Student name: Mengping (Vicky) Huo Student number: 980794
Written analysis
Throughout the length of this course, I have learned that drawing can be regarded as a “continual process of discovery”, which can stimulate, analyse and develop ideas, and also can “enable a deeper understanding of the object” (Seligman, 2016, p.10). We can find problems during the drawing process and we also need to figure out how to solve it. In this way, we can improve the understanding of the object and learn more. According to fig 1, it can see that proportions challenged me. As Simblet (2005, p.118) suggests, you can lock your concentration onto the most essential part by drawing quick poses, and the quick exploratory line can be used to indicate the decision about “overall flow of form, balance, and height”. Furthermore, “adjustments, while checking relationships between length, direction and angles” can also be a good way to solve the proportion problems (Goldstein, 1986, p. 57). Thus, I was encouraged to use a quick exploratory line to draw the outer shape of the figure and emphasis on the balance and movement without focusing on the details (fig 2). Before honing the expression, I used the pencil to make the outline and work over with further observation. I also tried to use continuous contour drawing which can potentially modify the form through the variation of lines (fig3 & 4). In fig 5, I tried to use negative space to portray the outer shape, losing the details in this way can make me focus on the proportions. Moreover, the emphasis/dominance of the drawing challenged me as well. In figure 6, the folded cloth and dark ventilation pipe hold the viewer’s attention, which affects the unity/harmony of the drawing since people more likely to focus on the upper part of this drawing. I have noticed this problem and tried to solve it in the following drawings fig 7. Drawing has to not only do with lines, but planes, the surface of an object needs to be constructed of “unfocused” planes that gently fuse together (Goldstein, 1986, pp. 49-52). Fig 12.5 can illustrate the progression from line work to the tonal effect and the use of different colours. As Simblet (2005, p.18) states, “techniques and materials are the grammar and vocabulary of drawing”. In fig 14, I used the contrast between the cold and warm temperatures to illustrate the different values of shadow, and some sharp lines have been used to emphasise the difference in distance (the face - front and background - back). The drawing also can be regarded as a silent twin of reading, we have not required any elaborate equipment and it can be done in any environment and at any time by any person (Edwards, 1986, p. 55). This can be seen from the figure 14 & 15, I can use charcoals with different colour and hardness to portray, but I also can just use a simple pen to draw the same portrait. We can also use the same material to achieve a different effect of drawing. With the same pen, a different effect also can be expressed and this drawing has been down in a different environment (figure 16 & 17).
I also find out that I am not good at portrait drawing, and that is the reason I chose portraits as the subject of my development studies. Using simple geometries to describe human bodies can be a good way to start a portrait easily. Human's head and neck can be conceived as a single unit arranged in four different parts: an egg-shaped cranium, triangular or egg shape face, column trapezius and triangular throat (Simblet, 2005, p.142). This shorthand diagram has been used and gave a firm footing when I started the portrait section.
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 1: Layering line onto tone
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 2: Using quick exploratory line to draw outer shape
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 3: Using quick exploratory line to draw outer shape
Student name: Mengping (Vicky) Huo Student number: 980794
Figure 4: Rapid contour drawing/continuous line drawing
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 5: Using negative space
Student name: Mengping (Vicky) Huo Student number: 980794
Figure 6: Still life drawing
Student name: Mengping (Vicky) Huo Student number: 980794
Figure 7: Still life drawing
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 9: life drawing with tonal effect
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 10: life drawing with tonal effects
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 11: life drawing with black background
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 12: life drawing with black background
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 12.5: Tonal profile study in the different colour of charcoals
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 13: Tonal profile study in the different colour of charcoals
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 14: portrait drawing using pen
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 15: site base drawing using pen in NGV
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 16: site-base drawing using pen in NGV
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 17: the milkmaid Fig 18: girl with a pearl earring
Development studies As Seligman states (2016, p. 10), the drawing can be regarded as a “thinking medium” and it can be a method to express and record thoughts. He also suggests that the drawing is a “rethinking medium”, the process of development implies rejection (Seligman, 2016, p. 29). My developmental drawings investigated the light and the different values of shadow through life studies of the portrait. Initially, my intention was to achieve the realistic depiction, as this study progressed it became a personal expressive study. There are many values and types of shadows on all the planes of the face. The core shadows(the result of the underlying structure and light source), cast shadow, highlight, reflected light work together to set up the basic structure of the head (Kauffman, 2012, p.5). As Seligman states (2016, p. 30), the copy of master drawing cannot be “slavish”, but rather “highly interpretive modification” and cannot be restrictive. I draw my inspiration from the works of Johannes Vermeer who focus on the expression of light and shadow. His works are largely portraits with people facing the window, he uses this gentle sunlight to depict the figures. In the fig 19, I can get a broad likeness of the face and concentrate on the general shape by half closing eyes and using continuous lines to draw a rough sketch of the face. I tried to vary the weight of the line when I detect the form turning into space and perceive a shadow. I tried to use the same technique as Vermeer’s work to express the different value of shadows (fig 20 & 21). I have also tried to use continuous lines (fig 22) to express shadow, but it seems not a proper way. The white linework on the black paper can show the contrast between highlight and shadow but not the values (fig 23). The method has been used in the fig 24 can be the best way to illustrate the values of shadows. The highlight can be easily expressed by using white charcoal and the different value of shadow can be expressed by the value variance of colour.
Student name: Mengping (Vicky) Huo Student number: 980794
Fig
19:
continuous
line
drawing
without
focusing
on
the
details
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 20: portrait expressing shadows and light
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 21: portrait expressing relationship between light and shadow
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 22: continuous lines to express shadows
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 23: white linework on black paper
Student name: Mengping (Vicky) Huo Student number: 980794
Fig 24: portrait study using white charcoal and brown charcoal
Student name: Mengping (Vicky) Huo Student number: 980794
Reference list: Edwards, B. (1986). Drawing on the artist within: a guide to innovation, invention, imagination and creativity. New York: Simon and Schuster. Goldstein, N. (1986). A drawing handbook: Themes, tools and techniques. Englewood Cliffs: Prentice Hall. Seligman, I. (2016) Lines of thought. Drawing from Michelangelo to now. London: Thames & Hudson Simblet, S. (2005). The drawing book: an innovative, practical approach to drawing the world around you. London: Doling Kindersley Ltd. Kauffman Yaun D. (2012) Faces and Features, learning to draw step by step. Irvine, CA: Walter Foster Publishing