Section 3: COMPOSITION. Exercise 2: Fore, middle and background

A more conventional work than the previous one... I tried to work at putting in less information in order to give the work a crisper feel - reflecting the clean, well-groomed feeling of the parks here and to achieve a sense of depth without having to draw every leaf and blade of grass.

Sketchbook work:

The pagoda with the small bridge was my initial subject for this exercise, but then I realised that the pagoda was too close to the hill behind it to establish enough depth.

Reflection:

In order to simplify I selected the elements which I felt would add to the composition only and simplified the masses of vegetation by really only drawing in the main elements.

I created a sense of difference by

Tone: I shaded the foreground in heavier darker ones and then got lighter as i moved back.
I used more detail in the foreground
I used overlapping elements to indicate space and
I used a receding path to lead the eye to the back of the picture plane.

I felt that I used enough light and shade in both works. I made extensive use of line in Exercise 2 as I wished to experiment with a more subtle approach, as advised by my tutor. I had to stop myself from being pulled back to a more realistic drawing where everything is shaded and finished.

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Section 3: COMPOSITION. Research Point.

Contemporary Artists working with landscape and a range of viewpoints. Georges Seurat, Landscape with houses. 1881. Conte Crayon Tacita Dean, Fatigues. 2012. Chalk on Blackboard Mark Tansy, Reveler, 2012. Oil on canvas. The subjects of Mark Tansey's work is set in, for the most part, landscapes and he uses and manipulates these to serve the purpose of the allegory that he wishes to convey through the use of images which are paradoxical and at times absurdly but never, randomly placed on the canvas. I love his work and have included it here to compare the three works as they all monochromatic and unusual to their approach in viewpoint. In all three works there is a strong sense of division in the picture plane. The first two the space is divided horizontally and in the last vertically - Tansey's work has a strong sense of symmetry, both vertically and horizontally and this further emphasised by the repetition of this element in the mirror. Tonally the works are also...

Section 3: PERSPECTIVE. Exercise 2

As the weather continued to be rainy and wet, and as I did not want to work from a photo, I did a drawing of the buildings below my flat as seen from the 29th floor. This obviously changed the angle on the perspective and the horizon line. Using my pencil as a guide I checked the angles and proportions against those that I drew. As you can perhaps see, the horizon line was probably higher than what I thought it was .. some of the orthogonal lines were off...

Section 2: STILL LIFE: Exercise 2: Still life using Tone and Color

I did 2 completed studies for this exercise. The first is in chalk pastels on a dark ground. I thought that the dark ground was useful in contrasting the light areas but that the medium is more difficult to control. I also felt that the composition was successful and I enjoy the contrasting rectangular spaces which off-set the round shapes of the bottles and fruit. The second work was rendered in watercolour pencils and I felt that the medium was far more conducive to accurately capturing the variations in tone and colour. Overall I was more pleased with the first composition as it seemed a bit more interesting and dramatic in a sense.

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