Saturday 14 August 2010




Course work: Dissatisfied with my new pen, I reverted to pencil for today’s gesture and contour drawings, and was equally dissatisfied. I think I’ll go back to my felt-tip pen, and try some 45-second gestures tomorrow.

I made a few small corrections on the tonal drawing: I may continue to do this for several days, though the major emphasis of my work will be preparation for the Assignment Five drawing. In my review of work to date, I found seven that I particularly liked: six are shown below, the seventh is the tonal drawing now essentially finished, included on page 55 above. I like the standing figure because I was able to capture reasonable tonality using colored pencil, a medium with which my tonal work has not been highly successful. The two recumbent figures I like because they “work.” The two-minute line drawing and the 30-second contour I like because they capture the essence of the pose with economy of means. The seated figure seen from the rear is another colored pencil sketch that, improbably, came together well.

I can now see ways in which each of the four tonal drawings could be improved. The just-completed charcoal and white pastel drawing on grey paper represents the best work with these media that I can presently do, and I like it for that reason, as well as because it seems “right”.















Started a short series of experiments with various media and combinations, in part to plan the final drawing, and in part just for the fun of trying something different. I used some of my previous drawings as reference material. The first of these experiments was done with a reed pen outline, followed by application of colored marker: I do not consider it a success, though by overlaying complements I was able to get the effect I wanted in a few areas.

Reading:



James Elkins Why Art Cannot Be Taught

University of Illinois Press, Chicago, Illinois, USA, 2001

Pp. 68-89



Total time: 1 hour 3 minutes