Drawing 1: Part 1 – Assignment One

For this assignment one, I looked through the previous exercises and collected ideas. After this, I planned what drawing tools will be used in this assignment. I thought it would be interesting to add some texture effect for this assignment, learning about texture throughout part one, has been an important part in the part one section.

In this assignment one, for the final drawing, I used mixed mediums such as Black Acrylic Drawing Ink, Conté Pencil, White Chalk and Conté stick.

The meaning for the objects I selected are part of my personality, such as I love collecting antiques, looking at my family tree and my vintage lifestyle personality.

The Objects used in (Figure 1):

• Swinging Clock – Gold Gilt and from year 1919
• Kodak Brownie Camera 1960’s – Gift from my Grandfather
• Titanic Compass – Gift for my 21st from my Aunt
• Vintage Water Spray – Belongs to my Sister
• Gold Painted Pebble – Paper Weight
• Framed Photo – My 2 x great Cousin Winifred Fava Wood in 1913 at her graduation.

Figure 1 – Group of the Objects

I placed these six objects on a table with brown table cloth. Then I added the desk lamp, that lit from one side onto the objects. I find using the desk lamp helpful, if I’m doing a large group of objects. As seen in (Figure 2) below.

Figure 2 – Group of the Objects with Desk Lamp

The fact I chose the half brick wall as my background subject, is that it has lovely texture for my drawing in this assignment.

Light Sketch Drawing in (Figure 3): 

My first plan is to do a light sketch drawing on an A2 white cartridge paper 160gsm with a HB graphite pencil. This was to help me layout the objects, and get their proportions correct.

Figure 3 – Light Drawing Sketch

Then I took my light sketch drawing and traced it on a thicker paper, because I chose Acrylic Drawing Ink as my drawing medium, and 160gsm paper is too thin for the ink. So I chose an A2 white cartridge paper 200gsm, which is what I normally use for ink drawing.

Materials used in (Figure 3):

• White Cartridge Paper 160gsm – A2
• Graphite Pencil – HB
• Putty Eraser
• Soft Eraser
• Tracing Paper – A2 – to trace the (Figure 3) drawing onto and A2 White Cartridge Paper 200gsm
• White Cartridge Paper 200gsm – A2
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing

Final Drawing:

Beginning of the Final Drawing in (Figure 4):

There were some issues regarding to some of the object sizes and the brick wall, that I came across in the beginning of drawing with ink. So while I was drawing with ink, I also was fixing these issues as I went along.

First of all, I started filling in the big spaces with light black ink that was diluted with water. This was a beginning tonal foundation for drawing with ink. Ink drawing is very different to normal drawing in the tonal value process.

When we dealing with normal drawing, we always start with the mid-tones, but with ink drawing, it’s a very different process.

With my ink drawing experiences, I came across an easy way to start with which tonal value first. So I find dealing with ink drawing, that there are four tonal values, which are Highlight (White), Light, Mid and Dark tonal values.

I always start with the light tone and leave out some of the white areas of the paper for the highlight tones, then I work my way towards the mid tones and then after is the dark tones. As you can see in the (Figure 4) below is how I work my way.

Figure 4 – Beginning Process of my Final Drawing

 

Halfway with the Final Drawing in (Figure 5):

Halfway during my ink drawing, I carried on the same process with the highlight, light, mid and dark tones as seen in (Figure 5) below. I focused on each of the objects, by doing one at a time as I go along.

Figure 5 – Halfway Process of my Final Drawing

Ink Drawing Tip that I used halfway until to the final drawing:

I used White Chalk for the highlight areas that I went over by accident with mid or dark tones, as ink is very difficult to lift off paper and make it light. So White Chalk is a fantastic medium to bring the highlight tones back. The best thing about white chalk, is that you can go over with ink if you added too much highlight tones. As you can see below in (Figure 6).

Figure 6 – Using White Chalk

White Chalk is also helpful to add highlight tones in small areas such as I’m doing in (Figure 6) above on the vintage water spray.

While doing the background, I decided to add texture with putting some ink on a high density foam and patting it down on the brick wall and plain wall background areas. As you can see in the Gif below in (Figure 7):

Figure 7 – Texture

This texture idea turned out well, I also later added some cross hatching lines between the bricks and also added the same hatching marks on the objects with the Conté Pencil and Conté Stick.

Final Drawing in (Figure 8):

I love the results of my final drawing in (Figure 8), the background texture added a vintage age towards the objects. The table surface was slightly tilt up, due to me drawing from a looking upward view point.

Figure 8 – Final Drawing

I found the Swinging Clock, the female figure to be very tricky to do with ink, but I’m impressed with the final results, as seen below in (Figure 9):

Figure 9 – Swinging Clock Details

Here is close ups of each of the objects:

In (Figure 10) – Framed Photo – My 2 x great Cousin Winifred Fava Wood in 1913 at her graduation, below:

Figure 10 – Framed Photo

In (Figure 11) – Kodak Brownie Camera 1960’s – Gift from my Grandfather, below:

Figure 11 – Kodak Brownie Camera 1960’s

In (Figure 12) – Titanic Compass – Gift for my 21st from my Aunt, below:

Figure 12 – Titanic Compass

In (Figure 13) – Vintage Water Spray – Belongs to my Sister, below:

Figure 13 – Vintage Water Spray

In (Figure 14) – Gold Painted Pebble – Paper Weight, below:

Figure 14 – Gold Painted Pebble

Materials used in (Figure 3):

• Acrylic Drawing Ink – Black
• White Cartridge Paper 200gsm – A2
• White Chalk Pencil
• Water – For Diluting the Acrylic Drawing Ink
• Tissue Paper – For lifting the Ink and Water off the paper surface.
• Graphite Pencil – HB
• Putty Eraser
• High Density Foam
• Soft Eraser
• Conté Pencil – Black
• Conté Stick – Black
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing

Assessment Criteria Points

• Demonstration of technical and visual skills – materials, techniques, observational skills, visual awareness, design and compositional skills (35%)

I found it important for me to look back at all the exercises that I did, and follow what I learnt in this Part 1 section, also read in my log book on what I wrote that helped me. Using these previous exercises drawings as to guide me on what I planned for my final assignment.

I learned to take control of doing light sketches as the first foundation before I go into my final drawings. I focus on what is the main important parts for this assignment, which are how I’m going to layout the objects or how I want my final drawing look like.

I do some plans before I start, this is to see where the beginning of the results and how is it going to finish in a good piece of work. I find my compositions always important for me to be able to draw it’s scale on the paper and identifying which object stands forward and which one is further back. Some of my objects don’t end in a perfect shape, which I need to practice more until I get them in correct shape formation.

I make sure that the viewpoint of where I’m looking at the objects is clear for others to understand. I kind try not to go into fine details, as art doesn’t have to be realistic. But I find negative space well laid out, which is important towards the objects and their character. The ink tones give a supporting effect to the design of this assignment.

• Quality of outcome – content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas (20%)

The outcome result are good as what I have been planning as my final piece. It communicates with me as part of an experience that I have shared in favor towards my personality and what I love doing as my hobby. It was important for me to make my communication more sense and understanding at what people are looking forward to understand who I am and how I’m related to my final assignment drawing. I find art has a logical way of explaining the theory, communication and ideas that can be shared through our imaginations and visions. To me it’s like a revolution of how many thoughts and ideas we can share throughout from just one piece of work that we see in front of our own eyes.

• Demonstration of creativity – imagination, experimentation, invention, development of a personal voice (25%). Experimentation

The imagination for me was to capture the timeless of these objects in an vintage effect style. The invention was on how I used the white chalk as an helpful experimentation for ink drawing. The ink is such a great effect for capturing these objects in a classical, but more of the present world.

I’m happy with the objects that I have selected, as they support the creativity of my personality. Experimenting with these objects, were very interesting. I find taking a tricky object, such as the Swinging Clock Statue as a good piece for me to practice it’s difficult shape. Learning is a way of inventing your own skills and teaching to open your mind to many new ways to experiment.

• Context reflection – research, critical thinking (learning logs and, at second and third level, critical reviews and essays) (20%)

I find researching very helpful way of giving myself a lesson of different techniques, tips and information to learn more. Learning about Odilon Redon techniques, was interesting way of motivating me to use the cross hatching texture for my final drawing in my assignment one.

As I first started my first blog post, I was so confused at where to start, but now I find using a blog much more easier than a log book. I believe that a blog is easy and clear to read what is typed. I find the log book more creative and the blog more formal.

Critical thinking was a challenge for me as I’m not a very critical artist, so I did critical thinking exercises to myself on my own work. I would say, is this good enough to be a finished piece? or Does this make me confident as what I’m trying to communicate between me and the final piece? So I find it a good challenge to force myself that I must be confident to what I’m critical at and its purpose of making a big difference.

That’s my Final Assignment One

 

Project 2: Exercise 4 – Shadows and Reflected Light

For exercise 4, I was instructed to select two objects, one had to be stainless steel and the other one had to be ceramic. So I selected a Stainless Steel Rice Jar and a Ceramic Gravy Jug. Then I took these two objects and place them on a table with my desk lamp shining on the objects from one side.

The Two Objects used in (Figure 1):

• Stainless Steel Rice Jar
• Ceramic Gravy Jug

Plus a Desk Lamp for casting light on the objects from one side.

Figure 1 – Two Objects

I used a “Viewfinder Frame” that I made from cutting out the grey chip board as seen in (Figure 2), this is something that is very helpful when I use it at my figure drawing class. It’s very useful, if you struggle to find your viewpoint and trying to fit everything onto your drawing paper.

Figure 2 – Viewfinder Frame

The next thing after I found my viewpoint, which I used the same view angle as seen in (Figure 1). I started my drawing with light outlines onto an A1 Fabriano Accademia Paper 300gsm. It has a lovely tooth surface, which is nice for doing charcoal drawings. As seen in (Figure 3) drawing below, you will see the light outlines, that I did for getting my composition planned out. Sorry for my camera flashlight that took it terribly.

Figure 3 – Outlines

Then I started filling in the mid-tones in the drawing as seen in (Figure 4). I also drew the Ceramic Gravy Jug outlines on the Stainless Steel Rice Jar, then I filled in the contrast tones on the Stainless Steel Rice Jar as seen in (Figure 4).

Figure 4 – Mid Tones

I started realizing that I filled in the negative space too much, than what I was instructed to leave the negative space clean. So therefore I erased out the background negative space, and it became very tricky to get it all off with a putty eraser. The other thing was the lid of the Stainless Steel Rice Jar needed to be fixed. After fixing the composition on the jar lid, I started to go into details.

Now I’m happy with the finished results as seen in (Figure 5) below. This was an interesting exercise on learning the reflection of any surface and it’s tonal values.

Figure 5 – Final Drawing

Materials used in (Figure 5):

• Charcoal Stick – Hard and Soft
• Putty Eraser
• Soft Eraser
• A1 Fabriano Accademia White Paper 300gsm
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing

Project 2 – Odilon Redon

Research on about

Odilon Redon

(1840 – 1916)

Figure 1 – Odilon Redon (1840 – 1916)

Figure 1 – Image Information: http://www.viviennestringa.com/pages/redon.html

About the Artist:

Odilon Redon in (Figure 1) was born in Bordeaux on the 20th April 1840. In his early childhood, he was in the care of his elderly uncle for eleven years on the family estate of Peyrelebade in the Medoc region, north of Bordeaux. He started drawing as a child and at the age of fifteen, he started his serious studies of drawing. His father changed him from his art studies to architecture. But his exams were a failure for as an architect. In 1864, he enrolled at the Ecole des Beaux-Arts in Paris under the admired academic master Jean-Léon Gérôme. But he ended up leaving the Ecole des Beaux-Arts after having an argument with Gérôme.

During his early life, he pursued a solitary course in opposition to the prevailing naturalism, producing prints and charcoal drawings.

In 1870, his artist career was disturbed by the Franco-Prussian War, which he served in until the end of the war in 1871. Follow the end of the war, he moved to Paris, and started working alone with doing charcoal drawings and lithographs mostly.

In 1880, he met his future wife Camille Falte in (Figure 2), at Madame de Rayssac’s Salon. They got married in 1880, and their marriage was a happy one.

Figure 2 – Camille nee Falte Redon by Odilon Redon c.1899

Figure 2 – Image Information: https://krollermuller.nl/en/odilon-redon-the-yellow-shawl-portrait-of-camille-redon

Then in 1890, his art mediums changed to a new role, colour wasn’t a significant role in his earlier artworks in his young adult years. He started producing more artworks with pastels and paintings of glowing colours, such as seen in (Figure 2) of “Camille nee Falte Redon” c. 1899, which was done with chalk and pastel on paper, which are in dramatic contrast to his dull “blacks”, as he called his charcoal drawings and lithographs.

During the last 20 years of his life, Redon had created many new colourful fantasy and joyful artworks until his death on the 6th July 1916 in Paris, France.

He was regarded as one of the greatest French Symbolist artists.

His Artworks:

His artworks mostly relied on the world of dreams, fantasy, religion and imaginative.

1. Black and Grey Scale Drawings:

Looking at his drawing, they seem to have very little light, but more contrast with short strokes, crossed lines, spots and cross-hatching marks. For example in (Figure 3) below, this artwork “Salome“, c. 1893, shows two figures that kind look like they hiding in a dark background with a head lying on the floor. The expressive marks in this drawing makes it feeling mystical and haunting. The drawing in (Figure 3) was done with pastel and some few touches of graphite over the charcoal and black chalk, on tan wove paper; dimensions 58.9 x 40.1 cm. This drawing is in Kunsthandel Wolfgang Werner KG, Bremen.

Figure 3 – Salome, c. 1893

Figure 3 – Image Information: https://cool.conservation-us.org/coolaic/sg/bpg/annual/v14/bp14-08.html

Looking at the drawing in (Figure 4) called “Pegasus and Bellerophon“, c. 1888, Redon has used a brown paper surface as the mid tonal value. Redon then used charcoal as a dark tonal value and the white chalk represents the light tonal value for the clouds in the background. The marks and texture in this drawing gives a fantasy feeling, but at the same time, it gives a deep thoughtful feeling, where you just want to ask yourself “whats going on here in this drawing”?

Figure 4 – Pegasus and Bellerophon, c. 1888

Figure 4 – Image Information: http://spenceralley.blogspot.com/2016/11/odilon-redon-at-metropolitan-museum-of.html

Then the last drawing we look in (Figure 5) called “Study of a man between trees“, undated. This drawing is a simple drawing like we do in our sketchbooks. but whats interesting, is that Redon left a few line strokes in the background, for example the boats and the plant in the foreground. This is an idea where the artist makes our eyes to look at the important subject, which is the figure and the trees. This drawing has light, mid and dark tonal values. Redon used a cross-hatching and diagonl line marks in this drawing.

Figure 5 – Study of a man between trees, undated

Figure 5 – Image Information: http://spenceralley.blogspot.com/2016/11/odilon-redon-at-metropolitan-museum-of.html

2. Colour and Pastel Drawings:

From the 1890s to the end of Redon’s life in 1916, he started to become colourful and depicting more fairy tale drawings with figures, flowers, portraits and glowing colours.  Some of his pastel drawings had the same lines, marks and tonal values as his charcoal drawings from his earlier life. His colourful drawings were done mostly by pastels, for example “Violette Heymann”, c. 1910 in (Figure 6). The dimensions is 72 x 92 cm. This drawing is found in The Cleveland Museum of Art, Hinman B. Hurlbut Collection.

Figure 6 – Violette Heymann, c. 1910

Figure 6 – Image Information: https://www.cbgarden.org/calendar-of-events.aspx?eid=29872&reid=&sdate=12/12/2015&ModuleId=92

In this beautiful pastel drawing called “Ophelia among the Flowers“, c. 1905-10 in (Figure 7). The dimensions is 64 x 91 cm. It’s in The National Gallery, London. This pastel drawing is a good example of how vibrant and glowing his colours were in his later life. In most of his pastel drawings, we can see he had a favoritism for flowers and he liked depicting them in one corner of the paper. The gloriously colourful pastel tones, gives a feeling of fantasy, peaceful and excitement.

Figure 7 – Ophelia among the Flowers, c. 1905-10

Figure 7 – Image Information: http://www.katarte.net/2016/03/eugene-delacroix-rise-modern-art/odilon-redon-ophelia-among-the-flowers-1905-08/

 

3. Paintings:

In Redon’s paintings, we can see he liked painting the similar Fantasy and Religious subjects as seen in his pastel and charcoal drawings. At the same time he started with colour pastels, Redon started painting with oils in the similar bright colours as his pastel drawings. Look at the stunning colours in the painting called “Muse on Pegasus“, c.1910, dimensions 73.5 x 54.4 cm in (Figure 8) below and compare the pastel drawing colours in (Figure 7) pastel drawing called “Ophelia among the Flowers“, c. 1905-10. They both have same the sky tonal colours and the use of flower theme again.

Figure 8 – Muse on Pegasus, c.1910

Figure 8 – Image Information: https://medium.com/@joshuagrasso_58239/to-die-in-an-orgasm-of-sound-alexander-scriabins-symphonic-works-c75a34b11d4e

In this oil painting of “Baroness Robert de Domecy”, c. 1900 in (Figure 9) below, is an interesting artwork. For one reason is that the huge negative space, which I mean the background, looks like it was done with pastels and these colours work well for a large negative space. This portrait has a very calm tonal value, but what is genius, is that the red tone on the Baroness top, draws your attention towards the main view which is the sitter. There is no vibrant colours in this portrait as seen in other Redon’s portraits. There are lines and marks that can be seen in the background, which reminds me of his charcoal and pastel drawings lines and marks he used.

Figure 9 – Baroness Robert de Domecy, c. 1900

Figure 9 – Image Information: https://artsandculture.google.com/asset/baroness-robert-de-domecy/sAFDU7Fl98PVag

 

Some of the information were used by books:

• Book Title: The Great Artists/ A Marshall Cavendish Weekly Collection/ Odilon Redon/ No. 82
• Date of Publication: 1986
• Place of Publication: 58 Old Compton Street, London W1V 5PA, England.
• Publishing Company: Marshall Cavendish Ltd, 1986

 

• Authors Name: Peter and Linda Murray
• Book Title: The Penguin/ Dictionary of Art & Artists/Penguin Reference
• Date of Publication:1985
• Place of Publication: Aylesbury, Bucks, Set in 8/9.5 Times Roman (Linotron 202)
• Publishing Company: Penquin Books Ltd
• Made and Printed: Hazell Watson & Viney Limited
• Page of Article: Page – 343

 

Information used by Website:

• https://en.wikipedia.org/wiki/Odilon_Redon

 

Project 2: Exercise 3 – Creating Shadow using Lines and Marks

This exercise is all about how to create shadows by using lines and marks textures. I love the fact about the setup for this exercise, is that I experienced more into these lines and marks, I didn’t know there were more other marks and lines shading tips. So starting this exercise, I came across exciting moments, where I would find the “Cross-Hatching or Criss-Crossing Lines” my favorites so far.

First Phrase – Shading Textures in (Figure 1):

I first started some shading textures as a practice in (Figure 1) below, in my A4 Sketchbook. I wanted to try them out and this was a warm-up exercise for me.

So here in my A4 sketchbook, I depicted these shading textures:

• Cross-Hatching or Criss-Crossing Lines
• Spots or Stippling
• Lines or Lines close to each other
• Dashes
• Scribbling
• Contour Lines
• Broken Lines

 

Figure 1 – Shading Textures

Materials used in (Figure 1):

• Fine Liner 0.4 – Black
• Pencil – HB
• A4 Sketchbook

 

Second Phrase – Sketchbook Practice with a Simple Object:

For this practice with only one simple object to choose. I decided to choose an Old Tape Measure in (Figure 2) that belonged to my father’s father. It’s a simple round object with an interesting character of age and shape. I started this exercise by dividing my A2 Sketchbook pages into four blocks for each practice.

Figure 2 – Old Tape Measure

 

“Cross-Hatching or Criss-Crossing Lines” in (Figure 3):

For the first practice is “Cross-Hatching or Criss-Crossing Lines” as seen in (Figure 3). I found this shading texture my favourite so far, as it works well with each of the mediums I used in the drawing in (Figure 3). So I used this texture in my final drawing with the three objects later on.

Figure 3 – Cross-Hatching or Criss-Crossing Lines

I find the Marino Umber water-soluble pencil in the Top Left in (Figure 3), Graphite Stick 4B in the Bottom Left in (Figure 3) and Charcoal Pencil (Hard) in the Bottom Right in (Figure 3) nice for doing “Cross-Hatching or Criss-Crossing Lines” in (Figure 3).

The Pigma Brush Pen (Black) in the Top Right in (Figure 3) was very tricky to make the lines narrow and less dark in the drawing in (Figure 3).

Materials used in (Figure 3):

• Top Right – Pigma Brush Pen (Black)
• Top Left – Marino Umber Water-Soluble Pencil
• Bottom Right – Charcoal Pencil (Hard)
• Bottom Left – Graphite Stick 4B
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing
• A2 Sketchbook
• Soft Eraser

 

“Lines Close to Each Other” in (Figure 4):

I found this shading texture my second favourite so far. But for this shading texture, it’s not suitable for the the Old Tape Measure in (Figure 2), it didn’t meet the character of the object’s age. My drawings in (Figure 4) ended up looking like a disks or fans lying flat on the floor.

Figure 4 – Lines Close to Each Other

All the four drawing mediums used in (Figure 4), turned out well.

Materials used in (Figure 4):

• Top Right – Pigma Brush Pen (Black)
• Top Left – Marino Umber Water-Soluble Pencil
• Bottom Right – Charcoal Pencil (Hard)
• Bottom Left – Graphite Stick 4B
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing
• A2 Sketchbook
• Soft Eraser

 

“Spots or Stippling” in (Figure 5):

This shading texture was my least favourite, as it was too tricky and even it takes a lot of your time. But for a good reason, it was something new I learnt in this exercise. I’ve never tried this shading texture before. So I’m looking forward at practicing more on this shading texture.

Figure 5 – Spots or Stippling

I found the Marino Umber Water-Soluble Pencil in the Top Left in (Figure 5) and the Charcoal Pencil (Hard) in the Bottom Right in (Figure 5) works well.

Then finding the Pigma Brush Pen (Black) in the Top Right in (Figure 5) and the Graphite Stick 4B in the Bottom Left in (Figure 5) very messy and difficult to do with this shading texture.

Materials used in (Figure 5):

• Top Right – Pigma Brush Pen (Black)
• Top Left – Marino Umber Water-Soluble Pencil
• Bottom Right – Charcoal Pencil (Hard)
• Bottom Left – Graphite Stick 4B
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing
• A2 Sketchbook
• Soft Eraser

 

“Mixed Shading Textures” in (Figure 6):

For this one, in (Figure 6), I decided to try each of the four different shading textures with the same mediums used in the three previous drawings.

Figure 6 – Mixed Shading Textures

Top Right in (Figure 6) – Is the “Cross-Hatching or Criss-Crossing Lines” with the Pigma Brush Pen (Black). I decided to practice more with the Pigma Brush Pen with this shading texture, as I wanted to fix the struggle, that I had in (Figure 3) “Cross-Hatching or Criss-Crossing Lines” drawing. I’m impressed that it turned out better.

Top Left in (Figure 6) – Is the “Lines Close to Each Other” with the Marino Umber Water-Soluble Pencil. I find this pencil colour has the age tone for the Old Tape Measure in (Figure 2).

Bottom Right in (Figure 6) – Is the “Spots or Stippling” with the Charcoal Pencil (Hard). I practiced more with this shading and putting more information, which looks better than the previous “Spots or Stippling” drawing in (Figure 5).

Bottom Left in (Figure 6) – Is the “Dashes” with Graphite Stick 4B. The last shading texture I chose to use is the “Dashes” shading texture, as it has an effect of making the object look like its sinking into the surface of the paper.

Materials used in (Figure 6):

• Top Right – Pigma Brush Pen (Black)
• Top Left – Marino Umber Water-Soluble Pencil
• Bottom Right – Charcoal Pencil (Hard)
• Bottom Left – Graphite Stick 4B
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing
• A2 Sketchbook
• Soft Eraser

Third Phrase – Final Drawing:

For my Final Drawing in (Figure 8), I decided to use the “Cross-Hatching or Criss-Crossing Lines” with the Charcoal Pencil (Hard) on an A2 Extra Smooth 200gsm white paper. So before I started the Final Drawing in (Figure 8), I selected three simple objects and arranged them onto a table. I used natural light from outside.

The three simple objects used in (Figure 7) for the my Final Drawing are:

• Porcelain Milk Jug – White
• Titanic Compass – Metal
• Old Pharmacy Bottle – Tinct Calamus

Figure 7 – Three Simple Objects

I started with few line marks to indicate the proportion of the three objects sizes from (Figure 7). Then I went on to do the “Cross-Hatching or Criss-Crossing Lines” shading texture as seen in my Final Drawing in (Figure 8) below.

Figure 8 – Final Drawing

I love the effect of the “Cross-Hatching or Criss-Crossing Lines” shading texture with these three objects. The Porcelain Milk Jug turned out well as seen in the close up in (Figure 9) below.

Figure 9 – Close Up of Porcelain Milk Jug from Final Drawing in (Figure 8)

I enjoyed putting some time in doing this exercise and learning a lot of new shading techniques so far in Drawing 1: Part 1.

Materials used in (Figure 8):

• Charcoal Pencil (Hard)
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing
• A2 Extra Smooth 200gsm White Paper
• Putty Eraser
• Soft Eraser

Project 2: Exercise 2 – Observing Shadow using Blocks of Tone

This exercise was interesting for me, I learnt a lot about how to fix mistakes and how to shade the tonal values of light and dark in drawings. So my first plan for this exercise, was to find two simple pale objects and a lamp. Then I placed these two objects next to each other.

First Attempt – Didn’t Like the Idea:

I didn’t like the two pale objects in (Figure 1), which was my first attempt, also I used natural light (outdoor light), which was confusing me, because the natural light was getting distracted by the clouds. So I did a new plan, which became then my second attempt later on.

The two pale objects used in (Figure 1):

• Ostrich Egg – Display
• Porcelain Square Vase – Painted Pale Green

 

Figure 1 – Two Pale Objects (Didn’t like it)

First Drawing – Didn’t Like It:

I found the two pale objects in (Figure 1) too plain and both were same sizes, so learning this mistake of selecting wrong objects as drawing ideas for my first drawing in my A2 Sketchbook in (Figure 2), which was some quick sketches as a beginning point. Has taught me something new.

Figure 2 – First Drawing (Didn’t Like It)

The new mistake I learnt about my first drawing in (Figure 2), was the distraction of natural light and also trying to compete with both objects same sizes. they also were boring, and I started losing interest in doing this exercise. So for me, it was a good idea to choose two different interesting pale objects and have a desk lamp for my second attempt drawing.

Materials used in (Figure 2):

• Graphite Pencil Stick
• Sketchbook – A2 Size
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing.

 

Second Attempt:

 

Making changes in the second attempt, is much better after learning mistakes from my first attempt. The second attempt became much more interesting and there was no more distraction from the natural outdoor light, after using a desk lamp in the second attempt. Changing the two new pale objects with different sizes between them, this made me not to lose my interest in this exercise, also it was my favourite exercise so far in projects 2 section of Drawing 1.

The two pale objects in (Figure 3) used:

• Porcelain Candle Still – Painted White
• Porcelain Baking Bowl – Painted Yellow (Outside) & White (Inside)

Also I used a desk lamp for the second attempt.

Figure 3 – Two Pale Objects

Then I took my desk lamp and positioned the lamp on table and made sure it lit from just one side, as seen in (Figure 4) below.

Figure 4 – Two Pale Objects with the Desk Lamp

 

Second Drawing – Quick Sketch in (Figure 5):

After getting myself sorted and done with setting up the two pale objects and lamp in (Figure 4). Then I began my second drawing in my A2 Sketchbook, which was a quick outline tonal values indication sketch. I was looking at the same view point as seen in (Figure 3) and this view point was used throughout my second attempt drawings.

I started with a Charcoal Stick and plotting down little line marks to indicate the sizes of the two objects. When done with the line marks, I started to draw out the light lines of the two objects.

After doing this way, I moved on towards the tonal values, which were light: mid and dark.

Light Tone – For the light tone, I used the light outlines that I did in the beginning of the two objects.

Mid Tone – I used the charcoal stick to plot the mid tones, if I went too dark, I used the putty eraser to light it up.

Dark Tone – I added more charcoal, there was no need for the putty eraser in the dark tone areas.

Figure 5 – Second Drawing – Quick Sketch

This sketch was helpful, at getting some practice with correcting the sizes of the two objects and learning where the three tonal values are seen.

Materials used in (Figure 5):

• Charcoal Stick
• Putty Eraser
• Sketchbook – A2 Size
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing

 

Third Drawing – Preparing with Shading Tones in (Figure 6):

The third drawing was a plan out for where I must shade in drawing according to the tonal values from the same view point in (Figure 3). This was to help me for my final drawing later on and to find a plan for the background. I used a Conté Stick this time than the charcoal stick. This was done in an A2 Sketchbook and I also made notes as seen in (Figure 6).

I found the Conté Stick my favourite so far in this exercise, so this was a medium that I planned to use in my final drawing.

Figure 6 – Third Drawing – Preparing with Shading Tones

Here is also of the third drawing busy in progress in (Figure 6) with the two objects from life in (Figure 7) below.

Figure 7 – Third Drawing in (Figure 6) with the Two Objects from Life

Materials used in (Figure 6):

• Conté Stick
• Putty Eraser
• Sketchbook – A2 Size
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing.

 

Final Drawing:

 

I started this drawing with enough time and not rushing through it, as making mistakes with the Conté Stick, can be tricky and messy to erase out. So as my view point has been the same in (Figure 3).

I started my final drawing on an A1 Fabriano Accademia white paper 200gsm, as it has a good ‘tooth’ surface for holding the Conté Stick pigment to the paper.

I started my drawing with light line marks to indicate the two objects sizes and moved on towards drawing the two objects with light outlines as seen in (Figure 8) below.

Figure 8 – Beginning of the Final Drawing with the Two Objects from Life

After finishing my light outlines of the two objects in (Figure 8), I started adding light shadings with the flat side of the Conté Stick as seen in (Figure 9) below.

Figure 9 – Beginning of the Final Drawing – Started Shading in the Tones

The same progress carried on from (Figure 9) to (Figure 10) below. As you see in (Figure 10), I have filled in the shade tonal values with the Conté Stick, this is before I started blending with the large blending paper stumps.

Figure 10 – Halfway with the Final Drawing

Then from the drawing in (Figure 10) to the ‘nearly finished’ drawing in (Figure 11) below. The blending started happening in (Figure 11) after I’ve blocked in with the Conté Stick. I also started blocking in the background and its negative space around the two pale objects to make the two objects stick out more.

Figure 11 – Nearly Finished with the Final Drawing

From the drawing in (Figure 11) to the Final Drawing in (Figure 12), there was just blending and using putty eraser to lighten up the areas where the mid tones were sitting on the objects. I also used a normal eraser to erase the areas where there were the highlight tones sitting on the objects. I also added more dark tones to the areas that have dark shadows with the Conté Stick at the end of the final drawing.

Figure 12 – Final Drawing

Here is a close up in (Figure 13) below of the Porcelain Candle Stick from the final drawing in (Figure 12).

Figure 13 – Close up of the Porcelain Candle Stick from the Final Drawing in (Figure 12)

Here is a close up in (Figure 14) below of the Porcelain Baking Bowl from the final drawing in (Figure 12).

Figure 14 – Close up of the Porcelain Baking Bowl from the Final Drawing in (Figure 12)

Materials used in (Figure 12):

• Conté Stick
• Putty Eraser
• Normal Eraser
• Blending Paper Stumps x 2 large ones
• Fabriano Accademia A1 – White Paper 200gsm
• Fixative Spray – Used once the drawing was done
• Fine Liner – Used for the Writing.

 

So this is the end of Project 2 – Exercise 2.

 

Project 2: Exercise 1 – Groups of Objects

For this exercise, I had to choose at least six objects, but I chose these seven different shapes and sizes objects. Before I could start my drawings, I first started planning to arrange the seven objects in different positions, until I found the perfect position in (Figure 1) to draw from.

The Seven Objects in (Figure 1) used:

• Lantern (Metal)
• Ostrich Egg
• Blue Book (Queen Mary by James Pope-Hennessy)
• Big Book (The Hamlyn Pictorial History of the 20th Century by Lord Briggs)
• Blue Business Case (Belonged to my mother in the mid 1980’s)
• Empty Earl Grey Tea Box
• Pewter Beer Mug (Belonged to my father from 1986)

 

Figure 1 – Seven Objects

Quick Sketches – Figure 2:

I did quick sketches with a Graphite Pencil H in (Figure 2) of the objects from (Figure 1) in my A5 sketchbook. This is a way of me doing a warm up exercise before I start my A2 or larger than A2 drawings. It also helped me to find the best angle and position to do from, for my main drawings.

Figure 2 – Quick Sketches in A5 Sketchbook

First Drawing – Figure 3:

I started my first drawing as seen in (Figure 3) from the same angle and position as in (Figure 1). Starting this drawing on the A2 white cartridge paper (240gsm) with a Graphite Stick and putty eraser was a good start. I used a ruler after doing light sketches of the objects and getting their proportions right. After this, I shaded the areas where the shadow tonal values and using the putty eraser to lighten up the areas where there is highlight tonal values.

Figure 3 – First Drawing

One thing that I found very tricky, was trying to erase out the mistake lines that are seen in (Figure 3.1) close up below of the (Figure 3) full drawing.

Figure 3.1 – Close up of the mistake from (Figure 3) full drawing

I realized that I needed to shade more in the shadows that I have left out, such as the Pewter Beer Mug shadow on the floor surface. Here is a close up from the (Figure 3) full drawing, in (Figure 3.2) below, shows the forgotten shaded shadow.

Figure 3.2 – Close up of the left out shadow that needed to be shaded from (Figure 3) full drawing

The materials used in (Figure 3):

• White Cartridge Paper (240gsm) – A2
• Graphite Stick
• Putty Eraser
• Ruler
• Fine Liner – Used for writing the heading and date at the top of the drawing page.
• Fixative Spray – Used after drawing was done.

 

Second Drawing – Figure 4:

This time, I tried a different angle view of the seven objects in their same position as seen in (Figure 1). I used a different medium, which was a Conté Stick on a cut up Brown Paper (300gsm) that is larger than A2, but narrower. The seven objects view was a slight top angle view as seen in (Figure 4) drawing.

Figure 4 – Second Drawing

Here is a photo below in (Figure 4.1) of the angle view that is seen in (Figure 4) full drawing.

Figure 4.1 – Second Drawing (Figure 4) Seven Objects

I didn’t find this viewpoint as my favourite and even struggled to get the proportions of the seven objects correct. The Conté Stick was also tricky to erase out with a Putty Eraser, because I went too dark on the light tonal areas. But I found the Brown Paper (300gsm) texture surface great for using a Conté Stick, if I practice more on how to keep it light, before go dark.

The materials used in (Figure 4):

• Conté Stick
• Brown Paper (300gsm) – Larger than A2, but narrower
• Putty Eraser
• Fine Liner – Used for writing the heading and date at the top of the drawing page.
• Fixative Spray – Used after drawing was done.

 

Third and Final Drawing – Figure 5:

My third and final drawing in (Figure 5) was more of what I was looking for. This time I went back to the same seven objects position as seen in (Figure 1). Then I used a different medium, which was Ink (Black) on the A2 white cartridge paper (240gsm).

Figure 5 – Third and Final Drawing

I love the tonal values of the light and dark, that the ink has created of the objects. The outlines done with a dipping pen, gives more character to the objects. The Pewter Beer Mug in (Figure 5.1) looks metallic and shiny from the interesting and less details from the ink I used with a brush, some water and tissue paper for lifting large amounts of ink or water on the surface of the paper.

Figure 5.1 – Close up of Pewter Beer Mug from (Figure 5) full drawing

The materials used in (Figure 5):

• Ink – (Black)
• Brush – (Chinese Ink Brush)
• White Cartridge Paper (240gsm) – A2
• Tissue Paper – For lifting large amount of ink or water on the surface of the paper.
• Dipping Pen
• Fine Liner – Used for writing the heading and date at the top of the drawing page.
• Water – For adding with the ink.

Project 1: Exercise 1 – Experimenting with Expressive Lines and Marks

When I started this exercise, I needed to make sure that I had the correct materials to start.

The materials I used for this exercise were:

• Four A1 sheets of paper + an extra one for the ‘Joy‘ feeling mistake one
• Charcoal Stick – Medium
• Ink (Black)
• Ink Brush (Chinese Ink Brush with animal hair)
• Conté Stick (Black)
• Graphite Stick – Soft
• Tissue Paper – for lifting the mediums (for example – charcoal) off the surface of paper.
• Fixative Spray – Only sprayed once the work was done.

 

Calm:

My first plan for ‘Calm‘ was to play some classical soft music on my record player. While the music was playing, I closed my eyes and listened to the classical music before opening my eyes again and starting the drawing. It’s very helpful by doing it this way, if you struggle to find a feeling, remember that music has many feelings that follow the sound tunes when you listen to it. I find this drawing ‘Calm‘ (Figure 1) my favourite so far, because of it’s light lines and marks. I also blended this one with tissue paper. There was no struggle to do this one.

Figure 1 – Calm

Mediums used for ‘Calm‘ (Figure 1):

• Top Right – Graphite Stick – Soft
• Top Left – Conté Stick (Black)
• Bottom Right – Black Ink and Ink Brush
• Bottom Left – Charcoal Stick – Medium

 

Anger:

For ‘Anger‘ in (Figure 1) , I did this one on a day, that I was annoyed and frustrated with something. I wanted to get that actual ‘Anger‘ feeling, than pretending to be angry. So this one shows how much less negative space can be seen, also noticing the contrast is very strong and dark.

The ink and charcoal showed more explosions of ‘Anger‘ by their thick bold lines, that nearly taking every negative space on the surface.

The Conté Stick and Graphite Stick shows less ‘Anger‘, by their narrowing lines. This made me feel like I was calming down while I still was angry inside.

Figure 1 – Anger

Mediums used for ‘Anger‘ (Figure 1):

• Top Right – Black Ink and Ink Brush
• Top Left – Conté Stick (Black)
• Bottom Right – Graphite Stick – Soft
• Bottom Left – Charcoal Stick – Medium

 

Joy:

For ‘Joy‘, I found the feeling very easy and exciting at the beginning, so the first attempted drawing that I did in (Figure 1), was a failure due to me not diluting the ink for the bottom right drawing.

Figure 1 – Joy – Mistake

So I wasn’t impressed with the first one, as the ink was too dark and showed a negative feeling. So I restarted another ‘Joy‘ drawing (Figure 2), and was thrilled with the second version, as it gave me a joyful feeling that I was looking for.

Figure 2 – Joy

• Mediums used for ‘Joy‘ (Figure 1 and 2):
  • Top Right – Graphite Stick – Soft
  • Top Left – Conté Stick (Black)
  • Bottom Right – Black Ink and Ink Brush
  • Bottom Left – Charcoal Stick – Medium

 

Confusion:

My own chosen feeling is ‘Confusion‘ in (Figure 1), this is a feeling that I often face within my artist life. So this feeling happened to me on the same day that I did ‘Joy‘ and ‘Calm‘. I got confused at not realizing that I had to choose a fourth feeling, so getting that ‘Confusion‘ feeling was a good one for me to do as my fourth drawing.

In this drawing, as you can see that there are square looking marks and large negative spaces between these marks. The large negative spaces that give a confused feeling, this happens when your mind becomes blank and doesn’t know when to start or end.

Figure 1 – Confusion

Mediums used for ‘Confusion‘ (Figure 1):

• Top Right – Graphite Stick – Soft
• Top Left – Conté Stick (Black)
• Bottom Right – Black Ink and Ink Brush
• Bottom Left – Charcoal Stick – Medium

Exercise 1: Warm-up – Temporary Drawings

This warm-up exercise was very interesting to begin as a process of understanding, that there are many other ways to warm-up before drawing. For example another warm-up exercise, is doing random sketches from anything that you see. I learnt this warm-up idea from figure drawing class, I was told that the best way to refresh your mind in the mornings before you start drawing, is to do some random quick sketches.

Warm-up exercises are the important part in the art world. For me, it’s very helpful when I’m drawing for serious projects. It’s like you sketching a mind-map with only using your own drawing images.

For this exercise, I decided to create a mind-map using a water bottle with a sprinkler cap and white pebbles in (Figure 1)

Water Bottle with Sprinkler Cap and White Pebbles – Figure 1

Stage 1:

I use white pebbles (Figure 2), that represent as the mind-maps ‘titles‘ or ‘main points‘.

Figure 2

In (Figure 2; 3 & 4), the water surrounded the pebbles are the main topics, like we draw a mind-map with comment bubbles showing us the main points in it. So I spread out these pebbles in my court yard like a mind-map and sprinkled water around them to indicate that those are the main points.

Figure 3

Figure 4

Stage 2:

Now when I have information to add to the main points, this is when my mind decides to release information and connecting it to the main points. In (Figure 5 & 6), you can see that the lines joining to each circles, these lines indicate the exploring of ideas and information that are connecting to the main points and topics.

Figure 5

Figure 6

The reason I decided to create a mind-map as a warm-up exercise. Is that when we intend to draw images, we like to add information with details in a drawing.