Section 3: PERSPECTIVE. Exercise 3

Aerial Perspective

This was easy for me to do as the high amount of moisture in the air here lends itself to this. All the views are done from my balcony.

Ink and wash

Charcoal study. I felt that I achieved the feeling of the masses of buildings that make up downtown Guangzhou - and yes, the buildings are that tall. The IFG building is 100 stories and the Canton Tower just slightly higher

Watercolour 1.

Watercolour 2.

In both watercolor works I was pleased with the way I resolved the buildings issue - trying to paint masses of buildings without getting bogged down in detail. Also, it was easier to get the gradation of tone with watercolor by just thinning the paint.

The last two are oil stick and chalk pastel respectively. I dislike both intensely as I felt the color is garish and ill chosen. In the second one I feel that the mountains look more like candy floss. I realised after that if I had not blended the pastel and used only one color the result would have been better.

So I had another go at it. Better result. What I saw was that each material lends itself to its own handling and mark making. Using pastels requires a completely different handling to watercolor or charcoal.

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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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