interest to the approach you are employing.

I have thoroughly enjoyed being your tutor Eve, watching how your drawing has evolved up to now. I am confident that you will take your drawing process further, refining and honing your current practice into something even more your own. I wholeheartedly wish you well with the next course you take.

Tutor name:

Heather Jolliffe

Date

30.1.15

Next assignment due

Course completed

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