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 2: DETAILED OBSERVATIONS OF NATURAL OBJECTS: Exercise 1: DETAIL AND TONE

Fallen Leaves Study. For this the subject is 3 dried leaves which I found during my walk, all three in varying stages of decay. I used colored pencils and oil pastels. I left the majority of the page white as I wished to capture the intense light and the lovely colorful shadows that the leaves cast on the crisp white paper that they were perched on. I enjoyed the success that I achieved with the papery delicate feel of the leaves and it was only till I had layered the oil pastel on top that the drawing "popped". What i learnt here was not to be "precious" with your work. Detail 1. Detail 2. And then I cropped it. I think that the composition is better here. There is less negative space and the longer format works better with the length of the leaves and the horizontal lines that they present. Some practice - Lemons in conte crayon

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...

Section 3: COMPOSITION. Exercise 1.

Composite drawing from sketches and photographs. This exercise excited me as I looked at the elements that interested me in the landscape around me and drew from previous work. I realised that a work didn't need to be constructed from only the visual information in front of me but could be drawn from elements in previous sketches and pieced together. I looked through the work I had done: Sketchbook for Exercise 1. and did some sketches: And decided to put together 2 works... the park sketch in charcoal that I did on the Sketchbook Walk exercise: And a 360 sketch of the view over a small stadium and the eastern part of the city. so as to combine the feeling of the concrete jungle and to reflect more fully the sanity of the park spaces in this mega city. This then the final work: I used a number of techniques and materials: Dipping pen with ink and wash, powder charcoal and green Japanese brush pen. On reflection I am pleased with this

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