Odilon Redon’s Two Trees, c.1875 creates the atmosphere of a somewhat sinister wood by the contrast of tones. The lighter tones on the trunks and branches and in the foreground against the darker pieces create mood and a sense of three dimensions.
Tried pencil. dip pen and ink, biro and drawing pen. Liked the dip pen best as felt the marks created a sense of reality. Any sort of shading added to the 3 dimensionality of the objects. Shadows were deepest nearest to the object. This was a useful exercise in that it showed that each medium produced a different effect.
Like the hatching technique – it reminds me of Edward Ardizzone’s drawings which are full of different kinds of marks that add life and movement to his pictures. For example
Research: Been looking at the atmospheric drawings by Seurat that were created using extremes of light and shade. In ‘Prints and Drawings, a Pictorial History’ by Gottfried Lindemann there are two reproductions (p.325) that evoke mood with the use of black and white. One ‘Study for the Grande Jatte’.
Used conte on an A2 roughly sized paper with 2 lit objects with shadows. Shadows were of different tones as were the objects. Found the conte quite hard work as have a sore shoulder. However managed over two hours with a break. Negative shapes as interesting as the objects – obviously an abstract element to it all. Liked the way tooth of paper created a pattern.
Research Point. Project 1 : Feeling and Expression. Asked to look at contemporary drawings so chose Frank Auerbach and Leon Kossoff.
I find all Auerbach’s drawings expressive . One of many examples is Plate 101, ‘Head of E.0.W’. 1960 in (Hughes, (1990) ‘Frank Auerbach ‘, Thames and Hudson. The constant rubbings out and re-drawing that mark Auerbach’s practice and, in this work, the patching of worn out paper, speaks of the past and adds to the strong feeling of a presence. Contrasts of black and white and the textures created add to the expressive effect.
Leon Kossoff’s drawing after Poussin ‘Bacchanal before a Herm No.3 ‘-Plate 24, p.80, (Kendall,(2000,) ‘Drawn to Painting’, Merrell Publishers, London), is full of movement that creates the expressive atmosphere of Poussin’s painting. The rendering of charcoal, pastel, felt-tip pen and watercolour add to the exuberant mood of Kossoff’s work.
Was rather dismayed at this effort – I find angles so difficult and drawing through things was a challenge. The one good thing was that I managed to fill the portrait sized paper A2 without having to bring in the setting. I have so much to learn must keep going with my sketchbook.
On the oca gmail recommendation of Margaret Davidson’s ‘Contemporary Drawing’ (Watson-Guptill Publications).
Got it and seems useful – lists things important to drawing such as: Choice of surface, mark making, space, composition, scale, materials, crossing of media boundaries. Uniqueness of drawing as an art form.
This reminded me why I was doing the course – just love making marks. Associations were fun .
Anger – slap, bang, hurt, pierce, wound, shout, push, pull, violent, explosive, red, engulf.
Calm – float, smooth, still, straight, lapping, water,soft, quiet, gentle, blue.
Joy- bubbly, fizzy, jump, dance, jig, jest, jig, smile, exuberant, reaching out, halo, orange .
Shock- sudden, horror, judder, jerk, grimace, hair-raising, gasp, silent, slump, curve, zig-zag.