As usual I felt full of trepidation about completing Assignment 3 but, bearing in mind all the intensive work this month, I did the best I could.
Overall I think my drawing has become more fluent over the two months taken to complete Part 3 of this course. This is the result of a lot of work and has certainly shown me that constant practice is necessary if I am to make any progress. I have very much enjoyed looking at the landscape work of some great artists. John Virtue, Carel Weight, Edward Burra, LeonKossof and David Jones are among those whom I want to investigate more.
I do wish my work to be assessed.
An outdoor scene of my choice.
I made a lot of preliminary work for this assignment and thinking about what I had produced led me to look again at the landscapes of Edward Burra, Mark Gertler and David Jones. I acquired a book on the latter and made a transcription of one of his works that helped me think more imaginatively about how to use my initial sketches.
I had two goes at my final piece and decided that the work without the figure was the one which most fulfilled the criteria for Assignment 3. This was because the bus shelter and the building to the right of the picture provided some straight lines, and the fields, shrubs and trees made a contrast and were of course natural objects. The view looked into the distance in which shapes were indistinct and the colours amorphous and tending towards blue. The red in the sky that I observed on one of the afternoons when I was sketching seemed an interesting element to include.
Assignment 3 – first try.(pencil, watercolour, gouache, pen and ink.)
Final piece for Assignment 3. (Pencil, gouache, pastel and dip pen and ink)
I tried drawing some statues high up on Canterbury cathedral on a freezing cold day – heads were tiny and as one got further down everything enlarged- to be seen in my sketchbook.
On two other occasions I visited the British museum – a statue in the main courtyard appeared higher than my eye level, then going up one of the sets of stairs it was nearly on my eye level . The crowds below offered a good example of perspective – appearing really tiny in the distance.
Another view high up offered a view of the large ground space and the spectacular roof.
On one visit it started to get dark and this created potential for atmospheric work.View of statue from the stairs in which it was just below eye-level.
British Museum as night falls – early because it is January.
I went back to sun street and used ochre, brown and black to produce a limited palette study mainly using line.
In both these studies I chose two views from a café high up in Waterstones . This gave a good view of roofs and the street below.
I started both studies in line and then later decided to add washes to one and colour to the other. It was a good exercise in perspective with the eye-level high up.
In the second drawing sunlight was hitting the roofs and creating interesting patterns.
Exercise 1 Sketchbook of townscape drawings.
I chose a street in the middle of Canterbury that has lots of old buildings in it and an interesting curve. I tried different positions and realised that there were lots of intersections to draw. Finally liked the view of an old building – now a hotel with a jewellers on the ground floor – and the view of the street beyond which revealed other buildings.
At times the light was great – shining in the distance and on the opposite side of the street and creating lines of light on the tiled road in front of me. There was quite a lot of colour and found the watercolour pencils useful.
John Virtue’s townscapes and full of atmosphere -the dark dense drawings in black and white create a feeling of presence and mystery.
The large scale of much of his work means that the viewer can be ‘enveloped’ in it. Jackson Pollock comes to mind.
Leon Kossof’s townscapes are all about the places he knows and has lived in. In many of his drawings of churches and schools one is looking up at the buildings and this increases the drama. The drawings are full of movement and energy with lines appearing to have been rapidly made and re-made. Mexican church by Edward Burra.
I saw this some years ago at an exhibition at Tate Britain. The particular colouring and the composition give a feeling of claustrophobia in the richly decorated church.
Looking down. I chose a view of the shed in our garden which I looked down on from an upstairs window. The garden has a bank so I was looking at 2 sheds in adjoining gardens that were at the top of the bank of our garden and were at my eye level. Behind the shed were houses above us . Realised these different levels create interest.
I sketched in the main shapes and lines and then added colour through watercolour pencils. Lots of trees and bushes. Possibly too crowded a composition and felt that I could make more of the light on the roof of the shed and the chinks of light peeping through the undergrowth.Two variegated evergreen shrubs (piitsporium)in the garden could add variety to the picture. Try again using dip pen and ink.