DRAWING FOLIO AND ANALYSIS
Jiexin Wang 825924 Tutor: Dr. Robert Brown
CONTENTS WRITTEN ANALYSIS
2
LIFE DRAWING
3-6
STILL LIFE DRAWING
7-8
PORTRAIT STUDY
9-10
SITE-BASED DRAWING AT NGV DEVELOPMENT STUDY REFENRENCES
11 12-13 14
1
Written Analysis Drawing, concerned as a traditional medium, gives rise to individual explorations happening in a focused interior space (Douglas et al, 2014). This subject offers a chance for students to create their own space during 3 hours and present their artwork in class which is actually acting as a community, Within the limited time and given theme, although the educators and students are involving in condition of school curriculum, a range of impressive drawing expression with strong personality and mood emotion are produced in every class. Meanwhile, even though students are from various drawing and cultural backgrounds, they all get along well and draw with great passion every time. Simultaneously, this subject also taught me drawing is a process of “re-appraising our past and challenging the present” (Hickman, 2004). There is a huge difference between the ways of educating drawing that I have accepted for nearly 12 years and this subject. Completely different from what I’ve conceived, this subject brings me into unprecedently amazing experience of drawing in terms of pouring personal ideas and mood emotion with less focus on the techniques. The aim was not to focus on what the result “look like” as art products, but an approach that arguably fails to reveal the knowledge underpinning art’s appearance (Douglas et al, 2014). During the drawing process, I tried the new thing time after time and enjoy the feeling of drawing new thing with new media I’ve never tried. For instance, in the class of drawing still life, rather that drawing the whole set up with tones by generally using pencils, Dr Robert ask us to pick up the favourite part and use any painting tool (Chalks, charcoal or pencil). As a result, ever student’s artwork is such beauty and they are in various impression with their strong personality and creation, which is much more interesting than Chinese class producing similar works that can only differentiated by various degrees of technique using. I truly realise “A drawing can capture and preserve a record of an artist thought, rendering visible ideas and decisions that are often eliminated from a finished work” for this subject’s diversity and tolerance (Seligman, 2005). Same in the life drawing, although most of us do not have experience of it, by relying on how we feel about model and express a mood emotion or temperament to draw and a series of creative sketches and figure are yielded (Barnes, 1987). Moreover, the accumulation of individual marks and imaginations make up a whole, singular surface and brings these individual productions into one space (Douglas et al, 2014). The exhibition of showing the diverse artwork of student in the end always inspires and vibrates me a lot, for example, the technique of utilising fade out within smooth drawing, the ways of using effective lines as well as tonal drawings always evokes my passion to create new visual representation, which are sites of ideological struggle and studying (Hickman, 2014). Overall, in the next station of painting, I’ll observe more and give more patience and passion to paint, re-appraising the past and challenge the present with innovative ways of come and go, some stay and evolve (Hickman, 2004).
2
Life Drawing
Figure 1: 1st life drawing in the 1st class Trying to capture the action that Daniel is doing.
Figure 2: Life drawing in the 1st class Starting to use effective lines to emphasise the parts that Daniel exerts force on.
Figure 3: Life drawing in the1st class Tring to use tones to create a peaceful atmosphere that Daniel was involving in as well as using effective lines to emhasise the bent leg.
3
Figure 4: Life drawing in the 2nd class Starting to get the sense of using lines to show body texture, colouring light yellow and drawing effective lines to express the muscle in different part of body as well as using background to highlight the whole body, simultaneously make a sense of pushing body out of the planar paper.
4
Figure 5: Life drawing in the 2nd class Trying to use a series of small drawing on one paper to present the shortly dynamic actions Daniel has takent. Broken but effective lines are used to emphasise Daniels dynamic state.
5
Figure 6:Life drawing in the 2nd class Along the mood emotion at that period, blue and white are used to express atmosohere of blue and peaceful in my own inner space.
In summary, I learnt how to use lines, colouring, background and paper texture to express the body texture and dynamic state. And I feel so appreciated that this subject gave me a chance to experience life drawing, that’s really amazing drawing experience.
6
Still life Drawing
Figure 7: Still life drawing I mainly use yellow and blue when I do this drawing, blue background is ustilised to emohasised the central objects and create a sense of making them out of paper. White effective lines are used to express the texture of pipe and fbric.
7
Figure 8: Still life drawing I chose the lamp, the model and several balloons in this drawing. Because i wanna show a phenomenon that people can easily get piride and prejudice when they are illuminated. So yellow colouring wraps around the model to show the light and blue fades in yellow background to express illumination is just fantasy.
Overall, I learnt still life drawing can just be one part of the whole set up. We can zoom in the interested part and use colouring to make it more interesting. Meanwhile, background is so important that it decides the whole atmosphere of the drawing, using different techniques and colour can both change the drawing’s sense.
8
Portrait Study
Figure 9: Portait Study This is the first time I draw the portrait from the real model but not sculpture, and I’m not good at drawing face. It’s a challenge for me to capture and record the model’s facial feature. And another challenge is using shadow and tones to make the face three dimensional. I know this looks scary, but I’ve put my efforts in it.
9
Figure 10: Portrait Study In the second drawing, I try to use large scale, bold lines as well as smooth shadow to shape the portrait, I think I’ve got a liitle improvment of using shadow compared to the first one.
In conclude, portrait study is really a big challenge for me, especially using shadows to make the face three dimensional. But at least, now I know how to draw shadow and where to draw shadow. And I think I need to get more observation on others face and practice more of shaping face and drawing shadow.
10
Site-based Drawing at NGV
Figure 11: portrait study of sculture at NGV
Figure 12: Portrait Study of sculpture at NGV
11
Development Study Introduction: For the development study, I mainly focus on practicing the figure study and portrait study and try to use colour and tones to make the body looks more three dimensional . Because I’m not good at drawing the body lines, therefore, I choose these pictures to mainly improve my control of lines rather than focusing on the body proportion. And red colour is used to emphasise the power ererting on different part of body.
Figure 12: Figure study
Figure 13: Figure study
12
Figure 15: Figure Study
Figure 14: Portrait Study
Figure 16: Portrait Study
13
Reference list Barnes, R. (1987). The value of art. In Teaching art to young children 4-9. (3rd ed., pp. 6 – 14.) Taylor and Francis. (Children’s art, purposes of art and approaches to art) Douglas, A., Ravetz, A, Genver, K. & Siebers, J. (2104). Why drawing, now? Journal of Arts and Communities, 6(2&3), 119 – 131 (Contemporary drawing and theory) Hickman, R. (2004). Diverse Directions? Visual Culture and Studio Practice. In R. Hickman (Ed.), Art Education 11-18: meaning, purpose and direction. (2nd ed., pp. 163-172). London: Continuum. (Overview of philosophy and art education) Seligman, I. (2016). Introduction: The “thinking medium.” In Lines of thought: Drawing from Michelangelo to now (pp. 10-31). London: Thames & Hudson.
14