Reflections and key learning points (500 words).
For me the most critical skill that I have learned is that the process of drawing and experimenting can lead to a very satisfactory outcome even from unpromising beginnings. Previously I would not be interested in a subject unless it interested me from the beginning. Through engaging with the exercises and reading and researching artists and their methods of working, I have come to appreciate that I can influence a lot of things to inform an outcome. Before starting this assignment I would produce a fairly representational rendering of a subject – see colour pencil study of dogs toys, Project 2 Using Space, or A1 charcoal portrait of my son, Project 3 Scaling Up. So, for me to reach a final outcome that consists of three different ideas that are related and being combined on one single sheet is rather a large step out of my comfort zone.
I do have a fascination for traditional drawing skills and am working through the Charles Bargue Drawing Course (Ackerman, 2003) where the exercises on the Human Form in Project 4 were very enjoyable, perhaps I spent a bit too long on these exercises and also on the portrait of my son in A1 for Project 3 for Scaling Up where I tried to make the exercise fit into something that I would like to do, rather than engaging with the exercise of finding small objects and making them appear large. The brief in Project four about doing a study, but not leaving it purely Academic made me start off with the Academic style as taught by the Bargue Drawing Course, but also to introduce an element of energy which I see in the pencil and charcoal portrait studies of John Singer Sargent, (Fairbrother, 1983). This is a key teaching in the early stages of Speed (1917) where the importance of not just producing a cold reproduction but rather injecting some artistic expression along with representation is the true skill with drawing. Petherbridge (2010) takes this even further in her comprehensive book which argues that different styles of drawing are called for at different stages of a paintings production and therefore we must master them all before specialising in one field. This idea resonated with me particularly. I have always firmly believed that Drawing has to be the cornerstone for any artistic style. Being expressive is fine, being able to draw well gives you the tools to be properly expressive either through representation towards hyper-realism or through colours and mark making, like Picasso said, learn the rules like a master before breaking them like an artist. For my part I have tried to engage with the projects, and I hope my enthusiasm for art is clear from what I have produced. I am keen to see my tutor feedback to help guide me through the next Assignments.
(476 words).
Sources
Ackerman, Gerald M., Parrish, Graydon, 2003, ‘Charles Bargue and Jean-Leon Gerome Drawing Course, ACR Edition Internacionale, Paris.
Fairbrother, Trevor.J, 1983, ‘Sargent Portrait Drawings 42 Works by John Singer Sargent’, Dover Publications, New York.
Petherbridge, Deanna, 2010, ‘The Primacy of Drawing – histories and theories of practice’, Yale University Press, New Haven and London.
Speed, Harold, 1917, ‘The Practice and Science of Drawing’, Seeley, Service and Co. Ltd, London.
Tutor feedback from assignment 1.
Formative feedback
Overall Comments
Thanks for uploading the latest batch of work. This report is based on the notes you sent, with comments by me in RED. You also have a recording of the conversation to which you can refer.
Before discussing my assignment work, BE informed the importance that creativity plays in Level 2 compared to Level 1 against technical ability, 5% more so it is essential to focus more in this area to gain higher marks than produce ‘finished work’. NC commented on Learning points in blog over this fact from exercises. I have learnt the importance of the process informing the outcome, rather than inspiration taking the example of the worn tyres at the skip leading to exploring truck movements and truck marks. Research into William Kentridge’s process and Prunella Clough helped generate ideas. Generally speaking you have good technique but I am concerned that you will rely on it too much. Visit contemporary art shows and while you might not see ‘fine’ drawings in the traditional sense you will see energy and ideas. Often the way of working id an integral part of the piece. Process becomes an embedded part of the work and what gets displayed is the fallout from a process. It’s not always easy to grasp, but contemporary artists tend to make work that ‘enquires into’ and/or ‘speculates on’. It tends not to display what they know they can do. That’s not a hard a fast rule – and artists go through periods of discovery and consolidation – but it’s important to recognise it. Good art is like an itch you can’t scratch – or need to keep scratching. Something that bothers the viewer rather than (just) impressing them. 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.
Student name
Neil Cramond Student number
515702
Course/Unit
Drawing 2 ID Assignment number
1
Type of tutorial (eg video/audio/ written)
GH
Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Project 1 – Industrial setting work was good, Still Life in kitchen with Tea stuff needs improving, the linear quality of some of the cropped in images is lacking, it looks a bit squiggly and rushed. NC did comment that he was trying to step away from Academic style of drawing and would happily re-visit. Action – NC to adjust linear quality. This led to a discussion about the merits of cross hatching to suggest form in a drawing – NC pointed out example of this in preparation study in Project 4 – copy of Bargue Plate ‘Arm of Moses’, Michelangelo, 1513-16, San Pietro. Both agreed it is a useful tool. Work hard at improving the line work. Give it energy and variety to imply weight. As with all parts of the submission you need to make more work atop work through ideas. Bryan did stress the importance of continuing to work out of your comfort one in order to improve, otherwise students stagnate and don’t grow, better to produce lots of work and then refine, but don’t scribble either! Action – NC to explore the etchings of Rembrandt, Van Gogh and Morandi, and to be careful when drawing vertical lines that they don’t slope to the right. Project 2 – Using Space – ‘Still Life with Dog’s Toys’, informed by Elizabeth Blackadder and Matisse, top two thirds taken up with negative space with subject objects in bottom third. Tutor happy with material handling in this and Matisse inspired felt pen outcome. This is you developing by adopting the ideas of others. More of this please. Mess about. See what emerges. Don’t play to your strengths. Project 3 – Scaling Up – As mentioned earlier, I did not properly engage with this outcome and instead focused on a large A2 size charcoal portrait of my son. Yeah. needed more thought. The drawing’s fine, but safe. BE advised that NC should look at works of John Ruskin who works on large images – Action NC. Ruskin used hide drawing / painting as a kind of (pseudo) scientific enquiry. Might be an important avenue for you to think about. Project 4 – Human Form – Good drawing technique, but as discussed earlier, don’t be too clinical – looking for creativity, not technical ability. Project 5 – Final Outcome. NC discussed the process of how this came about from my profession (which could provide some valuable insights later on in course) as an HGV driver and again commented inn learning log and reflections that lesson of process informing the outcome has been learnt. Well done for mashing things together. A big step for you. Don’t discount this ‘collision as method’ in future. You do it with the Blackadder / Matisse piece too. It an be a fruitful way of developing ideas. Making art is often about making connections and making things exist in the same space to generate newness. That might be absurd or forced, but it’s worth trying. Allow sketchbooks experiments to happen and exploit them elsewhere. Research / Parallel Project Context, reflective thinking, critical thinking, analysis
BE asked about Parallel Project. NC talked about strong belief in importance of Drawing as essential to every step in the artistic process as per Deanna Petherbridge’s Book, I am using an Academic Drawing Course to establish good drawing practice which will then better inform my portraiture, landscape and Still Life skills to better enable me to express my ideas. BE sparked off discussion ideas about portraiture itself as possibly being a better outcome and re-emphasised the importance of doing more work to better inform outcome. Action –
NC to continue with Drawing Course but be wary of being too technical and potentially losing marks against creativity. Think about this. Make work – lots of it – and the think about what you’ve got. One problem with Petherbridge’s thesis (and I like her a lot) is that not can defer the making of important work. You can develop skill AND make perusal expressive work. You’ll develop skills as you do it. As discussed there’s always someone making better technical work. It’s like an arms race. Better to opt out and explore new territory, I think. Learning Logs or Blogs/Critical essays Context, reflective thinking, critical thinking, analysis
Update blog and Project at later date. Work should be inquisitive in nature, don’t be afraid to make mistakes!!!! Analyse the drawings more, reference to influences to help guide assessors with your thoughts. – Action NC. You can revisit blog entries at any time to further reflect on work. At the moment you tend to describe what you’re doing, Analyse much more. Give me (and therefore assessors) an insight into how you think about improving. Be detailed and particular. If a corner of a piece works, isolate and say why. And remember, failure is easier to write about than success. Critical Review idea. Discussed proposed essay structure about contemporary portrait artist Cesar Santos and how his classical training and style fits in with today’s post-modernism and installation filled art world. Action – NC to produce draft of 2000 word essay and find text to quote from about this artist. On reflection, I think you may be in trouble looking at the is artists in this way. The simple answer is that he doesn’t fit in with the world you describe. he inhabits an entirely different one – very profitably. His work is not seen alongside the kind of work you describe. It doesn’t belong and I don’t think he cares. Work up a draft, but you’ll need to be critical in your assessment,. His work is close to what clement Greenberg describes as ‘kitsch’ and I think assessor would want you to address that. It’s impressive stuff but – in my opinion (and I suspect the opinions other tutors) – it resembles art without it being art. That might be a tough thing to hear, but I think it’s important for you too think about this. Strip away the admittedly impressive technique and I don’t think there’s much you can write about aside form biography. Make sure everything (apart from the drafts of the CR) go on the blog. It all need to be in one place. I recommend adding a ‘Parallel Project’ page to which you can add that content. Suggested reading/viewing Context
Graham-Dixon, Andrew, Caravaggio: A Life Sacred and Profane While this sent exactly a typical Drawing Two text it’s a great book about an artist you admire. It’s worth reading it while bearing in mind that the work is made because of something important – Caravaggio is wrestling with real stuff – and not just making dramatic pictures. Look at other Drawing 2 students blogs, share ideas – already met up with one student hangout, but working away from home means I can’t always access this facility. Stout, Katharine, Contemporary Drawing: From the 1960s to Now (Tate, 2014). If you want to look at phenomenal technique put to the service of something look at the work of my old PhD Director of Studies Penny McCarthy: http://pennymccarthy.com/ Artists I know who may interest you (and you can work through these over time if you like): Sean Williams / Andy Cropper / Rita Kaisen / Georgia Peskett / Joanne Whittle / Conor Niall Rogers / Mandy Payne. All of these artists work in ways that require exacting technical ability but each has found a subject that is challenging. You can find examples of there work in the
PROSAIC instagram feed: https://www.instagram.com/prosaic97 This is a curatorial project I’m involved in. Scroll through it and follow linns as appropriate. Drawing Two student Stephen Lowen is also on there and it might be good for you to contact him. He painted this Fried Egg:
! Pointers for the next assignment ● Reflect on this feedback in your learning log. ● Follow up on the suggestions I have made ● Be more experimental in drawing, more prolific in drawing, and more reflective in blog. Better to have more stuff to work with and talk about. Indeed. Be prolific and don’t worry about finishing or refining stuff.into definitive ‘works’. Churn through ideas and hunches without too much editing. That can come later. ● Make the drawings you execute interesting in their own right, regardless of the source material. Think about the ‘surface interest’. This could be texture, markmaking, composition, etc.. Why should I look and relook at your work? ● If any of the exercises make sense in terms of the PP then use them to forward that. ● Make loads. Then make some more.
● We didn’t talk about this much, but working from life as much as possible – when making observational work – will force you to think more than when using reference photographs.
Please inform me of how you would like your feedback for the next assignment: Written or video/audio. For Level Two and three students I recommend having as many video tutorials as possible though you’re under no obligation to have any.
Well done, I look forward to your next assignment.
Tutor name Bryan Eccleshall Date 14/8/19 Next assignment due 25/10/19
Neil C Drawing 2 