Ual level 2 certificate in drawing why draw

UAL Level 2 Certificate in Drawing

Why draw?

There are many different reasons why people draw: • to visualise thought and work something out.

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to provide a pattern to follow or give instructions how to make something

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to help clients visualise what is proposed;

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to describe or record something;

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to give pleasure as ends in themselves.

Drawings made to help their makers visualise thought First Concept of a Front-wheel Drive, Transverse-engine Vehicle First Concept of a Front-Wheel Drive, Transverse-Engine Vehicle Alec Issigonis (1906–1988) Britain 1956 Ballpoint pen and pencil on wove paper Width 25.3 cm x height 32.9 cm Museum no. E.210-1992 Bequeathed by the designer This sketch helped Issigonis to think through his ideas for the design of a car along new principles.

Sketch of the Pilgrim for' Love and the Pilgrim' First Thoughts for the Building for the Great Exhibition of 1851 First Thoughts for the Building for the Great Exhibition of 1851 Joseph Paxton (1791-1865) Britain 1850 Ink on blotting paper Width 28 cm x height 39.1 cm Museum no. E.575-1985

Edward Coley Burne-Jones (1833-1898) Britain 1869 Chalk on paper Sketchbook width 14.6 cm x height 26.2 cm Museum no. E.1613-1926

This figure is draped in the finished composition but on this sheet the artist has tried out variations of the pose with the figure naked. The finished composition Paxton had these thoughts during a board meeting of the is known as a painting on which the artist worked for Midland Railway, hence the doodle on blotting paper. The some twenty years and as an embroidery. sketches show a cross section and a side elevation.

Christ Crowned with Thorns Anthony Van Dyke (1599-1641) Belgium About 1620 Ink and brown wash on laid paper Width 20.7 cm x height 23.3 cm Museum no. Dyce 525 This is one of several studies that Van Dyke made for Studies for painting ‘Thehedeath thisthe subject of which made of twoDecius paintings. The studies enabled him to experiment with the content, Mus’ structure and mood of the final paintings. Ultimately Studies for the of with Decius Mus’ restraintDesign thepainting subject ‘The was death treated greater than in for an altar Peter Paul Rubens (1577-1640) this study.

The sketch was thus made as part of his Design for an altar Netherlandsthinking towards the finished composition.

About 1617 Francesco di Simone (1437-1493) Black chalk, heightened with white on laid paper Italy Width 31 cm x height 41.2 cm About 1460-1490 Black chalk, ink and wash on laid paper Museum no. Dyce 516. The vigorously drawn studies on this sheet show the painter experimenting freely with various Width 28 cm x height 44.5 cm arm movements which are key features in the finished Museum no. 4903 painting.

There are seven known drawings by Simone (including two others in the V&A’s collection) which show him trying out different combinations of tabernacles and altars as if he were trying to work out the most elegant solution.

Drawings made to provide a pattern or give instructions Cartoon for Stained Glass Cartoon for Stained Glass Ford Madox Brown (1821-1893) Britain About 1860 Pencil and wash on wove paper; squared Width 36.2 x height 99.4 cm Museum no. E.2906-1927 This drawing is the same size as the window for which it is the design.

Such designs are termed ‘cartoons’. The main wash lines indicate the lead lines. Pencil notes provide colour details.

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Design for a Bureau Bookcase Design for a Bureau Bookcase Thomas Chippendale (about 1718-1779) Britain About 1750 Ink and wash on laid paper Width 14.1 cm x height 31.7 cm Museum no. D.699-1906 This drawing was made for reproduction in Chippendale’s 'Gentleman and cabinet-maker’s director', first published in 1754. It enabled patrons to make selections and craftsmen to find inspiration and guidance for their work.

Pattern for the Decoration of a Majolica Dish Pattern for the Decoration of a Majolica Dish Battista Franco (known as Semolei) (about 1498-1561) Italy 16th century Ink and wash, concentric circles drawn with a compass on laid paper Diameter 26 cm Museum no. 2404 A dish is known with the pattern of putti around the rim but it has a different central composition. Only half of the rim pattern is drawn as the majolica painter will have known to paint in a mirror image.

Design for Lower Stages of the Tower of Ulm Cathedral Design for Lower Stages of the Tower of Ulm Cathedral Attributed to Moritz Ensinger (about 14301793) Germany About 1470 Ink on vellumWidth 68 cm x height 181 cm Museum no. 3547 Ensinger was the master mason in charge of the cathedral works and this drawing will have been made in order to show how work should proceed. In fact the tower was not completed until the late 19th century and a slightly later drawing formed the basis of its design.

How King Arthur Saw the Questing Beast and Therefore Had a Great Marvel Aubrey Beardsley (1872-1898) Britain 1893 Ink and wash on wove paper Width 27.1 cm x height 37.8 cm Museum no. E.289-1972 This drawing is a design for illustration. It was reproduced photographically and on a smaller scale as the frontispiece to vol.1 of Thomas Malory’s 'Le Morte D’Arthur'.

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Working Drawing for the Manufacture of a Carving Fork Working Drawing for the Manufacture of a Carving Fork Robert Welch’s workshop Britain 1964 Ink on wove tracing paper Width 47.4 cm x height 35.1 cm Museum no. Circ.655-1965 This drawing shows the guard movement of the fork. It is one of a series of precise actual size construction guides to the manufacturer of the final prototype from which the dies for the carving set were cut. Nine more related drawings are in the V&A’s collection.

Drawings made to help clients visualise what is proposed •

Design for a Monument to General Wolfe Design for a Monument to General Wolfe John Michael Rysbrack (1694-1770) Britain About 1760 Ink, wash and water-colour on laid paper Width 24.3 cm x height 33.5 cm Museum no. E.277-1973 There is not enough information in this drawing to enable the monument to be constructed, nor does it have the freedom of a drawing which is part of the thought process. The clarity of its outline and the way the different materials are carefully rendered suggests that it was made for presentation to the selecting committee.

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Wardour Castle, Wiltshire Wardour Castle, Wiltshire James Paine (about 1716-1789) Britain About 1768 Ink and water-colour on laid paper Width 47.9 cm x height 59.7 cm Museum no. 8416.3 This drawing shows a section through the house and thus includes many of its grandest features. It is one of many that the architect made to show his client clearly and attractively how his plans would materialise.

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Elevation and plan of the Temple of Clitumnus, Spoleto John Soane (1753-1837) Britain About 1779 Ink and wash on laid paper Width 41.5 cm x height 42.4 cm Museum no. 3436.187 Soane drew this building while touring Italy. It was admired particularly in his guidebook written by Lady Anna Miller. He wrote offering her the drawing and subsequent correspondence revealed that his hope was to construct a facsimile of the temple in her garden.

Design for a Sauce Tureen and Stand •

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Unknown About 1790 Britain Ink and wash on laid paper Width 33.5 cm x height 23.3 cm Museum no. 8389.1 This drawing is inscribed 'This drawing was made from the Sauce Tureen & Stand You so much approved off (sic)' when in London. It must have been a means of reminding a prospective client of an object that had caught his eye.

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A Range of Hygena Ltd. Kitchen Units and Fittings A Range of Hygena Ltd. Kitchen Units and Fittings George Féjer (born 1912) Britain 1962 Ink and chalks on wove paper Width 50.5 cm x height 40.6 cm Museum no. E.244-1978

Drawings made to describe or record

Terracotta Models by Giambologna for the Fountain of the Apennine with a Detail of the Base of the Fountain of Sampson Terracotta Models by Giambologna for the Fountain of the Apennine with a Detail of the Base of the Fountain of Sampson Pietro Francavilla (1548-1615) Italy 1560 - 1602 Ink and chalk on laid paper Width 10 cm x height 13.7 cm Museum no. E.695-1993 Francavilla was Giambologna’s assistant and it is thought that he made these drawings as a record of models stored in the studio.

View in Borrowdale of Mountains and a Tree John Constable (1776-1837) Britain 1806 Pencil and water-colour on wove paper Width 27.3 cm x height 19.1 cm Museum no. 187-88 Isobel Constable Bequest The inscription on the reverse of the drawing: ‘Borrowdale 4 Oct 1806 - Dark Autumnal day at noon – tone more blooming that [‘that’ scored out] this… the effect exceedingly terrific [‘terrific’ scored out] terrific – and much like the beautiful Gaspar I saw in Margaret St.’ makes it clear that Constable was concentrating on capturing or recording a specific light effect.

Diagrammatic Copy to Reduced Scale of Part of a Textile Design Diagrammatic Copy to Reduced Scale of Part of a Textile Design Unknown Britain About 1885-1905 Ink on wove tracing paper Width 12.3 cm x height 3.4 cm Museum no. E.1126-1970 This drawing is from a credit book compiled by the textile manufacturer, Arthur H.Lee & Sons Ltd, 1885-1905 as a source of ready reference.

The design for the textile is also in the V&A’s collection.

Perspective View of the Cashier’s Desk and Cloaks Counter, Fischer’s Restaurant and Long Bar, New Bond Street, London

Raymond McGrath (1903-1977) Britain 1932 Pencil, chalks and gouache on wove tracing paper Width 33.5 cm x height 27 cm Museum no. Circ.565-1974 McGrath made this drawing to convey to the client in an atmospheric way, the structure, colour and lighting of his proposal for the restaurant’s interior. Tracing paper will have been used as a quick way of tracing in the composition prior to colouring.

The Gallery at Syon Unknown Britain About 1820 Pen and ink and watercolour on paper Museum no. E.1063-1940 This drawing records the appearance of the gallery at Syon and was reproduced exactly in 'The works of architecture of Robert and James Adam, volume III, plate II, 1822'.

Studies of Lemon Blossom Frederic Leighton (1830-1896) Britain 1859 Pencil on toned wove paper Width 15.7 cm x height 22.8 cm Museum no. E.3803-1910 Leighton made this on-the-spot study in Capri. He records on the sheet 'buds pink violet'. Although blossom of this kind appears again and again in his paintings this drawing was made in order to extend his understanding of the details of the blossom and their relationship to each other with no specific painting in mind.

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Drawing to illustrate lectures on Botany, given at the Government School of Design,

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Christopher Dresser (1834-1904) Britain About 1855 Pencil and water-colour Width 75.5 x height 55 cm Museum no. 3968 Christopher Dresser, designer and writer on design, began his career teaching botany. This is one of a series of drawings of elements of flowers that he drew in a diagrammatic form to help him explain principles of biology.

Drawings made to give pleasure •

Studies of a Standing Man and of a Head

Studies of a Standing Man and of a Head Antoine Watteau (1684-1721) France 1720 Red chalk on laid paper Width 18 cm x height 31.9 cm Museum no. CAI 258 By the 17th century sketches were popular because of the extent to which they provide insight into the artist’s thought processes. As result many artists made sketches specifically for sale. The sketches on this sheet do not relate to any of Watteau’s more finished compositions. It is likely they were drawn specifically to cater for the trade in sketches.

Architectural Capriccio Antonio Canal (called Canaletto)(1697-1768) Italy About 1755 Ink and wash over pencil on laid paper Width 38.4 cm x height 25.1 cm Museum no. E.3791-1934 This drawing combines certain features of Montague House, London, with imaginary structures. Many drawings mixing actual buildings with imagined ones are known for such drawings were popular with collectors.

Girl’s Head, the Face with an Expression of Pain Girl’s Head, the Face with an Expression of Pain Attributed to Jean-Baptiste Greuze (1726-1805) France Late 18th century Black chalk with traces of heightening on grey wove paper Width 20.4 cm x height 28.3 cm Museum no. Dyce 604 Greuze made a great many studies of expression, some in preparation for specific paintings and others, like this sketch, as works in their own right. Known as 'têtes d’expression' they were much sought after by collectors.

Portrait of Mrs Mackie Jean-Auguste-Dominique Ingres (1780-1867) France 1816 Pencil on wove paper Width 16.5 cm x height 17 cm Museum no. E.230-1946 Given by Miss Winifred M. Giles in memory of her sister, Miss Alice M. Giles, through the National Art Collections Fund Ingres made many portraits like this while in Rome. They were commissioned as works in their own right as souvenirs for the sitters.

Small Soundpiece Small Soundpiece SĂŽan Bowen (born 1959) Britain 1999 Pencil on a fragment of wallpaper Width 18 cm x height 24 cm Museum no. E.359-2005

Maybe Icon of the Deposition Deanna Petherbridge (born 1939) Britain 1984 Ink and washes Width 51.4 cm x height 73 cm Museum no. P.5-1985 Petherbridge is an example of an artist for whom drawing is her chosen medium of expression. She has said: ‘In my own work I’ve never done preliminary drawing, because it’s sometimes difficult to repeat something or to continue when the urgency’s gone. I work on drawing as a final product. It is my entire visual art practice: I eat, sleep, think, write about, and do drawing’.

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