Drawing Folio · rupted drawing session allowed me to engage in a state of flow . Seligman explains...
Transcript of Drawing Folio · rupted drawing session allowed me to engage in a state of flow . Seligman explains...
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Drawing Folio
Matthew Blode · 911870
EDUC10054
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Drawing, Painting and Sensory Knowing
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Table of Contents
Written Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Life Drawings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Still Life Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Site-Based Drawings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Development Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
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Written Analysis
Drawing, Painting, and Sensory Knowing has taught me a multitude of draw-ing principles and new techniques . These encourage an alternative outlook on how I perceive the objects and people around me . I have learnt the con-cepts of analytic perception and engaging in a state of flow to better focus on my creative task .
The primary technique that I have learnt through the course of this subject, it to view an object, not from memory but rather to perceive it with fresh eyes and a new perspective . Therefore, directly attempting to recreate the specific angles, curves, highlights, and shadows that contribute to the ren-dered form . When drawing, I now constantly check the relationships of my lines with the surrounding negative space . I try to separate my interpreta-tion and experience from the observable reality while thinking analytically about the drawing I am producing, exemplified in figures 7 and 13 .
Conversely, I have also attempted to incorporate a sense of personal expres-sion, representing the emotion of the figure or the emotion that I am feeling while creating the work . Figures 12 and 20 are my most vibrant and expres-sive works will maintaining a form that is grounded and realistic . “Art may be a therapeutic release, but it also has the function of communicating to others through its organisation of form and content” (Barnes, 1987, p . 17) . In this way, the hand of the artist has been introduced into the work, making it feel more expressive and personal .
Figures 19 and 20 were our longest in-class drawings . The longer uninter-rupted drawing session allowed me to engage in a state of flow . Seligman explains that “drawing is something where you have a really direct, imme-diate relationship with the material . . . with drawing you are in the present” (Seligman, 2017, p . 12) . Thus, being present means that time just slips by and you are entirely in the mindset of producing the work . In this way, I believe that my highest quality work is created . This subject has taught me to seek the state of flow and to limit all distractions .
Simpson expresses that “angles can be measured by comparing the un-known angle with a know one” (Simpson, 1987, p . 10) . Thereby, I have started utilising a technique that has greatly improved the shape of my observation drawings . Holding my finger up vertically or horizontal allows me to inspect
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Written Analysis
the angle relative to 90 degrees . Thus, I can more confidently create my lines as I have a clear reference .
Accurate proportions can be a highly challenging endeavour when drawing from observation, however, Goldstein uncovers that “it is the absence of such efforts to compare, locate, and measure that causes the poor propor-tions and wrongly placed parts that so beset the beginner” (Goldstein, 1986, p . 48) . I have started to use my pencil as a guide for the relative size of an ob-ject to improve the proportionality of my drawings as seen in figure 19 . Thus, a combination of observation drawing methods and principles that I have learnt throughout this subject, has aided my ability to depict what’s around me in the form of drawing .
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Life Drawings
Figure 1.
Figure 2.
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Life Drawings
Figure 3.
Figure 4.
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Life Drawings
Figure 5.
Figure 6.
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Life Drawings
Figure 7.
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Life Drawings
Figure 8.
Figure 9.
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Life Drawings
Figure 10.
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Life Drawings
Figure 11.
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Life Drawings
Figure 12.
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Life Drawings
Figure 13.
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Life Drawings
Figure 14.
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Life Drawings
Figure 15.
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Life Drawings
Figure 16.
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Still Life Studies
Figure 17.
Figure 18.
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Still Life Studies
Figure 19.
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Still Life Studies
Figure 20.
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Site-Based Drawings
Figure 21: Keyser, F. (1636). Frederick van Velthuysen and his wife, Josina.
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Site-Based Drawings
Figure 22: Largillierre, N. (1714). Crown Prince Frederick Augustus of Saxony.
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Site-Based Drawings
Figure 23: Ribera, J (1624). Martyrdom of Saint Lawrence.
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Site-Based Drawings
Figure 24: Pigalle, J. (1748). Georges Gougenot.
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Development Studies
My development study engages with the concept of the habitual life . The intent behind this study is to utilise a variety of drawing techniques and methods to capture the elements of our everyday milieu that goes unnoticed or is overlooked .
The process of these pen and pencil drawings span from a naturalistic observational drawing towards more abstract techniques . This includes the drawing methods of chaotic scribbled lines, fine-liner stippling, and the incorporation of vibrant highlighter colours .
The most representational depiction within my studies was figure 27 in which I aimed to accurately and realistically depict the softness and intri-cacy of a pot plant . Goldstein’s concept that “learning to draw is learning to see and relate multiple number of factors at the same time” (Goldstein, 1986, p . 46), is something I was forced to engage with when attempting to accurately represent the relationship between the leaves .
Figure 26 and 28 are an exploration in cross-hatching techniques between a cubic, angular form, and a plush, rounded object . For the latter, I sought to draw lines that were guided by the three-dimensionality and curvature of the form .
Finally, my stippling drawing methods for figure 31 and 32 were relatively the most abstract and challenging out of all of the works in my development studies . A collection of precise dots culminate into an interplay between tones that effectively represent form .
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Development Studies
Figure 25.
Figure 26.
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Development Studies
Figure 27.
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Figure 28.
Development Studies
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Figure 30.
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Development Studies
Figure 31.
Figure 32.
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References
Barnes, R . (1987) . Teaching art to young children 4-9 . London: Allen & Unwin .
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 .
Hickman, R . (2004) . Diverse Directions? Visual Culture and Studio Practice . In R . Hickman (Ed .), Art Education 11-18: meaning, purpose and direction . 2nd Ed . London: Continuum .
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 .
Simpson, I . (1987) Drawing, seeing and observation . London: A & C Black
Largillierre, N . (1714) . Crown Prince Frederick Augustus of Saxony . Retrieved 15 September 2019, from NGV website: http://www .ngv .vic .gov .au/explore/collection/work/4120/
Keyser, F . (1636) . Frederick van Velthuysen and his wife, Josina . Retrieved 15 September 2019, from NGV website: http://www .ngv .vic .gov .au/explore/collection/work/4101/
Pigalle, J . (1748) . Georges Gougenot . Retrieved 15 September 2019, from NGV website: http://www .ngv .vic .gov .au/explore/collection/work/3565/
Ribera, J (1624) . Martyrdom of Saint Lawrence . Retrieved 15 September 2019, from NGV website: http://www .ngv .vic .gov .au/explore/collection/work/83337/