Tutor Report 1

Student name

Eve Andrews

Student number

512408

Course/Module

Drawing Skills

Assignment number

1

Overall Comments

Thank you Eve for your first assignment on this course; this is an encouraging start to the course, in which you have covered a fair amount of groundwork on mark making, some tonal hatching and frottage samples. You seem to have innately a particular quality to your drawing, even at this stage, which has at times an illustrational feel to it.

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.”

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

Mark Making and Tone

Making Marks

In this initial work you create some good sample boxes of mark making in various mediums, with notation which shows your thinking about the potential of the marks with future imagery. With regards to drawing with various unconventional mediums, such as biro, you will find that more can be achieved by angling the nib to 45 degrees to the paper surface, which will give a more fragmented, softer and diffuse mark. Additionally, drawing on textured papers, such as watercolour or pastel paper, will yield differing effects and outcomes.

Basic Shapes and Fundamental Forms

Boxes and books – you have applied a clear linear approach to this sketch, which has a slightly illustrational quality to it; by this I mean that the line is a single, if bendy line, rather than analytically straight-as-a-ruler or rigid. Continuing with a couple more examples of the view in the same fashion would build on and test the accuracy of your initial observations, and general hand-eye coordination and decision making about line or mark.

With regards to ‘drawing as if seeing through’ the box or book, you have to imagine that you can see all the verticals and edges as if the box were translucent – made of Perspex or glass. You might try to find such a container or box to draw from(often for a certain chocolate brand), which would then allow you to see all the angles and edges all the way round the box – in the foreground and away from you, and get an idea of what you might see.

Jars and jugs Overall in your observations from these cylindrical forms you achieve a sense of the body shape symmetry and their solidity; however, as a running observation you underplay the lower ellipses, which are drawn too flat in relation to the top rim or ellipse. These will require more time observing and practicing, noting that on any cylindrical object, if the top ellipse has a certain curve, then the lower or base rim / ellipse will echo that, or if the object is tall, then be an even deeper curve. You do however note the spacings between objects quite well, so the ellipses will certainly improve with further study.

Supermarket Shop Fundamentally you seem to apply a linear framework to forms quite well at this stage, and you observe and depict the spatial relationships and comparative sizes of forms with some accuracy. This linear approach has an observed, yet ‘quirky’ quality, with again a more illustrational quality. The labelling has been depicted in a flat manner, ignoring the curving surface of the containers; were you conscious of this as you drew?

Tone and Form

The hatching you have applied here on the larger study is quite rustic or rough; it is not fluid, smooth or with a regular control, as the tonal changes on a cylinder such as a jar would be. The hatching in the tonal studies could be more refined, although the actual drawings here are quite small to really get into a finer hatching technique; using finer drawing materials, such as biro or a fineliner would allow this more. Drawing larger will give you a greater freedom to express these elements of drawing.

Reflected Light

In terms of this being a drawing about one surface reflecting light from another, this does not work yet. Whilst the potential of the blue wash as a base for the charcoal drawing on top makes a good starting point; in this instance, the amount of highlight white is not quite strong enough to work with, and support, the charcoal part of this drawing, and hold its presence against the blue

background. Certainly as an approach to a drawing, this could be tried again; simply ensure that the highlight white – be it pastel stick, conte, white paint applied with a brush, or ink – is strong enough tonally to give the definition required.

Still Life

The thumbnail process has been used well here, with some diverse brief studies from the made forms, capturing the objects succinctly.

In the developed drawing of natural forms, you have applied the hatching with more purpose than in the initial hatching studies; this has a more controlled application of regular shaped marks, and has been placed in a more restricted amount, as on the banana, to accentuate the shapes. Putting the ‘wonkiness’ of the dish to one side, this approach echoes your sketchbook drawing, and the approach in the Supermarket Shop. This does not feel organic or painterly, but has its own delicacy in the simplicity of line.

Using Texture

You have explored some good samples here, yet these could be extended with surfaces of varying contrasts, such as metal to wood, wool to sponge, or wire wool to scrunched up paper. Whereas with frottage, you seem to have more taken by the variety you found and have completed a number of studies; this is building a vocabulary of techniques and effects that you can refer back to and bring into future drawings.

The texture drawing itself does not include any frottage sadly, as you had actually gathered some interesting surfaces to possibly include. There is then a simplicity to this fruit drawing, which could feel a little lacking after the exciting differences you were exploring previously. You pursue the indications of texture by mark making, creating the ‘dotting’ of the orange’s surface and some suggestion of cloth. There is an opportunity here to create a collage insert into a drawing incorporating some frottage, to contrast with the totally hand drawn one, and to push your experience of constructing a drawing in broader terms.

Enlarging an Image

The drawing here, as in the hatching of the larger pot, is a bit too woolly and in-precise; this is where your singular, clear line could be implemented with greater effect. To make a grid transfer work accurately, it is all about plotting precisely the ‘coordinates’ of the shapes, from one grid to the other; being very particular about how the subject matter outline fits to the grid will make all the difference in conveying the original shape well.

Learning Logs or Blogs / Critical essays Context

The content of the writing and your reflections on what you are achieving is a good start, and the use of your own words in the research on other artists, rather than sections of lifted text, really makes this your own dialogue. One part you might consider is the presentation of your writing, in terms of how much hand written to word processed, or in the form of the blog, and , if hand written, then a consistent and clear ‘un-illustrated’ paper. The hand written format could benefit

from some headings, or signposting, to identify different sections of the coursework and break up more lengthy writing, and a plain paper base will allow any images or your own small sketches, chosen to illustrate your self-reflection and analysis, to stand out, not compete with.

Sketchbooks

In your log section titled ‘other drawings’, there is a continuation and assertion of this individual flair, which you show in your sketches; the figures created certainly possess more of an illustrational feel with their anatomically thin arms, yet different observation from reality. The inclusion of text, or adaptation of existing text on the drawing surface is more unusual, so keep trying out ideas like this, and consider how you might use this approach in other work.The still life of pencil pot, lamp and nail varnish pot has some improving hatching used in the background. This is all going along the right lines, so just keep up this practice.

Suggested viewing/reading Context

To explore drawing approaches which are looser and use tonal blocks within the mark making, look at Frank Auerbach. For an energy of numerous lines contouring around the form, you might consider Alberto Giacometti; though a sculptor, his drawing approach still has relevance. Additionally, Henry Moore’s sketchbooks of sheep have wonderfully animated mark making, and his studies from figures include interesting combinations of wax and wash.

I would also encourage you to make good use of the student website and its learning resources, and any highlighted student work on weareoca.com.

Pointers for the next assignment

In your drawing, experiment as often as possible, being adventurous and taking risks. Try out some chunkier mediums, such as conte, pastel sticks, charcoal, oil pastel, marker pen or ink and brush; some of these will make broader marks, which may inevitably push your drawing larger, and which could be developed into tonal blocks too. You have shown you can produce fine line work, so try to take your drawing out of its comfort zone and try something different.

Experiment with different scales of image or drawing, for example drawing something small on a larger size paper, or larger than life size. Try out other coloured paper bases, so your drawings do not start from white, and use found papers, such as brown wrapping paper, old envelopes, magazine paper, to draw on too.

Maximise your use of the sketchbook as an area for rapid and experimental studies, or further general observations from the world around you.

To help support the development of your learning log and study in general, make use of the resources on the student website and check out any examples of highlighted student practice on weareoca.com.

I look forward to seeing your work for the second assignment.

Tutor name:

Heather Jolliffe

Date

11.1.14

Next assignment due

15.3.14

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