Assignment 5 – Option 3: Drawing Outdoors

27/11 – 08/12/14

Assignment 5 Option 3 – Drawing Outdoors

Process and Progress:

 

 

Fig 1 – Watercolour wet in wet washes

Fig 2 – Building watercolour layers and defining the middle ground trees

Fig 3 – Adding in acrylic inks and building tone and colour

Fig 4 – Adding definition, tone and colour to focal point iron work.  Washed out the indigo blue watercolour as seems too strong

Fig 5 – Middle ground woodland still too strong.  Added creased tissue paper with 50:50 PVA glue and water – fresh start but with some colour and marks showing through. Began adding texture, colour and tone to the concrete buttresses.  Adhered torn hand-made paper to the bottom left corner and added inks and watercolour for foliage

Fig 6 – Adding brighter ink to the woodland and watercolour washes into  the river

Fig 7 – Using water-soluble Derwent Graphik pens, sepia drawing and brush pens to draw into the under-painting, bringing in the details and building more texture with mark making.

Fig 8 – Addition of more washes, completing all features, building tone in shadow areas, adding colour, definition and texture with oil pastels and colour brush pens.

Fig 9 – Working in the texture in the wooden plank walkway, increasing tone in the middle ground taking down the brightness. Worked into the foreground foliage increasing darks with dark blue brush pen, working negative spaces to bring out natural shapes of leaves with highlight of Graphik pen.

Fig 10 – Water built up with ink pens, oil pastel and washes.

Final work

Final work

Self Assessment
Demonstration of Technical and Visual Skills
material, techniques, observational skills, visual awareness, design and compositional skills.
I continued experimentation with different media and drawing tools and tried to push them and myself by letting them find their own way in a sense. As well as inks, pens and oil pastels etc.  I tried textural effects with different papers and salt.  Compositionally, careful planning and the trying out of different views made it easier to be free with how the work was made within a considered design.

Quality of Outcome content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas.
Initially, I was excited to try all sorts of ideas and techniques and if I hadn’t gone through the lengthy process of experimenting and trialling effects in my sketchbook and elsewhere, I think there would have been a definite lack of coherence.  By following the process, I achieved a loose and fluid under-painting which I feel has been successfully pulled together by drawing and mark making with detail and accuracy where necessary yet the image remains lively.

Demonstration of Creativity imagination, experimentation, invention, development of a personal voice.
I used my imagination to create a version of the scene that I hope has enhanced an autumnal feel by my use of colour and texture.  All of the planned elements are there, yet I was determined to avoid a photographic representation, the feelings that the location evokes in me are demonstrated by the treatment given.  Textures, smells and sounds inspired the work and helped develop a representation of a favourite walk.  I didn’t want to rely on laborious, detailed and intricate drawing of branches, mosses and foliage but make the best of what the media and techniques gave me and work with whatever effects occurred.

Context reflection, research, critical thinking (learning log).
I have continued to use my blog to record my reflection of progress and exercises.  I have learnt lessons and recorded them clearly, together with the research undertaken this has informed my decision-making and direction in the making process.

Reflection of Final Work

I have left the assignment drawing for a couple of days and returned to it to re-evaluate and decide whether I am entirely happy with the result.  My thoughts:

  • From a distance the trees immediately to the left of the iron girder appear too vertical and are not distinct from the girder itself.
  • The whole image may need more “pulling together”.
  • The texture and tone in the foliage in the foreground is too flat and indistinct.

Rework to Address the Above

Assignment 5 Option 3 - Drawing Outdoors Final and Complete Piece of Work

Assignment 5
Option 3 – Drawing Outdoors
Final and Complete Piece of Work

Points Above Addressed by:

  • Lightened the end of the iron girder to bring it forward
  • Added more tone and texture to the offending group of trees, plus made them less vertical by adding tonal branches.
  • Brought colours across the drawing to unify and using oil pastels on their side to bring out the relief of the tissue creases to indicate branches.
  • Added lights and darks to the foreground foliage with oil pastels and worked into the negative shapes with dark brush pens to bring the leaves forward.

Detail Photographs

As this particular assignment is being assessed purely on-line due to time restrictions, I have included close-up detail photographs to further illustrate the textures and details.

Detail 1

Detail 1

Detail 2

Detail 2

 

 

 

 

 

 

 

 

 

 

Detail 3

Detail 3

 

Detail 4

Detail 4

 

 

 

 

 

 

 

 

 

Detail 5

Detail 5

 

 

 

 

 

 

 

 

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Assignment 5 Drawing Outdoors – Media Experimentation and Selection

17 & 18/11/14

Assignment 5 Drawing Outdoors – Media Experimentation and Selection

In my mind I wanted to use water based media to produce washes particularly with wet in wet effects. The following experiments were mainly focussed on the woodland in the middle ground of my composition and which colours to use for what.  I was also keen to try out salt effects both with sea salt and table salt to disperse the ink and watercolour to produce texture. I’ve taken some work in progress photos to show how the layers were built up.

Colour media experiments with notes

Colour media experiments with notes

A mixture of watercolour, acrylic ink and oil pastels.

Sketchbook page showing the colours I intended to use following the colour studies. Also, the adding texture with screwed up tissue and hand-made paper,
A mixture of watercolour, acrylic ink and oil pastels.

 

From the above studies and playing around with colours and media, I made a rough plan in my sketch book of the colours of ink and watercolour I wanted to use.  I had seen some mixed media work using tissue paper as a textured base so thought I’d try this, plus I had some hand-made paper that was very absorbent and frayed freely at a torn edge. Texture is a key part of this drawing so I also wanted to try using salt  sprinkled onto wet media and see how it reacted, I used large grain sea salt and fine grain table salt.  I imagined that the larger grain would be useful to describe the moss on the

Further experimentation with textures using: Oil pastel as a resist Salt to diffuse pigment Hand-made paper to use wet in wet pigment.

Further experimentation with textures using:
Oil pastel as a resist
Salt to diffuse pigment
Hand-made paper to use wet in wet pigment.

concrete and the finer grain would give a diffused effect to show rough texture.  I could, of course,

have used rough watercolour paper to show this, However, I made a conscious decision to use smooth hot pressed paper as I can add roughness but not take it away and be more selective in where this was done.

 

 

 

 

 

Exercise: Points of View

24/10/14

Exercise: Points of View

Exercise: Points of View Sketchbook and Notes Bickton Mill Sluice Gates

Exercise: Points of View
Sketchbook and Notes
Bickton Mill Sluice Gates

Points for consideration:

  • Zoom in or expand the view
  • Forms of the landscape
  • Map out main areas
  • Relationships between features
  • Do not get involved with detail
  • Work swiftly
  • Foreground, middle and far distance
  • Strong horizontal, diagonal or vertical lines?
  • Rhythmic shapes?

After the first drawing, applying the above considerations, we were to turn 90 degrees, complete another and turn again, repeating until covering a 360 degree rotation.  There was a similar exercise in Part 3, that I followed to the letter, however, I am hoping that my current efforts will be forgiven as I really want to focus on the sluice gates and as there was a distinct possibility of my getting very wet I skewed the brief a little.  Drawing in a 360 degree circle would mean I was looking outward from my viewpoint, however, I decided to keep the sluice gates as my subject and move around said subject.  I was still creating a 360 degree view but looking inwards.  I have to admit, I did begin to include too much detail, although some was necessary to bring the foreground objects into focus.

Conditions:

24/10/14 12.07 – 13.14

Very overcast with dark clouds forming.
Began raining lightly but steadily as I started drawing.  Being dressed in waterproofs, I was dry but my paper was becoming wet.  I had decided to use black Sharpie pens to avoid erasing any marks and using thick and thin points to help describe distance.  The pens began struggling against the damp paper and would barely make a mark at all as time went on, so I had to switch to pencil to mark out the drawing. My intention was to reiterate with pen on my return, which I did.

Although I still would like to concentrate on the sluice gates, it was a welcome change and fun to concentrate on the foreground branches and foliage in the last drawing.  It was quite noticeable how many leaves had fallen from the trees since my last visit on 22/10/14, many more branches were bare and the distant trees had more oranges and russets in their remaining leaves.

Drawing One (Detail) – Looking North

Exercise: Points of View Looking North Bickton Mill Sluice Gates Sharpie Pens A4

Exercise: Points of View
Looking North
Bickton Mill Sluice Gates
Sharpie Pens A5

 

This viewpoint was from the footbridge, looking North up river.  I’m not entirely satisfied with the far distance in this drawing, it is indistinct which is what I was aiming for, however, the tone is a little too dark and doesn’t imply how far away the vanishing point is.  If I decided to develop this view further in future drawings, it may be more successful in colour.  Although a beautiful view with real distance (in life), I am reticent to choose this as it’s quite a traditional composition and I had set myself a goal to avoid the predictable.

 

 

 

 

Drawing Two (Detail) – Looking South

Exercise: Points of View Looking South Bickton Mill Sluice Gates Sharpie Pens and pencil - A5

Exercise: Points of View
Looking South
Bickton Mill Sluice Gates
Sharpie Pens and pencil – A5

 

This drawing, in particular, suffered from damp paper, so is half in Sharpie pen and half in pencil, with some reiteration of line done back at home.  This is an interesting view in, due to the radiation of diagonals from the top right corner.  The mechanics of the sluice gates are quite visible, although I feel I should have strengthened the lines in the turning wheel nearest to us a little more.  The rust on the iron and the lichen on the concrete buttresses were more pronounced at this angle and proximity.  The shadows under the foot bridge were also descriptive in life, which again, would be easier to portray in colour should this view be developed.  The perspective of the diagonals, although, not entirely accurate, does help to describe the distance and also highlights the lack of the same in the previous drawing, particularly as here the buildings are much closer to me.

 

 

Drawing Three (Detail) – Looking West

Exercise: Points of View Looking West Bickton Mill Sluice Gates Sharpie Pens - A5

Exercise: Points of View
Looking West
Bickton Mill Sluice Gates
Sharpie Pens – A5

This viewpoint is the least interesting for me. It has too many horizontals, with the main vertical being almost in the middle of the frame.  I didn’t notice this at the time, as I was concentrating on placing the wheel to the left.  The opposite river bank has no real draw for the eye to take it towards the distance, and as the distance isn’t far away and stops dead at the fence, the most that can be done is looking left to right and back.  I do like the turning wheel and the gearing in view though, so maybe I could include these in another drawing or focus in on them in another way.  The smell of the congealed grease at the bottom of the wheel’s mechanism was really strong.

 

Drawing Four (Detail) – Looking East

Exercise: Points of View Looking East Bickton Mill Sluice Gates Sharpie Pens - A5

Exercise: Points of View
Looking East
Bickton Mill Sluice Gates
Sharpie Pens – A5

 

This was a welcome change from the hard lines and industrial feel of the other drawings.  Situated across the river on the far bank, crouched under the overhanging trees, not only was the actual view different, I was also lower down so could see more distance over the main wooden bridge adjacent to the sluice gates.  The overhanging trees and reeds worked well in silhouette, with the river a pleasing rest for the eye in front of the gates, the current was fairly still with clear reflections.  From here the sluice gates took on an impression of merely a bridge, there was no obvious rusty iron, or mechanical workings visible.  I could see over to the other side towards distant trees and some sky.  Unfortunately, in the drawing, these distant trees are reduced to light scribbling to maintain the illusion of distance.  However, again in colour, these may be more obvious, whilst still retaining the aerial perspective.

After spending around an hour sketching in the drizzle and looming cloud, I decided to call it a day.  I didn’t really observe much difference in the quality of light over that time.  It was fairly static due to the heavy cloud and tonal qualities were subdued.  I have tried to indicate what I saw and to apply aerial perspective, with varying degrees of success, in very gloomy conditions.  However, with the multitude of considerations before me when drawing outdoors, I consider the exercise very successful, with a collection of drawings that will help me decide what to develop next.  I am still very much drawn to the original idea of the sluice gates being my subject, however, the last drawing from under the trees has made me question how to move it forward.  I will mull this over at the weekend.