Strengths and weaknesses – further development

My tutor has suggested I make bullet points of ways to develop my strengths and address my weaknesses

Strengths

  • Analysis of my own and other artists’ work. Develop further by connecting other artists’ work to my own.
  • Experimenting with line, composition, media. Continue to experiment and focus on what works and what doesn’t. Make more frequent sketches.
  • Develop my sketchbook work using more notations, testing or marks, palette and tonal values. Use what I learn to set aims at the assignment outcome stage
  • Do more analysis of other artists and how they relate to outcomes I want to achieve.

Weaknesses

  • Tonal contrasts. Practice working with darker tones
  • Be more focussed and specific about the connections I am making in my research. Use bullet points and set out aims relating to my own work.
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Response to Tutor Feedback on Assignment 3

I found my tutor’s feedback really helpful and encouraging as I found Part 3 very challenging.  I feel I have almost grasped some of the practices I have struggled with including:

  • exploring composition more in my preliminary sketches
  • taking the work of other artists and incorporating ideas into my own practice
  • setting a concept or parameter for a subject to direct my work (I’m still finding this difficult) and exploring this in my sketchbook.

I think these are the areas I am weakest and will continue to work on these areas when working towards the next assignment. I will also look at tonal contrasts which is an area my tutor picked up on as needing more work.

I am glad that my own reflections on the Assignment are described as “insightful” and that I seem to be on the right track when analysing my own work and the work of other artists. I will also continue to network with other artists where possible.

My tutor gave me pointers which I intend to work on over the coming weeks. I find it quite hard to adopt new habits although I do think I am gradually taking my tutor’s advice on board! They are as follows:

  • From your analysis and insights: Make some clear, bullet-points as to what you aim to develop further (strengths) and what you wish to improve .  Keep referring to these as you progress through the next assignment.
  • Be more focused and specific about what you are making connections with in your research.  Draw out the specific points or connections you wish to explore and develop in your own work- make bullet points and set some aims.
  • Your tonal values are still limited at the dense, darker end; try and explore these much more through heavier gestural marks, swathes of ink or wash or built up through dense areas of marks or line.  To review these tonal qualities view the drawing through half-closed eyes, turn the drawing upside down and try viewing them in a mirror.  
  • I recommend that you continue to use your sketchbook regularly by exploring composition, mark-making and palette: monochrome & colour.  Try and use more notations, testing of marks, palette and tonal values.  Make sure that what you learn from this process you set aims to develop at the assignment outcome stage.  
  • Post photos of your visual refs to sketchbook / blog with brief notations (see Sketchbook comment)
  • Further analyse the Doig / Berg paintings I recommend, using the specific elements.  How might this analysis help you to understand possible composition, use of mark-making, palette and depth / surface qualities.  How do their and Virtue’s work explore notions of abstraction, that you say you’d like to explore.

 

Peter Doig regarding his compositional devices: 3rds and horizontal / vertical reflections. I also think you may find interest in his juxtapositioning when representing depth, whilst also reinforcing (painting’s) surface. Analyse these aspect of the works alongside the rich mark-making qualities, surface pattern and monochrome / high-key palette.

The Architect’s House in the Ravine

White Canoe

Ski Jacket

Reflection

https://www.theguardian.com/artanddesign/2013/jul/27/peter-doig-scottish-gallery-interview

Adrian Berg look at and analyse his Gloucester Gate, Regent’s Park May 1980 series. There’s a strong sense of composition, mark-making and palette.  I believe there are some connections between Berg and Doig’s composition, palette and use of mark-making.

John Virtue in relation to landscape and abstraction.  This particular article by Simon Schama is of interest for various reasons, but specifically what he attempts to convey through landscape and his influences.

https://www.theguardian.com/artanddesign/2005/feb/28/art

 

Tutor Feedback on Assignment 3

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Overall Comments

Thank you for the care taken in editing, selecting and organising your portfolio.  This contained the assignment outcome, two examples from exercises, one course sketchbooks (with organised Post-Its) and one ‘creative sketchbook’. I will comment upon specific aspects under the key headings and briefly comment on the ‘creative sketchbook’.

In relation to you reflecting on and responding to feedback at assigment 2: there is evidence of you acting on most of the Research and Pointers suggested.  This has clearly fed into and informed your approach to the assignment preliminary sketches; developing your options for viewing, composition, mark-making and cropping techniques.

In your sketchbook it’s good to see you using notations, sketches to prepare for your assignment,.  You’re beginning to explore and develop confidence in a variety of approaches to exercises and your preparatory work.  There are some energetic, dynamic line compositions (townscape / landscape) and stretching your own comfort zones away from the central compositional focus.

You’ve experimented with a broad range of media including: charcoal, pencils, Inktense, masking fluid and inks to expand on your mark-making, representation of depth, composition and form.

A developing analysis and reflection, with a more evenly balanced critique of what works and what doesn’t work, with some intentions on how you can move forward and bring these insights to future work.

As you progressed to the  assignment itself you evidenced a pertinent, concise and focused approach to your preparation, research and brought what you’d learned from the process.  It is clear that you are more readily applying your learning to each subsequent stage of your development: on an intuitive and conscious level.

Your research and analysis on specific artists and on composition has helped you to move away from habits, to see and understand a greater range of options and possibilities for your own work.

You have developed in confidence in terms of how you are thinking about research, planning and preparation with some persona aims coming to bear.

Well done.

Assignment 3 Assessment potential

“I understand your aim is to go for the B.A (Hons) Fine Art Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.”

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

You undertook some good professional networking in order to create an opportunity to draw plein-air with others, create opportunities for discussion, feedback and future exhibition opportunities.  Good practice.

Your prep drawings helped you to expand on compositional and mark-making options.  The panoramic drawing was especially interesting.  Rather than discarding the ‘spiky plant’ it may have worked to radically increase it’s scale, to create a greater sense of depth the the work.

The research and analysis into composition has informed your own understanding and increased confidence in exploring and experimenting further.  (see Pointers / Research)

I tend to agree with your reflections on the final outcome as in the aspects where you’ve explore mark-making and wash with the masking-fluid, do work well and the use of the vertical post of the pergola creates an interesting vertical frame in the drawing.  

Weaknesses are the ‘bodged’ top of the drawing, the vague patch at the middle right hand side and too much detail in bottom right.  Your tonal values need exploring at the darker, denser end of the range especially when conveying depth and distinctive shadows.  (see Pointers)

Other than wishing to convey, ‘plants, structure and depth’, I wonder if you had any other aims or intentions?  What might these be about landscape, nature…?

You utilised a broad range of media: charcoal, ink, masking fluid and pencil in some areas creating abstract shapes suggesting distant trees, loose varied marks to suggest foliage and undergrowth.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Of particular interest are a number of pages in the course sketchbook. The ones specifically relating to the assignment with varied compositions- panoramic, use of 3rds and large ‘spiky plant’ in right hand 3rd: an interesting layout.  Look at Adrian Berg to see how he structured some of his Regent’s Park works (paintings and watercolour sketches).  Further look at and analyse Peter Doig and John Virtue (see Research / Viewing / Pointers).

You mention that you utilised photographs to provide references for composition and other visual elements; it would be useful if you posted these to your blog or in your sketchbook with brief notations of how they were useful.  Just helps me to see how you are using and translating information from photo – drawings.  (see Pointers).

Utilise your sketchbook on a more regular basis, if possible everyday.  Use notations, explore mark-making with/ without masking-fluid and especially extent your tonal values, explore the more fluid and dynamic linear qualities in sketches.  You are touches on a range of interesting visual language and notions- if possible just do and practice more regularly.  (see Pointers)

{ ‘Creative sketchbook’ }:

Though not linked to the coursework….

‘Purposeful’ use of the sketchbook is an important phrase.  Ask what you want to use it for, how using it will help you experiment, explore and develop your visual language and your ideas and thinking process.

Creating surface on which to draw / paint can be useful / interesting, it can look contrived too.  It depends on the nature and purpose of the sketchbook.  Is the surface, insert, collage part of the ‘idea’ or does it distract or seem to make things look ‘arty’ or ‘attractive’ with little content?

The page with the paint refs and notations and two shells seems to work, as do the page of four shells, the page with bullet points down the left-side and the large loose drawing and collaged sections ‘Kitty Sabatier’ and large shell with text opposite.  There are definitely elements to incorporate into your sketchbooks with an understanding of what elements are important for you to draw on and explore.

Research

Context, reflective thinking, critical thinking, analysis

A very diverse, yet pertinent range of research including historical and current practitioners.  There is evidence that this is informing how you think, analyse, critically reflect and make decisions- benefitting your drawing practice.  

A good range of both primary and secondary sources.  Actively seeking out OCA study days, workshops, exhibitions and online sources.

Not yet consistently analysing and then applying what you research to your own ideas, concerns and practice.  Try and practice this more and foreground the relationship between what you’re researching- ask what connections there may be with how you’re practicing now, and how you hope to develop.  (see Pointers)

Good, consistent practice of Harvard referencing throughout.

See Research / Viewing / Pointers

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

A concise yet thoughtfully, insightful reflection on the assignment itself.  You reference each criteria and analyse how you address them; well and not so well.  You go further by saying how you aim to take these findings forward to develop your work further.

The clarity and confidence in your analysis and thinking is developing, and it’s good to read your balanced sense of your strengths and qualities, whilst also commenting in brief on what doesn’t work so well- setting some clear aims to address these.  A much more useful way of approaching the work and gaining recognition of both elements, then setting clear aims for developing and improving both.  This is a really valuable and important shift in your perspective. (Pointers)

Consistently good critical analysis of your drawings and a concise yet purposeful reflective process.  Continue this as you progress.

Suggested reading/viewing

Context

Peter Doig regarding his compositional devices: 3rds and horizontal / vertical reflections. I also think you may find interest in his juxtapositioning when representing depth, whilst also reinforcing (painting’s) surface. Analyse these aspect of the works alongside the rich mark-making qualities, surface pattern and monochrome / high-key palette.

The Architect’s House in the Ravine

White Canoe

Ski Jacket

Reflection

https://www.theguardian.com/artanddesign/2013/jul/27/peter-doig-scottish-gallery-interview

Adrian Berg look at and analyse his Gloucester Gate, Regent’s Park May 1980 series. There’s a strong sense of composition, mark-making and palette.  I believe there are some connections between Berg and Doig’s composition, palette and use of mark-making.

John Virtue in relation to landscape and abstraction.  This particular article by Simon Schama is of interest for various reasons, but specifically what he attempts to convey through landscape and his influences.

https://www.theguardian.com/artanddesign/2005/feb/28/art

 

 

 

 

 

 

 

 

Pointers for the next assignment

 

  • Reflect critically on this feedback in your learning log.

 

 

  • From your analysis and insights: Make some clear, bullet-points as to what you aim to develop further (strengths) and what you wish to improve .  Keep referring to these as you progress through the next assignment.

 

  • Be more focussed and specific about what you are making connections with in your research.  Draw out the specific points or connections you wish to explore and develop in your own work- make bullet points and set some aims.

 

 

  • Your tonal values are still limited at the dense, darker end; try and explore these much more through heavier gestural marks, swathes of ink or wash or built up through dense areas of marks or line.  To review these tonal qualities view the drawing through half-closed eyes, turn the drawing upside down and try viewing them in a mirror.  

 

  • I recommend that you continue to use your sketchbook regularly by exploring composition, mark-making and palette: monochrome & colour.  Try and use more notations, testing of marks, palette and tonal values.  Make sure that what you learn from this process you set aims to develop at the assignment outcome stage.  

 

  • Post photos of your visual refs to skethbook / blog with brief notations (see Sketchbook comment)

 

  • Further analyse the Doig / Berg paintings I recommend, using the specific elements.  How might this analysis help you to understand possible composition, use of mark-making, palette and depth / surface qualities.  How do their and Virtue’s work explore notions of abstraction, that you say you’d like to explore.

 

 

Please inform me of how you would like your feedback for the next assignment.   Written or video/audio

 

Well done, you’ve developed in confidence since assignment 2.  I look forward to your assignment 4.

Response to feedback on Assignment 1

Assignment 1 Feedback is a comprehensive look at how I tackled my first assignment. As I work through Assignment 2 I will be attempting to incorporate this feedback in 4 main areas.

  1. Set my intention for an exercise. Find out where my interest is.
  2. Use prep sketches to look at how I can use tone, composition, etc. to express this intention
  3. Analyse what went well and why as well as areas of improvement. Try to take this into the next exercise/assignment.
  4. Continue research using recommended articles/resources

The feedback points out that I focus on the areas that I think need improvement rather than the areas where I am working well so I’ll round up the areas I’m working well first, then go on to areas I will be focusing on improving.

Areas I am working well

  • asking questions as I go on
  • good beginnings at experimenting with approaches, media and techniques
  • reflecting on observation and acquiring drawing skills
  • bringing in personal aims and ideas outside course material
  • learning from exercises
  • using thumbnail compositions to make quick, informed decisions
  • learning about composition from research and practice
  • Assignment 1 drawing contained: “some well-observed, sensitive mark-making across the jar and brushes and a subtle and simple approach to the ring and shell.”
  • “You have approached the assignment with thought and consideration with regard to choice of media, selection of objects in relation to your research and reflections on vanitas genre and also a personal narrative content.”
  • Good use of sketchbook to make prep drawings
  • Continue the succinct yet useful notations alongside prep drawings
  • Using my blog to reflect on my research

Areas to focus on improving

  • regular practice and exploration of techniques
  • look at tonal values during preparatory sketches
  • attempt to solve problems I find in my work, take that forward into planning work for the next exercise.
  • look at what works as well as what doesn’t
  • Expand upon sketchbook prep work by setting my own specific aims for the assignment. Draw in series – for example: 6-8 thumbnails to explore composition, tonal values and negative space; 4-6 thumbnails to explore how the object/subject sits or fills the page; 6-8 small loose drawings to explore mark-making qualities in relation to lighting/tonal qualities
  • Use the constructively critical way I approach others work in my analysis of my own work. See OCA study guide “Looking at Artists”
  • set some intentions and aims for my own work. Ask broad questions about my intentions when beginning a drawing and ask similar questions when looking at others work.
  • Harvard reference all research

Suggested reading/viewing

Context

www.drawingcenter.org  Research through current and past exhibitions.  Red Drawing Papers no: 128 Cecily Brown’s Rehearsal and Paper : 117 on ‘Small’ are good starting points.

https://drawingroom.org.uk/

‘FOUND’ Cornelia Parker curated exhibition ( Aug – Sept 2016) at The Foundling Museum.

Pointers for the next assignment

  • Reflect and act on the suggestions and recommendations throughout the feedback.
  • Set yourself some specific aims to apply to your own drawings.
  • Reflect upon both what works / what doesn’t work in equal measure- then set some aims to develop and enhance both aspects.
  • Expand upon the preparatory drawings: work across a number of thumbnail sketches to explore tonal values, relationship between object / subject and negative space, mark-making qualities (in addition to composition).
  • Suggested reading / viewing (as above) and reflect on these on your blog.

Feedback from Assignment 1 from Tutor Cheryl Huntbach

Overall Comments

Thank you for your submission of Assignment 1. You submitted a well organised and thoughtfully edited portfolio, a supporting blog archiving research and commentary on process, media and range of exercises.

Throughout the feedback I have made some recommendations on approaches to media, process and critical analysis: your work and research.  It will benefit your progress to act on these and reflect on the benefits or otherwise on your blog.

You have a methodical and committed approach to experimenting with different media and recording the process.  

You have made a good start to researching with reference to historical and 21st century research.  You ask questions of yourself and others, exploring a more open inquiry rather than sticking with assumption.

You’re using the blog to track your progress and to reflect upon your use of media and technique.  There is more scope to reflect on the connections between your breadth of research, your own learning and potential.

There are some experimental approaches to exploring tonal values in creating three-dimensional form.  In observing and conveying objects you have attempted to explore and communicate differing surface and material qualities.  You’re noticing and exploring how to communicate reflective and transparent matter.  Good beginings here, regular practice and further exploration will improve these effects.

In some of the drawings you pay more attention to the objects and less to the space in-between, foreground and background.  Here it would be beneficial to revisit some of your research: Morandi for example.

You are clearly reflecting on your observation and acquiring drawing skills with an open, inquiring approach .  At assignment 1 it is very good to see that you are bringing in some personal aims and projects outside of the course material.  

Assignment 1 Assessment potential

You may want to get credit for your hard work and achievements with the OCA by formally submitting your work for assessment at the end of the module. More and more people are taking the idea of lifelong learning seriously by submitting their work for assessment but it is entirely up to you. We are just as keen to support you whether you study for pleasure or to gain qualifications. Please consider whether you want to put your work forward for assessment and let me know your decision when you submit Assignment 2. I can then give you feedback on how well your work meets the assessment requirements.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

An expansive range of monochrome media has been utilised in the preparatory drawings and the final outcome.  

These work best when you’ve explored and conveyed  texture, surface and reflective qualities and form through specific mark-making and handling processes.  You’ve clearly reflected on and learned from the exercises and projects, which you’ve then fed into the assignment itself.

With regards to the preparatory works; you’ve explored differing compositions, mark-making qualities and varied tonal values (especially in the background / negative space).

Some simple, concise analysis on the thumbnail compositions has helped you to make quick, informed decisions.  You are clearly learning about composition from your research and practice.

In future consideration at the prep stage for the range of tonal values: in the background and foreground would also be useful. (see Pointers).  Half-closing eye at this stage may help you to break these down.  Also focussing upon the negative space only to first lay-down tonal values.

‘Lots of things that I’m not sure about in this picture’:  Being ‘unsure’ is a normal and acceptable state of being, especially when learning new processes and approaches.  

You make judgements on your work that suggest you’re dissatisfied with some elements, yet offer no problem solving or alternative approaches i.e: ‘messy’ background, edge of books and image too small.  Ask yourself how you might have planned: the composition, placement on the paper, the range, balance and dynamic of the tonal values across the work?  (see Pointers)

It would be useful to spend some time reflecting on the analysis of what works / doesn’t work- in equal balance.  Then set some aims as to how these might be developed further or addressed.  I suggest that this will be helpful to recognise both emerging strengths and qualities to be further explored, as well as weaknesses to be developed and problem-solved.  (see Pointers)

Some well-observed and sensitive mark-making across the jar and brushes.  You’ve captured and conveyed both a play of light and qualities of transparency in the jar.  There is a both a subtle and simple approach to the ring and shell.

You have approached the assignment with thought and consideration with regard to choice of media, selection of objects in relation to your research and reflections on vanitas genre and also a personal narrative content.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Good use of your sketchbook to make notational prep drawing, with concise analysis of compositions.

It would benefit your development to expand upon this prep.  Set some specific aims of your own around the assignment work.  Pursue the prep by drawing in series before you begin a final drawing, for example:

6 – 8  small, thumbnail sketches to explore tonal values, negative space (in addition to different compositions or viewpoints)- work out the more interesting composition and tones before you start.

4 – 6 small, thumbnails to explore how the object / subject sits or fills the page.  Test out portrait / landscape format.

6 – 8  small loose drawings to explore mark-making qualities in relation to  lighting / tonal qualities- to test out the varying qualities of tone and marks across the drawing.  (see Pointers)

Continue the succinct yet useful notations alongside the prep drawings- these will aid your thinking and visual analysis at each stage of the planning and drawing process.

Research

Context, reflective thinking, critical thinking, analysis  

You’re using your blog well to reflect on your eclectic research.  A very diverse range of both primary and secondary sources.

Harvard referenced research.

You seem more constructively critical when analysing the work of others; considering elements that work / strengths and elements that don’t work / weaknesses.  How might you bring a similar balanced analysis to your own work?  Could you utilise the OCA study guide looking at artists… to your own work?  (see Pointers)

The research and inquiry is thoughtful, so now it is timely to think of how you might apply or reflect on the content, context and qualities in your own work?

Set some intentions and aims for your future drawings- applying your research to your work.  (see Pointers)

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis  

You’ve made a good start to using your blog as an archive for your research, reflections and learning process.  Maintaining this practice whilst feeding your curiosity and exploring the practice of drawing is essential for your development.

You understand that there is no ‘right’ or ‘wrong’ approach to drawing, though there’s a tendency to focus on what doesn’t work: this is a great opportunity to problem-solve.  In addition to not repeating the process or strategy,  consider how you might not do / do something else.  Follow this problem-solving by trying out your new ideas and approaches. (see Pointers)

You are using both trial & error, research and analysis to underpin and feed into your learning.  By reflecting on your blog regularly, this is supporting how you think and also how you draw.

You are reflecting on your learning throughout.  What would be useful is to take these thoughts and insights forward – Set yourself some specific aims to apply to your drawings.  This will help you to develop and deepen your autonomy and personal voice.  (see Pointers)

Begin to ask some broad questions / intentions (as suggested in Research) about what your intentions may be when beginning a drawing (& ask similar questions when reading or looking at others’ work).  Try this approach out and record your reflections on your blog.

Suggested reading/viewing

Context

www.drawingcenter.org  Research through current and past exhibitions.  Red Drawing Papers no: 128 Cecily Brown’s Rehearsal and Paper : 117 on ‘Small’ are good starting points.

https://drawingroom.org.uk/

‘FOUND’ Cornelia Parker curated exhibition ( Aug – Sept 2016) at The Foundling Museum.

Pointers for the next assignment

  • Reflect and act on the suggestions and recommendations throughout the feedback.
  • Set yourself some specific aims to apply to your own drawings.
  • Reflect upon both what works / what doesn’t work in equal measure- then set some aims to develop and enhance both aspects.
  • Expand upon the preparatory drawings: work across a number of thumbnail sketches to explore tonal values, relationship between object / subject and negative space, mark-making qualities (in addition to composition).
  • Suggested reading / viewing (as above) and reflect on these on your blog.

Please inform me of how you would like your feedback for the next assignment.   Written or video/audio

Well done, I look forward to your next assignment.

 

Interim feedback from Tutor Cheryl Huntbach

I have received some useful interim feedback from my tutor Cheryl Huntbach based on my blog.

Hi Emma

It certainly looks like you’re on track for submitting on 1st.  You’ve made a good start to Drawing 1 by developing a useful flow between exploring the exercises, reflecting on what works / what doesn’t and researching as you progress.  You are also initiating your own strategies to explore opportunities to practice what you’re learning and generate your own ideas: table for temporary still-lifes.  You’re developing a sense of autonomy alongside following the coursework structure- great to see.
EW: This is great to know. Thanks! I have actually let my daily table drawings go while I focused on Assignment 1. I’ll do it more often.
Joanne has given you some thorough feedback (with useful links), which I concur with. I recommend that you re-visit each point she’s made and try to respond to each one. I suggest you make your own bullet points as actions and also reflect on each afterwards.  I can see that you have responded to some of these already.  Do follow-up on the others, as this is valuable, useful feedback to learn from.
EW: This is useful advice. I’ll go through Joanne’s feedback again
Take time to reflect on the points she makes regarding what you’re doing well  (in addition to aspects that need to be developed).  Critical reflection is as much about acknowledging, confirming and developing what you’re doing well, as about recognising and developing what isn’t working.
EW: That’s interesting. It’s easy to only focus on where you can improve not where you are already doing well. Thank you.
I’ll leave further feedback to when I’ve received your portfolio.  I recommend that you read through pages7 – 9 and page 27 of the course pdf:
EW: I have re-read these pages and will do a self-assessment before sending my work off.
To do:
  • Revisit Joanne Mulivihill- Allen’s feedback and respond.
  • Continue with my own table drawings
  • Write self assessment for Assignment 1.
 

Comments on my work so far from Joanne Mulvihill-Allen, OCA Course Support

I emailed Joanne Mulvihill-Allen from OCA course support with a link to my blog asking if she had any comments on my work so far. Her reply:
Hello Emma,
I think you have made a good start here and you are starting to reflect on what you are doing and why.
EW: this is good to know!
This is something that will develop over time so don’t feel too pressured to have it completely sussed just yet, in time you will allow your research to feed into your reflections also, looking at artwork and responding to it and comparing and contrasting it with your own. There is a looking at artwork guide on the student site here.
 EW. my notes on this are here
Pick out the successful elements in your work and try to take these forward to the assignment piece. When something doesn’t work say why it doesn’t work and how you would do it differently next time, if you have time try and make another drawing inputting these evaluations. Exercise pieces do not need to be finished works, rather a place to learn, experiment and make mistakes. So you could just re-do a section of the drawing.
EW. I’m currently finding it quite hard to identify why things work or don’t work. I’ll practice this.
It’s great that you have started making thumbnail sketches, many of the compositions in each look the same however for example your jam jar is always on the left, try to move things around a bit more, perhaps try your page portrait rather than landscape. Use a viewfinder or a camera to hone in on areas and manipulate the composition further.
EW. That’s an interesting comment. I’ll bear it in mind!

 

Be careful when making expressive pieces not to lose your angles, you can create lovely gestural work that still looks ‘right’. Within tonal drawings lines are created through subtleties in light – a line isn’t a physical object, pretend it doesn’t exist. The line is an illusion created by the differences in the dark areas and the light areas. If you struggle to see different tonal values try manipulating your light source by using lamps and squint your eyes.

EW. I think I get the concept of there being no line quite well but I find it hard to keep the form of the object while being loose in my style – I will be looking to develop this.

It may also be useful for you to work on black and use white, you could do this with black paper and white media or you could cover your page in charcoal and work back into it with an eraser.
EW: I have tried this here.
If you are struggling to draw large use the gridding up technique, it may help you get your proportions right until you get used to scaling things up. The opening exercises in the course show you how drawing is an activity that uses your whole body, don’t be afraid to input this same energy into compositional work.

Until you can trick your brain into seeing what is really there and translating it to the page there are different measuring techniques you can use for example with a pencil, have a look on youtube for some quick tutorials.

For gridding up take a look at the following blog posts and an example of a youtube video – there are many more like this online.

http://weareoca.com/fine-art/jerwood-drawing-prize-2015/

http://weareoca.com/fine-art/grids-scaling-up-tracing-cheating/
https://www.youtube.com/watch?v=2LJF8OTG3N4

EW I have looked at these videos.
It may be worth your while going back to one of these exercises and try it out.
EW I think I’ll try and incorporate as much of this advice as I can in the next exercise I do.
I think you are on the right track Emma, keep at it! Do let me know if you have further questions and concerns.

Kind regards

Joanne Mulvihill-Allen