OCA D1: Composition

Three dimensions on man-made and natural objects

I feel more comfortable trying to depict three dimensions of natural objects. The irregular surfaces of such objects provides more contours and tonal variation, and for me presents a greater opportunity to create the illusion of solidity and form.

Solidity in my compositions

The solidity in some of my compositions is suggested by the light direction, tonal changes on the surfaces of the subjects and cast shadows. I think attention must go in to the variation of tone; from strong contrasting, sharp tones, to variations of subtle gradation. With other compositions I might disregard solidity and form altogether. It may have been a simple pattern, texture or composiition that excited me.

Changing arrangement and a sense of form

My natural compositions were drawings of leaves, a large stone from a fruit, twigs and other bits of foliage. I had lots of tonal variations and interesting contours to work with, so even with flatter light there was still a sense of solidity and form. My answer to "Do you think changing the arrangement of your composition makes a difference to your approach and the way you create a sense of form?" is yes, for me it is about observing and finding something I can use. If the light is strong and helps to suggest a sense of form then I may work the drawing hard and create something very tonal, otherwise I might take a different approach and use simple line and direction to suggest form.

OCA D1: Drawing Reflected Light

Patrick Caulfield

I love pop art. I love David Hockney's and Patrick Caulfield's work. I love simplicity and an artists ability to remove the waste; the clutter; the distractions. I love to see design in artwork and in Caulfield's work this is evident. The design is the composition ~ the shapes, colours, tone and the ability to select and omit. It's the artistic fore-thought that gives the artwork meaning.

This is my design in the style of Patrick Caulfield

Seperating cast shadow from reflected light and shade

I feel the difficulties presented when drawing light, shade and cast shadow are subtle changes in tonal values, especially when depicting cylindrical objects. I need to observe and tell myself "this part of the subject is darker than this but light than this." I try to build up tonal differences gradually.

This is my study of light reflected from one object to another

OCA D1: Basic shapes and fundamental form

Size, shape, proportion, solidity and depth

I have made a few sketches of cylindrical objects whilst accurately trying to capture proportion and depth. Not so much solidity in this case because the excerise was to make the closest objects transparent so the viewer could see the lines of the objects behind. When I draw, be it a quick sketch or a more controlled drawing, I am always making quick comparisons and taking mental measurements. Sometimes I will use a physical aid, like a pencil, to gage distance but more often than not I will just make a visual comparison between a few points within the subject or the negative space.

This excerise was to draw only cylindrical objects. A quick observation made me realise that the cylindrical tops were shallower the further away the object was. The closest objects obviously had deeper oval tops and the bottoms of the objects were deeper still.

This is my study of jars and jugs

OCA D1: Tone and form

Primary light and secondary reflected light

Now that I have a better understanding of the effects of a strong side-light on a spherical object I can make sense of what I am seeing. Prior to this, reflected light would have been ignored, probably even becoming darker as it seems logical to assume the opposite side to the one receiving the light will be darker. A little knowledge heightens my senses and forces me to ask questions.

Depiction of form

To capture form I think an artist must pay close attention to those subtle tonal changes. Strong contrasts can indicate deep contours on an object but I feel it's the overall smoothness of the gradient that depicts solidity and form. This can be strengthened by feeling the form and wrapping around with line.

The awareness has forced me to consider form much earlier in a drawing. I'm actually enjoying drawing with form and not just making this an after-thought following an outline of my subject. I'm feeling a freedom and an excitement when drawing and as a result my work has become very dynamic and energetic.

OCA D1: Making Marks

Holding my pen or pencil

The way I held my pencil determined how much control I had over my line. I experimented with four methods: close to the tip in a writing hold, the middle of the pencil in a writing hold, loosely at the end of the pencil and my forth, which was bringing my hand over the top of the pencil and having the end rest in my palm. Each gave me very different results. I enjoyed experimenting with the loose hold at the end of the pencil, which allowed me to draw freely and expressively. I found the greatest control came from holding the pencil mid-way in a relaxed manner. This gave me freedom and control when I wanted it.

Particular emotions or feelings

Yes, in short, my drawings are deeply affected by my emotional state. Positivity will bring with it a certain flow and control to my drawings and if I feel this way then I will often opt for graphite or my Col-Erase illustrator pencils and use my time to observe and record. I will concentrate on my line, form and tone. If my mood isn't so positive then I may choose to experiment with materials or draw boldly with charcoal or pastels. Either way, I try to use my feelings and create something.

Drawing tools and techniques

I will attempt to draw with anything that makes a mark. Actually, I love ball-point pen ~ I like the tone you can build up with these. I often draw with graphite and my Col-Erase illustrator pencils. I love squared-off conte-crayon; the boldness and the ability to print with its sharp edge. I love oil pastels ~ they make me approach a piece differently because I'm thinking more about blocking in colour than I am drawing with line.

The introduction of colour

I try to see both colour and tone when creating a drawing, or a painting. Seeing both helps me establish boundaries for proportions in both positive and negative space.

If I am working in colour then I often find myself working from the inside and moving outwards, blocking in instead of drawing. I push my medium until I'm satisfied with the shape; the boundary. This would be a common approach for me using pastels or direct painting.

Interesting and rewarding

I found the freedom and expression in doodling the most rewarding. Previously, I would ponder things to draw and occasionally be unsatisfied unless I had something of interest to draw from observation. Now, this isn't so evident; I'm enjoying making marks and drawing from memory, creating lines, hatching, drawing spheres with light and cast shadows, and generally just enjoying myself and learning as I go.