24 September 2009
Course work: After a period of study, I added a few little irregularities to suggest coarse sand, strengthened a few weak shadows, and called this first part of the final exercise for Assignment One complete. I then set up my arrangement for the second part (man-made objects). For this, I used a reproduction Mesoamerican clay figure jug, accompanied by a number of small, genuine Maya articles. (NB: the genuine articles were all certified by the Guatemalan inspector of antiquities as having no archeological value: they were collected by me during two seasons as a volunteer working on excavations of Maya sites.) My first study was far too busy: I removed several articles, rearranged those remaining, and did a second study, which is better, but leaves too many articles at the edge of the image. I will try moving them in a bit tomorrow.
Reading:
Claudia Betti & Teel Sale, Drawing, A Contemporary Approach (4th Ed)
Thomson Learning, Inc. (1997)
Chapter 2, Part 2 (pp 63-78)
Betty Edwards, The New Drawing on the Right Side of the Brain
Penguin-Putnam, New York, 1999
Chapter 7 (pp 116-135)
Personal sketchbook work: A pocket sketchbook sketch of an unusual mushroom with convolutions that appeared almost brain-like, seen while walking. An exercise from The New Drawing on the Right Side of the Brain, (done in the companion workbook). A Conte’ drawing of a reproduction of a Mesoamerican bird-effigy pitcher. (Conte’ sanguine is especially well-suited for this, as the color so closely resembles that of the subject: it also gives me more experience with the medium, which I need.)
Total time: almost four hours
Friday, September 25, 2009
23 September 2009
Course work: A fifth session of work on my drawing of natural objects (sea shells) for the final exercise in Assignment 1. Have now essentially finished: will study it for a day or so, looking for things that need further work.
Reading:
E.H. Gombrich, The Story of Art,
Phaidon Press Limited, Oxford 1978
Chapter 9 (pp 125-136)
Personal Sketchbook Work: Some broken eggshells. I found it difficult to capture the relative translucency of the shells with graphite: it might be easier to do with oil paint.
Other Activities: Visits to two galleries in Augusta, Georgia, about 90 minutes away.
One was the faculty show at Augusta State University; the other was a juried show at the Gertrude Herbert Institute of Art. Comments on these visits are found in the Museum and Gallery Visits section of the learning log.
Total time: about two hours (not including gallery visits)
Course work: A fifth session of work on my drawing of natural objects (sea shells) for the final exercise in Assignment 1. Have now essentially finished: will study it for a day or so, looking for things that need further work.
Reading:
E.H. Gombrich, The Story of Art,
Phaidon Press Limited, Oxford 1978
Chapter 9 (pp 125-136)
Personal Sketchbook Work: Some broken eggshells. I found it difficult to capture the relative translucency of the shells with graphite: it might be easier to do with oil paint.
Other Activities: Visits to two galleries in Augusta, Georgia, about 90 minutes away.
One was the faculty show at Augusta State University; the other was a juried show at the Gertrude Herbert Institute of Art. Comments on these visits are found in the Museum and Gallery Visits section of the learning log.
Total time: about two hours (not including gallery visits)
22 September 2009
Course work: A fourth session of work on my drawing of natural objects (sea shells) for the final exercise in Assignment 1. Worked on two smaller shells, and did some further work on the background.
Reading:
Keith Micklewright, Drawing
Harry N. Abrams, Inc. New York (2005)
Chapters 8-10 (pp 90-108)
Other Activities: My painting group met this afternoon. I started work on a beach scene from a photo that I took in Alaska, but got little further than blocking it in.
Personal Sketchbook Work: A box tortoise shell, found while walking.
Total time: A bit over two hours
Course work: A fourth session of work on my drawing of natural objects (sea shells) for the final exercise in Assignment 1. Worked on two smaller shells, and did some further work on the background.
Reading:
Keith Micklewright, Drawing
Harry N. Abrams, Inc. New York (2005)
Chapters 8-10 (pp 90-108)
Other Activities: My painting group met this afternoon. I started work on a beach scene from a photo that I took in Alaska, but got little further than blocking it in.
Personal Sketchbook Work: A box tortoise shell, found while walking.
Total time: A bit over two hours
21 Sept 2009
Course work: A third session of work on my drawing of natural objects (sea shells) for the final exercise in Assignment 1. Accomplished the majority of the work on the most difficult-to-draw object, and did some further work on the background.
Reading:
Claudia Betti & Teel Sale, Drawing, A Contemporary Approach (4th Ed)
Thomson Learning, Inc. (1997)
Chapter 2 (Pp 31-62)
Personal Sketchbook Work: A drawing of one of the shells rejected for inclusion in my larger drawing.
Total time: About 2 ½ hours
Course work: A third session of work on my drawing of natural objects (sea shells) for the final exercise in Assignment 1. Accomplished the majority of the work on the most difficult-to-draw object, and did some further work on the background.
Reading:
Claudia Betti & Teel Sale, Drawing, A Contemporary Approach (4th Ed)
Thomson Learning, Inc. (1997)
Chapter 2 (Pp 31-62)
Personal Sketchbook Work: A drawing of one of the shells rejected for inclusion in my larger drawing.
Total time: About 2 ½ hours
19 September 2009
Course work: Transferred my selected study of natural objects (sea shells) from A4-size to A2-size paper. After drawing boldly-inked grids on separate sheets of paper, I was able to place these grids behind my working sheets, taped to a window, and easily enlarge my study without drawing lines on it or on my final-drawing sheet. I made some minor changes in object position prior to beginning to draw. The process is slow with graphite pencil: had I quit at the suggested two hours, I would have been less than one-eighth finished.
Reading:
Ian Simpson, The Complete Drawing Course
Running Press, Philadelphia, PA 1993
Lesson 8 (pp 76-79)
Personal Sketchbook Work: A partial drawing of a replica of a Mesoamerican clay figure, done in Conte’ crayon. I think that larger paper would have helped my rendering, as would more experience with Conte’ crayon.
Total time: about 5 hours
20 September 2009
Course work: Another good session of work on my drawing of natural objects (sea shells) for the final exercise in Assignment 1.
Reading:
Claudia Betti & Teel Sale, Drawing, A Contemporary Approach (4th Ed)
Thomson Learning, Inc. (1997)
Chapter 1 (Pp3-30)
Personal Sketchbook Work: A sketch of a distant tree line partially concealed by mist, and a sketch of my wife’s armchair, both done in pencil.
Weekly thoughts on learning experience: This has been a busy week. It is clear that either the time for the final exercise was significantly underestimated by the course preparers, or that I am approaching it incorrectly. With several more hours of hatching experience this week, I feel a good bit more confident about it. My sketchbook work has gone well on the whole, though my pocket sketchbook has been neglected…several days of rain has kept me from my usual wandering about.
Total time: over four hours
Course work: Transferred my selected study of natural objects (sea shells) from A4-size to A2-size paper. After drawing boldly-inked grids on separate sheets of paper, I was able to place these grids behind my working sheets, taped to a window, and easily enlarge my study without drawing lines on it or on my final-drawing sheet. I made some minor changes in object position prior to beginning to draw. The process is slow with graphite pencil: had I quit at the suggested two hours, I would have been less than one-eighth finished.
Reading:
Ian Simpson, The Complete Drawing Course
Running Press, Philadelphia, PA 1993
Lesson 8 (pp 76-79)
Personal Sketchbook Work: A partial drawing of a replica of a Mesoamerican clay figure, done in Conte’ crayon. I think that larger paper would have helped my rendering, as would more experience with Conte’ crayon.
Total time: about 5 hours
20 September 2009
Course work: Another good session of work on my drawing of natural objects (sea shells) for the final exercise in Assignment 1.
Reading:
Claudia Betti & Teel Sale, Drawing, A Contemporary Approach (4th Ed)
Thomson Learning, Inc. (1997)
Chapter 1 (Pp3-30)
Personal Sketchbook Work: A sketch of a distant tree line partially concealed by mist, and a sketch of my wife’s armchair, both done in pencil.
Weekly thoughts on learning experience: This has been a busy week. It is clear that either the time for the final exercise was significantly underestimated by the course preparers, or that I am approaching it incorrectly. With several more hours of hatching experience this week, I feel a good bit more confident about it. My sketchbook work has gone well on the whole, though my pocket sketchbook has been neglected…several days of rain has kept me from my usual wandering about.
Total time: over four hours
17 September 2009
Course work: Started on the Assignment One final exercises today, having already devoted a good bit of time in selecting subjects. For the natural forms drawing I chose a selection of sea shells that I have picked up on the beach over the years, placing them in a shallow tray of sand. I found that I could not do even the roughest of tonal studies in the 15-20 minutes suggested: one each done in graphite, Conte’ crayon, and charcoal required almost three hours.
Reading:
Betty Edwards, The New Drawing on the Right Side of the Brain
Penguin-Putnam, New York, 1999
Chapter 6 (pp 88-113)
E.H. Gombrich, The Story of Art,
Phaidon Press Limited, Oxford 1978
Chapter 8 (pp 113-124)
Personal Sketchbook Work: Two exercises from The New Drawing on the Right Side of the Brain, (done in the companion workbook). A drawing of a hand, inspired by the previous exercises.
Total time: A bit over four hours
18 September 2009
Course work: After a careful re-examination of my first three studies, I decided that they were all weak. I tightened up the arrangement of my objects, removed two that I thought contributed less than they should, and changed the angle and intensity of the lighting. The resulting fourth study was, I thought, better than the first three, and it will serve as the basis for my drawing of natural objects. I also did several sketches of one of the more difficult-to-draw shells, in order to fix its appearance more firmly in my mind.
Personal sketchbook work: A sketch of a bark-beater, a tool used by the Maya to make paper. A drapery study.
Total time: about 2 ½ hours
Course work: Started on the Assignment One final exercises today, having already devoted a good bit of time in selecting subjects. For the natural forms drawing I chose a selection of sea shells that I have picked up on the beach over the years, placing them in a shallow tray of sand. I found that I could not do even the roughest of tonal studies in the 15-20 minutes suggested: one each done in graphite, Conte’ crayon, and charcoal required almost three hours.
Reading:
Betty Edwards, The New Drawing on the Right Side of the Brain
Penguin-Putnam, New York, 1999
Chapter 6 (pp 88-113)
E.H. Gombrich, The Story of Art,
Phaidon Press Limited, Oxford 1978
Chapter 8 (pp 113-124)
Personal Sketchbook Work: Two exercises from The New Drawing on the Right Side of the Brain, (done in the companion workbook). A drawing of a hand, inspired by the previous exercises.
Total time: A bit over four hours
18 September 2009
Course work: After a careful re-examination of my first three studies, I decided that they were all weak. I tightened up the arrangement of my objects, removed two that I thought contributed less than they should, and changed the angle and intensity of the lighting. The resulting fourth study was, I thought, better than the first three, and it will serve as the basis for my drawing of natural objects. I also did several sketches of one of the more difficult-to-draw shells, in order to fix its appearance more firmly in my mind.
Personal sketchbook work: A sketch of a bark-beater, a tool used by the Maya to make paper. A drapery study.
Total time: about 2 ½ hours
Friday, September 18, 2009
16 September 2009
Course work: Did the exercise titled: Enlarging an Existing Drawing, page 31.
Summary Observations on Enlarging Images (Check and Log): This is a procedure that I have done many times, so it was (for me) the easiest exercise to date. I am satisfied that my enlarged images are reasonably true to the smaller original ones.
Reading:
Ian Simpson, The Complete Drawing Course
Running Press, Philadelphia, PA 1993
Information Feature (pp 64-69), Lesson 8 (pp 70-75)
Personal sketchbook work: Drew a heavily-patterned hawk feather I found on the trail.
Other Activities: A visit to the Aiken County Art Center, Aiken, South Carolina, about a two-hour drive away. This is described in the Museum and Gallery Visits section of the learning log.
Total time: about 1 ½ hours
Course work: Did the exercise titled: Enlarging an Existing Drawing, page 31.
Summary Observations on Enlarging Images (Check and Log): This is a procedure that I have done many times, so it was (for me) the easiest exercise to date. I am satisfied that my enlarged images are reasonably true to the smaller original ones.
Reading:
Ian Simpson, The Complete Drawing Course
Running Press, Philadelphia, PA 1993
Information Feature (pp 64-69), Lesson 8 (pp 70-75)
Personal sketchbook work: Drew a heavily-patterned hawk feather I found on the trail.
Other Activities: A visit to the Aiken County Art Center, Aiken, South Carolina, about a two-hour drive away. This is described in the Museum and Gallery Visits section of the learning log.
Total time: about 1 ½ hours
15 September 2009
Course work: Did the exercise titled: Enlarging an Existing Drawing, page 30.
Reading:
Anne Classen Knutson, Andrew Wyeth: Memory and Magic
Rizzoli International Publications, New York 2005
Pp 107-119
[Comments regarding this book: A catalog of an exhibition by the High Museum of Art (Atlanta, Georgia, USA) and the Philadelphia Museum of Art, this book is especially notable for its large number of high-quality, full-page color plates. Most of the smaller figures in the text are also in color. The included essays are of interest, especially the one by Kathleen Foster, Meaning and Medium in Wyeth’s Art: Revisiting Groundhog Day, which deals with the artist’s thought processes and the multiple studies that he made while planning and executing a single painting. I now have a deeper insight into, and a greater appreciation of, the works of this artist, who died earlier this year.]
Other Activities: My painting group met this afternoon. My project for the day was a painting-knife sketch of the face of a glacier I recently saw in Alaska. Although the painting knife is an unfamiliar tool to me, I enjoyed the experiment, and the resulting sketch does look hard and cold.
Personal sketchbook work: Two views of a bunch of bananas in my A4 sketchbook.
Total time: About 1 ½ hours (not including painting group)
Course work: Did the exercise titled: Enlarging an Existing Drawing, page 30.
Reading:
Anne Classen Knutson, Andrew Wyeth: Memory and Magic
Rizzoli International Publications, New York 2005
Pp 107-119
[Comments regarding this book: A catalog of an exhibition by the High Museum of Art (Atlanta, Georgia, USA) and the Philadelphia Museum of Art, this book is especially notable for its large number of high-quality, full-page color plates. Most of the smaller figures in the text are also in color. The included essays are of interest, especially the one by Kathleen Foster, Meaning and Medium in Wyeth’s Art: Revisiting Groundhog Day, which deals with the artist’s thought processes and the multiple studies that he made while planning and executing a single painting. I now have a deeper insight into, and a greater appreciation of, the works of this artist, who died earlier this year.]
Other Activities: My painting group met this afternoon. My project for the day was a painting-knife sketch of the face of a glacier I recently saw in Alaska. Although the painting knife is an unfamiliar tool to me, I enjoyed the experiment, and the resulting sketch does look hard and cold.
Personal sketchbook work: Two views of a bunch of bananas in my A4 sketchbook.
Total time: About 1 ½ hours (not including painting group)
14 September 2009
Course work: Continued work on Assignment 1, Section 6, Using Texture. Selected five items with prominent textures for my texture drawing: a piece of corrugated cardboard, a bathmat, a piece of a weatherworn, decaying wood, a quartzite rock with prominent veining, and a large fossil oyster shell. After doing several thumbnail studies, I selected one, and started the drawing with pencil on A3 paper. The textures were, in general, not too hard to produce, but were much more time-consuming than I had expected (especially the corrugated cardboard). I am reasonably satisfied with the final result.
Summary Observations on Using Texture (Check and Log): I didn’t think that the illustrations on p 28 of the text suggested any sort of texture to me (they looked like refugees from the “Making Marks exercise): it is distinctly possible that I am missing the point. Texture to me is a visual representation of the way the surface would look if I could touch it, accompanied by those additional elements that make it clear to the eye what one is seeing, and I think that I have at least in part succeeded in doing this. My preliminary sketchbook work was helpful (two of the textures that I developed in the sketchbook were used in the drawing, with some further development). I am satisfied that the techniques I used do in fact suggest the surface texture of the items in the drawing. A “happy accident” led to the use of the pencil in an improved way to describe the bath-mat that was included in the drawing. I found it necessary to use a moderate amount of tonal hatching, as the use of surface textures alone failed to suggest the third dimension.
Reading:
Keith Micklewright, Drawing
Harry N. Abrams, Inc. New York (2005)
Chapter 7 (pp 74-87)
Anne Classen Knutson, Andrew Wyeth: Memory and Magic
Rizzoli International Publications, New York 2005
Pp 85-102
Personal sketchbook work: A full-page sketch of a large white pitcher, heavily shadowed, in my A4 sketchbook.
Total time: a bit over six hours.
Course work: Continued work on Assignment 1, Section 6, Using Texture. Selected five items with prominent textures for my texture drawing: a piece of corrugated cardboard, a bathmat, a piece of a weatherworn, decaying wood, a quartzite rock with prominent veining, and a large fossil oyster shell. After doing several thumbnail studies, I selected one, and started the drawing with pencil on A3 paper. The textures were, in general, not too hard to produce, but were much more time-consuming than I had expected (especially the corrugated cardboard). I am reasonably satisfied with the final result.
Summary Observations on Using Texture (Check and Log): I didn’t think that the illustrations on p 28 of the text suggested any sort of texture to me (they looked like refugees from the “Making Marks exercise): it is distinctly possible that I am missing the point. Texture to me is a visual representation of the way the surface would look if I could touch it, accompanied by those additional elements that make it clear to the eye what one is seeing, and I think that I have at least in part succeeded in doing this. My preliminary sketchbook work was helpful (two of the textures that I developed in the sketchbook were used in the drawing, with some further development). I am satisfied that the techniques I used do in fact suggest the surface texture of the items in the drawing. A “happy accident” led to the use of the pencil in an improved way to describe the bath-mat that was included in the drawing. I found it necessary to use a moderate amount of tonal hatching, as the use of surface textures alone failed to suggest the third dimension.
Reading:
Keith Micklewright, Drawing
Harry N. Abrams, Inc. New York (2005)
Chapter 7 (pp 74-87)
Anne Classen Knutson, Andrew Wyeth: Memory and Magic
Rizzoli International Publications, New York 2005
Pp 85-102
Personal sketchbook work: A full-page sketch of a large white pitcher, heavily shadowed, in my A4 sketchbook.
Total time: a bit over six hours.
13 September 2009
Course work: Continued work on Assignment 1, Section 6, Using Texture. Completed six additional 5x5 cm squares with pencil marks and dip pen representing various surface textures, then did twelve more squares with various experiments (25 in all) utilizing different media and some solvents to look for ways to produce interesting textures.
Reading:
Anne Classen Knutson, Andrew Wyeth: Memory and Magic
Rizzoli International Publications, New York 2005
Pp 45-79
(No author listed: Translated by Natalia Tizon), Art of Sketching
Sterling Publishing Co., Inc., New York, 2007
Pp 11-157
[Comments regarding this book: There is a good bit of useful information on sketching a wide variety of subjects with a large assortment of media. In my opinion, the book suffers from disorganization: related topics are scattered widely, and there is not a logical progression from simple to more complex topics. Nevertheless, it is a useful book to have available, as paging quickly through it is likely to provide some unthought-about idea, approach, or technique.]
Personal sketchbook work: A drawing of a telephone, with emphasis on the tangled cord, and a challenging drapery study, set up by dropping a towel on the floor. (Drapery studies are always worth doing, since drapes and folds are so common in still-life setups and in clothing.)
Weekly thoughts on learning experience: I have now been working on the course for 25 days, and have done at least some work every day, totaling about 60 hours to date. At present, I am still on schedule with my planned pace through the course. A review of my earlier work in the course, and of some pre-course sketchbooks and drawings, suggests that my work is improving. My sketchbook work has been somewhat better this week, with only one day on which I did none, although my sketches often seem somewhat more formal and organized than what I envision as “ideal” sketches. My hatching is somewhat better, with more even application.
Total time: about 4 hours
Course work: Continued work on Assignment 1, Section 6, Using Texture. Completed six additional 5x5 cm squares with pencil marks and dip pen representing various surface textures, then did twelve more squares with various experiments (25 in all) utilizing different media and some solvents to look for ways to produce interesting textures.
Reading:
Anne Classen Knutson, Andrew Wyeth: Memory and Magic
Rizzoli International Publications, New York 2005
Pp 45-79
(No author listed: Translated by Natalia Tizon), Art of Sketching
Sterling Publishing Co., Inc., New York, 2007
Pp 11-157
[Comments regarding this book: There is a good bit of useful information on sketching a wide variety of subjects with a large assortment of media. In my opinion, the book suffers from disorganization: related topics are scattered widely, and there is not a logical progression from simple to more complex topics. Nevertheless, it is a useful book to have available, as paging quickly through it is likely to provide some unthought-about idea, approach, or technique.]
Personal sketchbook work: A drawing of a telephone, with emphasis on the tangled cord, and a challenging drapery study, set up by dropping a towel on the floor. (Drapery studies are always worth doing, since drapes and folds are so common in still-life setups and in clothing.)
Weekly thoughts on learning experience: I have now been working on the course for 25 days, and have done at least some work every day, totaling about 60 hours to date. At present, I am still on schedule with my planned pace through the course. A review of my earlier work in the course, and of some pre-course sketchbooks and drawings, suggests that my work is improving. My sketchbook work has been somewhat better this week, with only one day on which I did none, although my sketches often seem somewhat more formal and organized than what I envision as “ideal” sketches. My hatching is somewhat better, with more even application.
Total time: about 4 hours
Sunday, September 13, 2009
12 September 2009
Course work: Started work on Assignment 1, Section 6, Using Texture. Completed six 5x5 cm squares with pencil marks representing various surface textures.
Reading:
Sarah Simblet, The Drawing Book
Dorling Kindersley, London 2005
Gatherings (pp 176-195)
Anne Classen Knutson, Andrew Wyeth: Memory and Magic
Rizzoli International Publications, New York 2005
Pp 15-40
Other Activities: A visit to the Greenville County Art Museum in Greenville, South Carolina, about a two-hour drive away, described in the Museum and Gallery Visits section of the learning log.
Personal sketchbook work: A sketch of a stylized wood carving of a cat.
Total time: About two hours (plus museum trip)
Course work: Started work on Assignment 1, Section 6, Using Texture. Completed six 5x5 cm squares with pencil marks representing various surface textures.
Reading:
Sarah Simblet, The Drawing Book
Dorling Kindersley, London 2005
Gatherings (pp 176-195)
Anne Classen Knutson, Andrew Wyeth: Memory and Magic
Rizzoli International Publications, New York 2005
Pp 15-40
Other Activities: A visit to the Greenville County Art Museum in Greenville, South Carolina, about a two-hour drive away, described in the Museum and Gallery Visits section of the learning log.
Personal sketchbook work: A sketch of a stylized wood carving of a cat.
Total time: About two hours (plus museum trip)
11 September 2009
Course work: Completed work on Assignment 1, Section 5 (Still Life), p 24, with a bit of touching up here and there, and application of a few highlights. (Then I sliced up my subjects and cooked squash and onions for supper.) Completed the negative space and perspective exercises on pp 26-27. The selected objects were a pear, a can of solvent, a large flashlight, and a cup. The first drawing was done using one color for the upper line, a second for the lower, and a third for the lines that completed the general outline of the objects. The second part of the exercise was done with ball-point pen in the course sketchbook: trying to draw the negative shapes while keeping the pen on the paper proved much more difficult than the first part of the exercise. Several tries were required in order to get an even remotely satisfactory result, and I think that this is something on which I need to do some additional work.
Summary Observations on Still Life (Check and Log): This section took longer than I had anticipated, in part because I got overenthusiastic and made my first set of thumbnail drawings far too large, and in part because of a poor paper choice for the final drawing, which required my starting over again. I did not find a great difference between natural and artificial objects as far as difficulty in suggesting three dimensions: either can have simple or complex shapes. (Natural objects may be a bit more forgiving in the depiction of contour.) I think I was able to create a reasonable suggestion of solidity in my work in this section. Creating multiple thumbnail drawings was very helpful in ultimately choosing a final composition: these thumbnails made it possible for me to assess how direct light, reflected light, and shadow would affect the balance, depth, and overall pattern of the final piece.
Reading:
E.H. Gombrich, The Story of Art,
Phaidon Press Limited, Oxford 1978
Chapters 6-7 (pp 94-112)
(No author listed: Translated by Natalia Tizon), Art of Sketching
Sterling Publishing Co., Inc., New York, 2007
Pp 62-110
Personal sketchbook work: A sketch of a loblolly pine cone, and a drapery sketch.
Total time: about two hours
Course work: Completed work on Assignment 1, Section 5 (Still Life), p 24, with a bit of touching up here and there, and application of a few highlights. (Then I sliced up my subjects and cooked squash and onions for supper.) Completed the negative space and perspective exercises on pp 26-27. The selected objects were a pear, a can of solvent, a large flashlight, and a cup. The first drawing was done using one color for the upper line, a second for the lower, and a third for the lines that completed the general outline of the objects. The second part of the exercise was done with ball-point pen in the course sketchbook: trying to draw the negative shapes while keeping the pen on the paper proved much more difficult than the first part of the exercise. Several tries were required in order to get an even remotely satisfactory result, and I think that this is something on which I need to do some additional work.
Summary Observations on Still Life (Check and Log): This section took longer than I had anticipated, in part because I got overenthusiastic and made my first set of thumbnail drawings far too large, and in part because of a poor paper choice for the final drawing, which required my starting over again. I did not find a great difference between natural and artificial objects as far as difficulty in suggesting three dimensions: either can have simple or complex shapes. (Natural objects may be a bit more forgiving in the depiction of contour.) I think I was able to create a reasonable suggestion of solidity in my work in this section. Creating multiple thumbnail drawings was very helpful in ultimately choosing a final composition: these thumbnails made it possible for me to assess how direct light, reflected light, and shadow would affect the balance, depth, and overall pattern of the final piece.
Reading:
E.H. Gombrich, The Story of Art,
Phaidon Press Limited, Oxford 1978
Chapters 6-7 (pp 94-112)
(No author listed: Translated by Natalia Tizon), Art of Sketching
Sterling Publishing Co., Inc., New York, 2007
Pp 62-110
Personal sketchbook work: A sketch of a loblolly pine cone, and a drapery sketch.
Total time: about two hours
10 September 2009
Course work: Continued work on Assignment 1, Section 5 (Still Life), p 24. Rubbed a light dusting of charcoal on the representation of the table top to visually separate it from the plate.
Reading:
Ian Simpson, The Complete Drawing Course
Running Press, Philadelphia, PA 1993
Lesson 7 (pp 56-61)
Personal sketchbook work: In my pocket sketchbook, sketched three hickory nuts in different stages of maturity found on the trail, then tinted them with watercolor later.
Total time: A bit over one hour.
Course work: Continued work on Assignment 1, Section 5 (Still Life), p 24. Rubbed a light dusting of charcoal on the representation of the table top to visually separate it from the plate.
Reading:
Ian Simpson, The Complete Drawing Course
Running Press, Philadelphia, PA 1993
Lesson 7 (pp 56-61)
Personal sketchbook work: In my pocket sketchbook, sketched three hickory nuts in different stages of maturity found on the trail, then tinted them with watercolor later.
Total time: A bit over one hour.
9 September 2009
Course Work: Continued work on Assignment 1, Section 5 (Still Life), p 24. Charcoal adhesion is much better on this paper.
Reading:
Keith Micklewright, Drawing
Harry N. Abrams, Inc. New York (2005)
Chapters 5-6 (pp 58-72)
Betty Edwards, The New Drawing on the Right Side of the Brain
Penguin-Putnam, New York, 1999
Chapters 5 (pp 68-85)
Personal Sketchbook Work: Several attempts at the cats, none successful: at the least skritching sound of a pencil or pen, they go from deep sleep to motion. A pencil sketch of a spoon in a glass of water, demonstration refraction. Three exercises from The New Drawing on the Right Side of the Brain, (in the companion workbook).
Total time: about three hours
Course Work: Continued work on Assignment 1, Section 5 (Still Life), p 24. Charcoal adhesion is much better on this paper.
Reading:
Keith Micklewright, Drawing
Harry N. Abrams, Inc. New York (2005)
Chapters 5-6 (pp 58-72)
Betty Edwards, The New Drawing on the Right Side of the Brain
Penguin-Putnam, New York, 1999
Chapters 5 (pp 68-85)
Personal Sketchbook Work: Several attempts at the cats, none successful: at the least skritching sound of a pencil or pen, they go from deep sleep to motion. A pencil sketch of a spoon in a glass of water, demonstration refraction. Three exercises from The New Drawing on the Right Side of the Brain, (in the companion workbook).
Total time: about three hours
Thursday, September 10, 2009
8 September 2009
Course Work: Continued work on Assignment 1, Section 5 (Still Life), p 24. Decided that the drawing I was working on was not progressing well because of a bad match between the paper surface and the medium. Located some charcoal paper, trimmed it to A3 size, and started again, though I got little done other than drawing in the ellipse for the plate.
Reading:
Howard Etter and Margaret Malmstrom, Perspective for Painters
Watson-Guptill Publications, New York, 1990
The Circle in Perspective, pp 92-93
Phil Metzger, Perspective Without Pain
North Light Books, Cincinnati, Ohio, USA, 1992
Circles and Ellipses, pp 84-88
Other activity: My painting group met today; I completed the painting exercise I started last week.
Personal sketchbook work: None today
Total time: about an hour
Course Work: Continued work on Assignment 1, Section 5 (Still Life), p 24. Decided that the drawing I was working on was not progressing well because of a bad match between the paper surface and the medium. Located some charcoal paper, trimmed it to A3 size, and started again, though I got little done other than drawing in the ellipse for the plate.
Reading:
Howard Etter and Margaret Malmstrom, Perspective for Painters
Watson-Guptill Publications, New York, 1990
The Circle in Perspective, pp 92-93
Phil Metzger, Perspective Without Pain
North Light Books, Cincinnati, Ohio, USA, 1992
Circles and Ellipses, pp 84-88
Other activity: My painting group met today; I completed the painting exercise I started last week.
Personal sketchbook work: None today
Total time: about an hour
8 September 2009
Course Work: Continued work on Assignment 1, Section 5 (Still Life), p 24. Decided that the drawing I was working on was not progressing well because of a mad match between the paper surface and the medium. Located some charcoal paper, trimmed it to A3 size, and started again, though I got little done other than drawing in the ellipse for the plate.
Reading:
Howard Etter and Margaret Malmstrom, Perspective for Painters
Watson-Guptill Publications, New York, 1990
The Circle in Perspective, pp 92-93
Phil Metzger, Perspective Without Pain
North Light Books, Cincinnati, Ohio, USA, 1992
Circles and Ellipses, pp 84-88
Other activity: My painting group met today; I completed the painting exercise I started last week.
Personal sketchbook work: None today
Total time: about an hour
Course Work: Continued work on Assignment 1, Section 5 (Still Life), p 24. Decided that the drawing I was working on was not progressing well because of a mad match between the paper surface and the medium. Located some charcoal paper, trimmed it to A3 size, and started again, though I got little done other than drawing in the ellipse for the plate.
Reading:
Howard Etter and Margaret Malmstrom, Perspective for Painters
Watson-Guptill Publications, New York, 1990
The Circle in Perspective, pp 92-93
Phil Metzger, Perspective Without Pain
North Light Books, Cincinnati, Ohio, USA, 1992
Circles and Ellipses, pp 84-88
Other activity: My painting group met today; I completed the painting exercise I started last week.
Personal sketchbook work: None today
Total time: about an hour
7 September 2009
Course work: Worked on Assignment 1, Section 5 (Still Life), p 24. Did four thumbnail sketches of two squash and an onion on a plate, switching to pencil for these in the interest of variety and expediency. Selected one of these, and started a charcoal drawing on A3 paper. Think I need to find some paper with more “tooth” as the charcoal adheres poorly to this and uniform darks are difficult to produce.
Reading:
(No author listed: Translated by Natalia Tizon), Art of Sketching
Sterling Publishing Co., Inc., New York, 2007
Pp 6-60
Personal sketchbook work: A sketch of the dock from across the pond, done in my pocket sketchbook. (Worth trying again late in the afternoon, when light pattern should be a bit more favorable.) A hasty sketch of part of my remarkably untidy desktop in my A4 sketchbook.
Total time: about 2 1/2 hours
Course work: Worked on Assignment 1, Section 5 (Still Life), p 24. Did four thumbnail sketches of two squash and an onion on a plate, switching to pencil for these in the interest of variety and expediency. Selected one of these, and started a charcoal drawing on A3 paper. Think I need to find some paper with more “tooth” as the charcoal adheres poorly to this and uniform darks are difficult to produce.
Reading:
(No author listed: Translated by Natalia Tizon), Art of Sketching
Sterling Publishing Co., Inc., New York, 2007
Pp 6-60
Personal sketchbook work: A sketch of the dock from across the pond, done in my pocket sketchbook. (Worth trying again late in the afternoon, when light pattern should be a bit more favorable.) A hasty sketch of part of my remarkably untidy desktop in my A4 sketchbook.
Total time: about 2 1/2 hours
6 September 2009
Course work: Continued work on Assignment 1, Section 5 (Still Life), p23. Having decided that yesterday’s effort was far too large to qualify as “thumbnail” sketches, I selected some new objects (an assortment of wrench sockets). These had the additional merit of giving me additional work on reflective objects. Did four small sketches in ballpoint pen, and, I think, improved my hatching somewhat.
Personal sketchbook work: A pencil sketch of a cow vertebra, a fairly complex subject only partially realized.
Weekly thoughts on learning experience: Got a good bit of experience with hatching this week, but I can tell that I have a great deal more to do before I even approach competency. The A3-size charcoal drawing of reflections on two shiny objects was a useful exercise not only about reflections, but about charcoal handling. I am still not doing personal sketchbook work to the degree that I should be: despite the advice to “Draw or paint anything you see” I persist in seeking “interesting” subjects. Will try to work on this shortcoming.
Total time: about two hours
Course work: Continued work on Assignment 1, Section 5 (Still Life), p23. Having decided that yesterday’s effort was far too large to qualify as “thumbnail” sketches, I selected some new objects (an assortment of wrench sockets). These had the additional merit of giving me additional work on reflective objects. Did four small sketches in ballpoint pen, and, I think, improved my hatching somewhat.
Personal sketchbook work: A pencil sketch of a cow vertebra, a fairly complex subject only partially realized.
Weekly thoughts on learning experience: Got a good bit of experience with hatching this week, but I can tell that I have a great deal more to do before I even approach competency. The A3-size charcoal drawing of reflections on two shiny objects was a useful exercise not only about reflections, but about charcoal handling. I am still not doing personal sketchbook work to the degree that I should be: despite the advice to “Draw or paint anything you see” I persist in seeking “interesting” subjects. Will try to work on this shortcoming.
Total time: about two hours
5 September 2009
Course work: Started work on Assignment 1, Section 5 (Still Life), p23. Selected a kitchen knife, a potato peeler, a paper knife, a box-cutter, and a pen knife. Sketched two arrangements, using ballpoint pen: the latter chosen in part to keep me from erasing and redrawing, as I tend to do, in part to provide more hatching practice, and in part to use a drawing tool I don’t particularly like.
Reading:
E.H. Gombrich, The Story of Art,
Phaidon Press Limited, Oxford 1978
Chapters 4-5 (pp 65-93)
Keith Micklewright, Drawing
Harry N. Abrams, Inc. New York (2005)
Chapter 4 (pp 42-56)
DeMartin, Jon, Value Basics (pp38-43)
in American Artist Drawing, Volume 6, Issue 21,Summer 2009
Interweave Press, Loveland, Colorado, USA
(A pretty clear introduction to tone, with a clever demonstration using a bent piece of cardstock.)
Personal sketchbook work: Four views of a pear, in pencil.
Total time: about 2 ½ hours
Course work: Started work on Assignment 1, Section 5 (Still Life), p23. Selected a kitchen knife, a potato peeler, a paper knife, a box-cutter, and a pen knife. Sketched two arrangements, using ballpoint pen: the latter chosen in part to keep me from erasing and redrawing, as I tend to do, in part to provide more hatching practice, and in part to use a drawing tool I don’t particularly like.
Reading:
E.H. Gombrich, The Story of Art,
Phaidon Press Limited, Oxford 1978
Chapters 4-5 (pp 65-93)
Keith Micklewright, Drawing
Harry N. Abrams, Inc. New York (2005)
Chapter 4 (pp 42-56)
DeMartin, Jon, Value Basics (pp38-43)
in American Artist Drawing, Volume 6, Issue 21,Summer 2009
Interweave Press, Loveland, Colorado, USA
(A pretty clear introduction to tone, with a clever demonstration using a bent piece of cardstock.)
Personal sketchbook work: Four views of a pear, in pencil.
Total time: about 2 ½ hours
4 September 2009
Course work: Completed work on Assignment 1, Section 4, p 20. Application of workable fixative gave paper enough “tooth” to hold more charcoal in the darker areas, and I was able to complete the darker reflections and shadows, as well as the black pot-handle and knobs.
Summary Observations on Reflected Light (Check and Log): the shadow pattern cast by the primary light source is relatively easy to see, but the reflected shadow is often confusing. Reflections of objects distant from the setup (including my own) have added to the many shadows and reflections already present. I think that I managed to capture most of the contour-following nature of the reflections. Trying to get not only the reflections, but the reflections of the reflections, has proved challenging. Doing this exercise in monochrome media has made me realize how difficult it would be to do in color.
Personal sketchbook work: Did a sketch in my pocket sketchbook of a nice, symmetrical young cedar tree I saw while out on my morning walk. Spent some largely-wasted time trying to sketch horses in my A4 sketchbook, but was defeated by almost-constant motion.
Total time: about 1 ½ hours
Course work: Completed work on Assignment 1, Section 4, p 20. Application of workable fixative gave paper enough “tooth” to hold more charcoal in the darker areas, and I was able to complete the darker reflections and shadows, as well as the black pot-handle and knobs.
Summary Observations on Reflected Light (Check and Log): the shadow pattern cast by the primary light source is relatively easy to see, but the reflected shadow is often confusing. Reflections of objects distant from the setup (including my own) have added to the many shadows and reflections already present. I think that I managed to capture most of the contour-following nature of the reflections. Trying to get not only the reflections, but the reflections of the reflections, has proved challenging. Doing this exercise in monochrome media has made me realize how difficult it would be to do in color.
Personal sketchbook work: Did a sketch in my pocket sketchbook of a nice, symmetrical young cedar tree I saw while out on my morning walk. Spent some largely-wasted time trying to sketch horses in my A4 sketchbook, but was defeated by almost-constant motion.
Total time: about 1 ½ hours
Saturday, September 5, 2009
3 September 2009
Course work: Continued work on Assignment 1, Section 4, p 20. May have to use some workable fixative to get black enough blacks: charcoal is not adhering well to underlying layers.
Reading:
The Complete Drawing Course, Ian Simpson
Running Press, Philadelphia, PA 1993
Lesson 5 (pp 44-49) (Stimulated by this lesson, I got out the oil pastels and did a few little sketches on scrap paper, trying to get a “feel” for this medium, which is new to me.)
Personal sketchbook work: Did a charcoal study of some drapery, and a pencil sketch of my work hat, in my A4 sketchbook.
Total time: about three hours
Course work: Continued work on Assignment 1, Section 4, p 20. May have to use some workable fixative to get black enough blacks: charcoal is not adhering well to underlying layers.
Reading:
The Complete Drawing Course, Ian Simpson
Running Press, Philadelphia, PA 1993
Lesson 5 (pp 44-49) (Stimulated by this lesson, I got out the oil pastels and did a few little sketches on scrap paper, trying to get a “feel” for this medium, which is new to me.)
Personal sketchbook work: Did a charcoal study of some drapery, and a pencil sketch of my work hat, in my A4 sketchbook.
Total time: about three hours
2 September 2009
Course work: Assignment 1, Section 4, p 20. Started the charcoal drawing of two shiny objects on A3 paper.
Reading:
The New Drawing on the Right Side of the Brain Betty Edwards
Penguin-Putnam, New York, 1999
Chapters 3-4 (pp28-65)
Personal sketchbook work: Did two exercises from The New Drawing on the Right Side of the Brain, (in the companion workbook). Drew a full page of ellipses in my sketchbook: few turned out elliptical. Need to draw many more. Drew a raccoon skull; a good exercise, as careful shading was required.
Total time: Over three hours
Course work: Assignment 1, Section 4, p 20. Started the charcoal drawing of two shiny objects on A3 paper.
Reading:
The New Drawing on the Right Side of the Brain Betty Edwards
Penguin-Putnam, New York, 1999
Chapters 3-4 (pp28-65)
Personal sketchbook work: Did two exercises from The New Drawing on the Right Side of the Brain, (in the companion workbook). Drew a full page of ellipses in my sketchbook: few turned out elliptical. Need to draw many more. Drew a raccoon skull; a good exercise, as careful shading was required.
Total time: Over three hours
1 September 2009
Course work: None today
Personal sketchbook work: A page in my A4 sketchbook of several items sitting on or above my desk, seen from my seated viewpoint.
Other activity:My painting group met today; I started a small painting of a gathering storm over a nearby lake, using only black, white, and cadmium yellow medium, just as an exercise.
Total time: About ½ hour (not including painting time)
Course work: None today
Personal sketchbook work: A page in my A4 sketchbook of several items sitting on or above my desk, seen from my seated viewpoint.
Other activity:My painting group met today; I started a small painting of a gathering storm over a nearby lake, using only black, white, and cadmium yellow medium, just as an exercise.
Total time: About ½ hour (not including painting time)
Wednesday, September 2, 2009
31 August 2009
Course work: Assignment 1, Section 4, p 19. Did a full-page sketchbook drawing of light reflected from one object to another, utilizing a coffeepot, a small ceramic jar, and a small reproduction statue of the Willendorf Venus. I hope I interpreted the instructions correctly on this exercise.
Reading:
The Encyclopedia of Drawing Techniques, Ian Simpson
Quarto Publishing, London, 1987
Still Life (pp144-159)
Total time: about 3 1/2 hours
Course work: Assignment 1, Section 4, p 19. Did a full-page sketchbook drawing of light reflected from one object to another, utilizing a coffeepot, a small ceramic jar, and a small reproduction statue of the Willendorf Venus. I hope I interpreted the instructions correctly on this exercise.
Reading:
The Encyclopedia of Drawing Techniques, Ian Simpson
Quarto Publishing, London, 1987
Still Life (pp144-159)
Total time: about 3 1/2 hours
30 August 2009
Course work: Assignment 1, Section 3, p 17. Filled a page in my A4 course sketchbook with a pencil drawing including a funnel, a spice box, a small jar, and an onion, shaded with several layers of pencil hatching. Observed and experimented with the gradations of light on a flat surface (p 18): recorded results in my course sketchbook.
Summary Observations on Tone and Form (Check and Log): I will have to do a great deal more hatching and cross-hatching to become competent at it. However, even my less-than-competent marks did produce a sense of dimensionality that improved as I worked my way through the section. I tried to observe light patterns carefully, although in one of the exercises I misplaced a shadow (probably because I was working too late at night). I had more difficulty in seeing the secondary reflected light than the primary light, but am beginning to appreciate it more clearly.
Personal sketchbook work: A page of doodles with a reed pen, just because I felt like it, as well as to get more experience with this interesting, but frustrating, implement.
Weekly thoughts on learning experience: Much of this week was devoted to basic shapes. I was less than happy with some of my work, in part because of poor choice of drawing medium or paper size, and in part to poor observation. My personal sketchbook work is still less than optimal.
Total time: a bit over three hours.
Course work: Assignment 1, Section 3, p 17. Filled a page in my A4 course sketchbook with a pencil drawing including a funnel, a spice box, a small jar, and an onion, shaded with several layers of pencil hatching. Observed and experimented with the gradations of light on a flat surface (p 18): recorded results in my course sketchbook.
Summary Observations on Tone and Form (Check and Log): I will have to do a great deal more hatching and cross-hatching to become competent at it. However, even my less-than-competent marks did produce a sense of dimensionality that improved as I worked my way through the section. I tried to observe light patterns carefully, although in one of the exercises I misplaced a shadow (probably because I was working too late at night). I had more difficulty in seeing the secondary reflected light than the primary light, but am beginning to appreciate it more clearly.
Personal sketchbook work: A page of doodles with a reed pen, just because I felt like it, as well as to get more experience with this interesting, but frustrating, implement.
Weekly thoughts on learning experience: Much of this week was devoted to basic shapes. I was less than happy with some of my work, in part because of poor choice of drawing medium or paper size, and in part to poor observation. My personal sketchbook work is still less than optimal.
Total time: a bit over three hours.
28 August 2009
Course work: Detected an error of perception in last night’s work (a hazard of working too late at night); drew a corrected sketch with dip pen. Drew six tonal blocks with four tones each, (page 17) using a variety of tools: discovered that keeping the lines parallel and evenly spaced is a difficult task for me.
Reading:
The Story of Art, E.H. Gombrich
Phaidon Press Limited, Oxford 1978
Chapters 1-3 (pp 19-64)
How to Use Your Eyes James Elkins
Routledge, New York & London (2000)
Chapters 26-32, Postscript (pp 196-245)
This book by an art professor includes several chapters of particular interest to artists, but contains enough diverse material to be of interest to almost any inquiring mind.
Personal sketchbook work: Sketched a page of small kitchen tools in A4 sketchbook, some of which may be useful in later work.
Total time: apx 3 hours
29 Aug 2009
Course work: None today
Reading:
The Drawing Book, Sarah Simblet
Dorling Kindersley, London 2005
Objects and Instruments (pp 89-105)
Drawing Keith Micklewright
Harry N. Abrams, Inc. New York (2005)
Chapters 2-3 (pp 28-40)
The Complete Drawing Course, Ian Simpson
Running Press, Philadelphia, PA 1993
Lesson 4 (pp 34-39)
Personal sketchbook work: A careful A4 sketchbook drawing of three peaches on a plate, using Conte crayon (a medium of which I’m not fond), based on an exercise in Lesson 4, The Complete Drawing Course, by Ian Simpson.
Total time: over two hours
Course work: Detected an error of perception in last night’s work (a hazard of working too late at night); drew a corrected sketch with dip pen. Drew six tonal blocks with four tones each, (page 17) using a variety of tools: discovered that keeping the lines parallel and evenly spaced is a difficult task for me.
Reading:
The Story of Art, E.H. Gombrich
Phaidon Press Limited, Oxford 1978
Chapters 1-3 (pp 19-64)
How to Use Your Eyes James Elkins
Routledge, New York & London (2000)
Chapters 26-32, Postscript (pp 196-245)
This book by an art professor includes several chapters of particular interest to artists, but contains enough diverse material to be of interest to almost any inquiring mind.
Personal sketchbook work: Sketched a page of small kitchen tools in A4 sketchbook, some of which may be useful in later work.
Total time: apx 3 hours
29 Aug 2009
Course work: None today
Reading:
The Drawing Book, Sarah Simblet
Dorling Kindersley, London 2005
Objects and Instruments (pp 89-105)
Drawing Keith Micklewright
Harry N. Abrams, Inc. New York (2005)
Chapters 2-3 (pp 28-40)
The Complete Drawing Course, Ian Simpson
Running Press, Philadelphia, PA 1993
Lesson 4 (pp 34-39)
Personal sketchbook work: A careful A4 sketchbook drawing of three peaches on a plate, using Conte crayon (a medium of which I’m not fond), based on an exercise in Lesson 4, The Complete Drawing Course, by Ian Simpson.
Total time: over two hours
27 Aug 2009
Course work: Did the exercise on Observing Light (page 15) late last night and early this morning: described results in my course sketchbook. Did the first two exercises in Assignment 1, Section 3, page 16, using a glazed off-white cup and a white box. Found it difficult to get a really uniform tone with pencil, and my shapes were not well-drawn. Repeated second part of exercise with a cone and a box I made from paper as subjects, Conte crayon as medium: a bit easier to produce uniform tone with this.
Reading:
The Complete Drawing Course, Ian Simpson
Running Press, Philadelphia, PA 1993
Lesson 3 (pp 26-33)
How to Use Your Eyes James Elkins
Routledge, New York & London (2000)
Chapters 16-25 (pp 118-195)
Personal sketchbook work: Did a sketch in my pocket sketchbook of a clump of hickory trees I saw this morning while walking. Sketched two views of a chambered nautilus in my A4 sketchbook.
Total time: about 2 ½ hours
Course work: Did the exercise on Observing Light (page 15) late last night and early this morning: described results in my course sketchbook. Did the first two exercises in Assignment 1, Section 3, page 16, using a glazed off-white cup and a white box. Found it difficult to get a really uniform tone with pencil, and my shapes were not well-drawn. Repeated second part of exercise with a cone and a box I made from paper as subjects, Conte crayon as medium: a bit easier to produce uniform tone with this.
Reading:
The Complete Drawing Course, Ian Simpson
Running Press, Philadelphia, PA 1993
Lesson 3 (pp 26-33)
How to Use Your Eyes James Elkins
Routledge, New York & London (2000)
Chapters 16-25 (pp 118-195)
Personal sketchbook work: Did a sketch in my pocket sketchbook of a clump of hickory trees I saw this morning while walking. Sketched two views of a chambered nautilus in my A4 sketchbook.
Total time: about 2 ½ hours
26 August 2009
Course work: Did another sketchbook page of basic shapes, thinking about how they appear when rotated or tilted. Started work on the part of the “Basic Shapes” section titled “Improving Your Observational Skills,” (p13). Selected a Thermos bottle, a milk carton, a tea canister, an egg, and a small rubber ball: these were drawn in charcoal on A3 paper. Some of the lines are a bit shaky, and the perspective could use work. Repeated the exercise, selecting a lamp with a square base, tapered columnar upright, and trapezoidal shade, a fairly large spherical vase, and a book. I was not really satisfied with either drawing.
Reading:
How to Use Your Eyes James Elkins
Routledge, New York & London (2000)
Chapters 3-15 (pp 20-117)
The New Drawing on the Right Side of the Brain Betty Edwards
Penguin-Putnam, New York, 1999
Preface and Introduction (pp x-xxv), Chapters 1-2 (pp2-25)
(Even though contemporary functional-imaging research casts some doubt on the left-brain right-brain hypothesis, this remains a very useful book.)
Personal sketchbook work: Did project 2, p 24, Ian Simpson, The Complete Drawing Course, using three onions in a thin plastic bag, in my A4 sketchbook. I used pencil: I think that line and wash might have produced a more convincing result. Did some of the exercises from The New Drawing on the Right Side of the Brain, (in the companion workbook) beneficial even though I’ve done many of them before, ten or more years ago. Did a couple of hasty pen sketches in A4 sketchbook.
Total time: Over three hours
Course work: Did another sketchbook page of basic shapes, thinking about how they appear when rotated or tilted. Started work on the part of the “Basic Shapes” section titled “Improving Your Observational Skills,” (p13). Selected a Thermos bottle, a milk carton, a tea canister, an egg, and a small rubber ball: these were drawn in charcoal on A3 paper. Some of the lines are a bit shaky, and the perspective could use work. Repeated the exercise, selecting a lamp with a square base, tapered columnar upright, and trapezoidal shade, a fairly large spherical vase, and a book. I was not really satisfied with either drawing.
Reading:
How to Use Your Eyes James Elkins
Routledge, New York & London (2000)
Chapters 3-15 (pp 20-117)
The New Drawing on the Right Side of the Brain Betty Edwards
Penguin-Putnam, New York, 1999
Preface and Introduction (pp x-xxv), Chapters 1-2 (pp2-25)
(Even though contemporary functional-imaging research casts some doubt on the left-brain right-brain hypothesis, this remains a very useful book.)
Personal sketchbook work: Did project 2, p 24, Ian Simpson, The Complete Drawing Course, using three onions in a thin plastic bag, in my A4 sketchbook. I used pencil: I think that line and wash might have produced a more convincing result. Did some of the exercises from The New Drawing on the Right Side of the Brain, (in the companion workbook) beneficial even though I’ve done many of them before, ten or more years ago. Did a couple of hasty pen sketches in A4 sketchbook.
Total time: Over three hours
25 Aug 2009
Course work: Continued work on Assignment 1, Section 2, “Basic Shapes.” Did a second A3 sheet of cylinders and boxes, this time using pencil, which I prefer to ink or marker, perhaps due to familiarity (this probably suggests that I should use the others more).
Reading:
Drawing Keith Micklewright
Harry N. Abrams, Inc. New York (2005)
Preface, Chapter One (pp 6-26)
(Today’s reading provided a quick overview of the history of drawing.)
How to Use Your Eyes James Elkins
Routledge, New York & London (2000)
Preface, Chapters 1 & 2 (vii-xi, 1-19)
Personal sketchbook work: Stopped on the roadside and did a quick sketch of some freshly-rolled hay in my pocket sketchbook.
Other activity:My painting group met today; I finished a painting of green beans that my wife had requested.
Total time: apx. 1 ½ hrs (not including painting time)
Course work: Continued work on Assignment 1, Section 2, “Basic Shapes.” Did a second A3 sheet of cylinders and boxes, this time using pencil, which I prefer to ink or marker, perhaps due to familiarity (this probably suggests that I should use the others more).
Reading:
Drawing Keith Micklewright
Harry N. Abrams, Inc. New York (2005)
Preface, Chapter One (pp 6-26)
(Today’s reading provided a quick overview of the history of drawing.)
How to Use Your Eyes James Elkins
Routledge, New York & London (2000)
Preface, Chapters 1 & 2 (vii-xi, 1-19)
Personal sketchbook work: Stopped on the roadside and did a quick sketch of some freshly-rolled hay in my pocket sketchbook.
Other activity:My painting group met today; I finished a painting of green beans that my wife had requested.
Total time: apx. 1 ½ hrs (not including painting time)
24 Aug 2009
Course work: Started work on Assignment 1, Section 2, “Basic Shapes.” Did a sketchbook page with squares, triangles, circles, and ovals, and how some can “change” to others with change of viewpoint. Did an A3 sheet with boxes and cylinders: learned that a marker is not the ideal tool for fairly precise drawing, as it has a tendency to stick and slip, producing jerky lines that often don’t go quite where they were intended to go.
Reading:
The Drawing Book, Sarah Simblet
Dorling Kindersley, London 2005
Forward, Introduction, Drawing Books and Papers, Posture and Grip (pp7-23)
(This book is a delight to the eye, but the textual material read today is covered just as well in other books)
Personal sketchbook work: Repeated blind contour drawing exercise on p22, Simpson (see reference above). Used “check-back” method this time, but subject is still just barely recognizable. I think this particular exercise is designed to induce humility in the student, and it does so very well.
Total time: apx. 1 ½ hrs
Course work: Started work on Assignment 1, Section 2, “Basic Shapes.” Did a sketchbook page with squares, triangles, circles, and ovals, and how some can “change” to others with change of viewpoint. Did an A3 sheet with boxes and cylinders: learned that a marker is not the ideal tool for fairly precise drawing, as it has a tendency to stick and slip, producing jerky lines that often don’t go quite where they were intended to go.
Reading:
The Drawing Book, Sarah Simblet
Dorling Kindersley, London 2005
Forward, Introduction, Drawing Books and Papers, Posture and Grip (pp7-23)
(This book is a delight to the eye, but the textual material read today is covered just as well in other books)
Personal sketchbook work: Repeated blind contour drawing exercise on p22, Simpson (see reference above). Used “check-back” method this time, but subject is still just barely recognizable. I think this particular exercise is designed to induce humility in the student, and it does so very well.
Total time: apx. 1 ½ hrs
23 Aug 2009
Course work: Completed work on Assignment 1, Section 1, “Making Marks,” pp 6-7.Another twelve 5 x 5 cm boxes in sketchbook were filled with a variety of linear and non-linear marks, using an assortment of drawing instruments. Spent some time working out a proposed program that will allow me to study my way through the reading list without too much difficulty, while still allowing some time for non-reading-list books. Reorganized my Learning Log from a collection of hastily-written notes.
Summary Observations on Making Marks Exercises(Check and Log):
There is a good bit of pleasure to be had by random doodling as well as by more formal efforts to think of yet something else to make a mark with, and yet another kind of mark to make. I did find it was somewhat difficult at times to tell just what was expected of the student: some of the exercises seemed virtually identical. After filling 54 5 x 5 cm boxes, I’ll be happy not to see another one for a while. I did learn to make quite a variety of marks, many of which may be of future value. The nature of the marks strongly influences the emotions felt by the person drawing both at the time and upon later viewing: a collection of dots requires calmness to produce, and seems to induce calmness in the viewer. Bold, jagged lines can hardly be drawn by a calm, reflective mind, nor are they a stimulus to reflection. Large, flowing circular patters are a pleasure to draw and to view subsequently (some seem quite reminiscent of Pollock). I can see that redoing some of the exercises in color would be not only interesting, but beneficial. My favorite part of this exercise was the first one: producing the large doodles. This seemed less confining than the later work in 5 x 5 cm squares.
Reading:
The Complete Drawing Course, Ian Simpson
Running Press, Philadelphia, PA 1993
Lesson 2 (pp 22-25)
(This reading introduces contour drawing, and suggests three exercises)
Personal Sketchbook work: Five partial sketches of one of the cats, incomplete because of feline hyperactivity, done in my A4 sketchbook.
Exercise on p22, Simpson (see reference above). Only the willing mind could recognize the subject in this blind contour drawing.
Weekly Thoughts on Learning Experience: Made a lot of marks with a lot of tools in a lot of 5x5cm boxes. It was interesting to try our some new media, and to work at thinking of yet another mark to fill yet another box. The most relaxing part of the exercises to date: the large doodles, which are just plain fun.
Total time: apx. 3 hrs
Course work: Completed work on Assignment 1, Section 1, “Making Marks,” pp 6-7.Another twelve 5 x 5 cm boxes in sketchbook were filled with a variety of linear and non-linear marks, using an assortment of drawing instruments. Spent some time working out a proposed program that will allow me to study my way through the reading list without too much difficulty, while still allowing some time for non-reading-list books. Reorganized my Learning Log from a collection of hastily-written notes.
Summary Observations on Making Marks Exercises(Check and Log):
There is a good bit of pleasure to be had by random doodling as well as by more formal efforts to think of yet something else to make a mark with, and yet another kind of mark to make. I did find it was somewhat difficult at times to tell just what was expected of the student: some of the exercises seemed virtually identical. After filling 54 5 x 5 cm boxes, I’ll be happy not to see another one for a while. I did learn to make quite a variety of marks, many of which may be of future value. The nature of the marks strongly influences the emotions felt by the person drawing both at the time and upon later viewing: a collection of dots requires calmness to produce, and seems to induce calmness in the viewer. Bold, jagged lines can hardly be drawn by a calm, reflective mind, nor are they a stimulus to reflection. Large, flowing circular patters are a pleasure to draw and to view subsequently (some seem quite reminiscent of Pollock). I can see that redoing some of the exercises in color would be not only interesting, but beneficial. My favorite part of this exercise was the first one: producing the large doodles. This seemed less confining than the later work in 5 x 5 cm squares.
Reading:
The Complete Drawing Course, Ian Simpson
Running Press, Philadelphia, PA 1993
Lesson 2 (pp 22-25)
(This reading introduces contour drawing, and suggests three exercises)
Personal Sketchbook work: Five partial sketches of one of the cats, incomplete because of feline hyperactivity, done in my A4 sketchbook.
Exercise on p22, Simpson (see reference above). Only the willing mind could recognize the subject in this blind contour drawing.
Weekly Thoughts on Learning Experience: Made a lot of marks with a lot of tools in a lot of 5x5cm boxes. It was interesting to try our some new media, and to work at thinking of yet another mark to fill yet another box. The most relaxing part of the exercises to date: the large doodles, which are just plain fun.
Total time: apx. 3 hrs
22 Aug 2009
Course work: Continued work on Assignment 1, Section 1, “Making Marks”, pp 6-7. Half a page in the sketchbook was filled with marks made by holding the pencil in different grips. A full page was devoted to making various marks with charcoal, ranging from attempts at hatching (not very successful) to large, bold marks made with the side of a stick. Another page of twelve 5 x 5 cm squares was filled with a variety of marks made with purchased and improvised instruments ranging from a 0.05 mm pen through a pen I made from a wild turkey feather to a finger.
Observations: The difference in marks made with different grips was interesting: precision is greatest with the normal “pencil” grip, and least with the
“underhand” grip: freedom of marking seems greatest with the “overhand” grip. Trying to produce interesting marks with a diversity of devices was a challenge, which I only partially met.
Personal sketchbook work: a series of drawings of a very old and rusty hand-forged nail, done with four different drawing instruments, in my (approximately) A4 sketchbook.
Total time: apx. 1 ½ hrs
Course work: Continued work on Assignment 1, Section 1, “Making Marks”, pp 6-7. Half a page in the sketchbook was filled with marks made by holding the pencil in different grips. A full page was devoted to making various marks with charcoal, ranging from attempts at hatching (not very successful) to large, bold marks made with the side of a stick. Another page of twelve 5 x 5 cm squares was filled with a variety of marks made with purchased and improvised instruments ranging from a 0.05 mm pen through a pen I made from a wild turkey feather to a finger.
Observations: The difference in marks made with different grips was interesting: precision is greatest with the normal “pencil” grip, and least with the
“underhand” grip: freedom of marking seems greatest with the “overhand” grip. Trying to produce interesting marks with a diversity of devices was a challenge, which I only partially met.
Personal sketchbook work: a series of drawings of a very old and rusty hand-forged nail, done with four different drawing instruments, in my (approximately) A4 sketchbook.
Total time: apx. 1 ½ hrs
19 Aug 2009
Received course materials, unpacked and checked contents against included list. Read introductory material and Student Handbook. Completed Student Profile Sheet. Looked through course and prepared a tentative work schedule. I hope that this course will help me to improve my drawing skills, which are less than optimal at present. I plan to spend at least some time on the course every day, and will probably devote more time to it than the 400-hour estimate.
Total time: apx. two hours
Received course materials, unpacked and checked contents against included list. Read introductory material and Student Handbook. Completed Student Profile Sheet. Looked through course and prepared a tentative work schedule. I hope that this course will help me to improve my drawing skills, which are less than optimal at present. I plan to spend at least some time on the course every day, and will probably devote more time to it than the 400-hour estimate.
Total time: apx. two hours
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