Section 2: COMPOSITION. Practice and negative space practice.

Sketchbook practice of the kitchen sink in chalk pastel. The pastels achieve a feeling of the plastic light which I enjoy and the simplicity of the un-composed composition was very appealing to me. I learnt here to see beauty in all things, mundane as they seem.

Below: Composition practice. I liked the wobbly line on this practice as well the larger negative space on the left side of the composition

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Sketchbook

I'm finding the discipline of drawing everyday so beneficial ; I look forward to the time when I can settle down and do it.. And I can see growth. The first one is of my supper and the second a dead bird I found in the woods. #adelefoucheart

Project 2: Exercise 3: Creating Shadows with lines and marks.

Did a lot of practice here before I attempted the exercise. What I learnt here is that implied lines are enough and by not outlining the objects a looser, softer and yet "more real" effect is obtained. This is interesting to me - is it because the brain completes the picture and is therefor more involved in the process and is then more invested in being interested in the painting?! This was 4B pencil. This is some of the practice. Got bored so the bottom 2 ain't great...

Project 1: Research Point: Atmospheric Potential of Tone/Odilon Redon

Odilon Redon is one of my favourite artists. I enjoyed discovering his lithographs and works in charcoal, having only ever seen or known of his later paintings. My research shows that until the middle of the 1890's, Redon devoted himself primarily to his graphic work, engravings and drawings, and notably to the noirs : unusual and precious charcoal drawings, which he exhibited in Paris for the first time at the beginning of the 1880. He explained his discovery of charcoal in a letter published by the magazine L'Art Moderne in June 1894, under the heading "Confidences d'Artiste" (Artist's Secrets). "This everyday substance, which has no beauty of its own, aided my researches into chiaroscuro and the invisible. It is a neglected material, scorned by artists." 1. It is his use of value (or tone) in his noirs that really express the use of atmospheric tone to be studied here. In much of the work a considerable amount of dark tones can be seen ...

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