Friday 13 November 2009
Felt unwell; did nothing useful today.
Saturday 14 November 2009
Course work: Did three little sketches of people seen on the street in Washington, Georgia. I am not pleased with my progress on this “Moving Figure” exercise. Did a third self-portrait, charcoal with touches of white pastel on buff paper 22 x 28 cm (8 ½ x 11”). Although I am not entirely happy with this piece, I think that I have, overall, now done a reasonable job of fulfilling the objectives of the “Self Portrait” exercise.
Reading:
David Bayles and Ted Orland Art and Fear
Image Continuum Press, Santa Cruz, Californian, USA, 1993
Pp 93-118
(The subtitle, “Observations on the Perils (and Rewards) of Artmaking”, describes this book rather well. This is not a book of “how,” but a book of “why.” I’ve read it before, undelined in it extensively, expect to read it again, and have recommended it to friends who are having difficulty finding their way. A worthwhile book.)
Tom Coates Creating a Self Portrait
Watson-Guptill Publications, New York, 1989
Pp 7-129
(This would have been a more useful book had it been twice as long. The author does well at getting so much between the covers, but one wishes for so much more. I wish that this book had resurfaced two weeks ago: I might have approached the self-portrait exercise somewhat differently.)
Personal Sketchbook work: A sketch of part of the book-case in my office-studio.
Summary Observations on the Self Portrait Exercise (Check and Log): Many years of seeing myself in a mirror and in photographs did not prepare me well for this exercise: my early attempts were very poor indeed, but I improved gradually as time passed. I plan to do more self portraits in the future. I think that I can see the head and neck as basic shapes, and the head and face appear solid and convincing in at least some of my drawings. Asymmetry is present primarily in my age wrinkles, eyelids, and the different appearance of my ears. I think the shadows are adequately placed. Head size had to be readjusted often as drawing progressed. This was a good exercise: I learned a lot from it.
Total time: About 2 ½ hours
Sunday 15 November 2009
Today was almost entirely consumed by a trip to Atlanta, Georgia to see the da Vinci exhibit at the High Museum (report in museum and gallery visits section).
Monday 16 November 2009
Course work: I found the instructions for the “Portrait from memory” section confusing and contradictory. One can hardly “…repeat the sketches until you feel you have gained enough information…” if one is to “…draw someone you have seen momentarily…” I chose to approach the exercise by spending twenty minutes collecting information from three photographs I have in which an individual I see primarily at local social events happens to be included. I then put the photographs away and worked from my notes, sketches, and memory. The process was, as expected, difficult: perhaps the most difficult part was getting a reasonable approximation of the unusually-shaped skull, which in a lateral view is quite strongly dolichocephalic. This, the subject’s chronic squint, and his complete baldness, are the three most important features in obtaining a likeness here. I found trying to imagine shading challenging, and finally omitted most of it.
Reading:
(No author listed) Techniques of the Great Masters of Art
Quantum Books, Ltd., London 1985
(Enjoyed browsing in this book for some time)
Personal Sketchbook work: A sketch of several foil-wrapped chocolate candies
Summary Observations on the Portrait from Memory Exercise (Check and Log):
This is a difficult exercise: one learns that memory is frail indeed. Converting my sketches to a portrait was a challenge, especially considering the paucity of my original reference material. If I were to do a similar exercise (with clearer instructions) in the future, I would certainly endeavor to collect more information and draw more initial sketches.
Total time: About three hours
Tuesday 17 November 2009
Course work: Drew two quick sketches of people walking in town, both very unsatisfactory. Started work on the first assessment drawing for Assignment 2: tested several slightly different seated poses, did a number of small sketches, and provisionally selected a pose to begin work on tomorrow.
Reading:
Rudy De Reyna How to Draw What You See
Watson-Guptill Publications, New York, 1972
Pp 69-102
E.H. Gombrich, The Story of Art,
Phaidon Press Limited, Oxford 1978
Chapter 19 (pp 301-324)
Personal Sketchbook work: A manikin drawing in the pose I have selected for my first assessment drawing.
Other activities: My painting group met today (time not included)
Total time: About two hours
Wednesday 18 November 2009
Course work: Got much of the pencil block-in done for the first assessment drawing for Assignment 2. I hope to be able to start inking in tomorrow.
Reading:
Russell Hart Photographing Your Artwork
Amherst Media, Inc., Buffalo, New York, USA. 2000
Pp 12-57
(This book, though only nine years old, is essentially obsolete, as it deals only with film cameras. Some of the information in the first half of the book, which is all I read, remains pertinent.)
Personal Sketchbook work: A drawing of a leek.
Total time: About 1 ½ hours (87 ½)
Thursday 19 November 2009
Course work: A sketchbook page of figures in motion or at rest in the parking lot of the grocery store. A bit more work on the pencil block-in for the first assessment drawing for Assignment 2, and the first few ink lines.
Reading:
James Horton Composition and Perspective
Quintet Publishing Ltd, London, 1994
Pp 4-64
(This small and slender volume could well be a transcript of a single lecture on the subject. I thought it rather basic, but a good review of the high points.)
Deborah Haynes Art Lessons
Westview Press, Boulder, Colorado, USA, 2003
Pp ix-xvii, 1-16
Personal Sketchbook work: Some further experimentation with powdered graphite, this time a drapery study. As noted on 12 November, workable fixative and repeated applications of the powdered graphite are required, but the result is acceptable. I think I’ll try in on paper with more “tooth” next time. Also did a little sketch of three pears, using water-soluble pencil. This completes the first “personal” sketchbook (in which I primarily do work not directly related to the course). My pocket sketchbook work is much less impressive in volume.
Total time: About two hours (89 ½)
Comment: I am now three months into the drawing course. I can tell that my work is more confident, and that I can produce equivalent work in a good bit less time than formerly. My interest level remains high. I am about two weeks behind my originally-planned schedule, in part because of my mother’s illness, and in part because of additional effort required on some of the figure exercises, but have done almost 200 hours of work (actual drawing and reading) through today. House guests next week will set me further behind my plan, but I confidently expect to finish Assignment 2 before the end of next week.
