Maureen Walker's blog: An Artist's Journey

Part 2: Project 4: Exercise 3: Material Differences

I’m not sure whether this exercise has been a success or not. As a learning experience it has been very useful. I think I’ve played it a bit too safe with the medium used. Coloured pencils are something I’m already fairly familiar with. I used them as I knew I could render detail sharply as opposed to using conte sticks or pastels. I am happy with the colours used but not entirely content with the composition.

For Assignment 2, I shall use different media and do several studies prior to the finished article as I now realise how valuable a planning exercise this is having omitted to do so here. (Please see previous post for further information on development)

Part 2: Project 4: Exercise 2: Composition: An Interior

OK, so I began the day feeling like a fraud. Not only did I baulk at repeated sketches of the same part of my room, I took the following photograph and printed it off.

I then used a light box (gasp) to mark down the parameters and perspective of my chosen composition. The reason I did this is I was having trouble getting enough of the scene into a preliminary sketch in order to create an interesting composition. Confession over.

I then took another sheet of paper (A2 this time) and, using the lightbox sketch as a visual guide only, I sat on the edge of my bed and drew the scene from life.

Initially the colours were a little on the warm side, so I added a cool yellow and an even cooler blue. I tried using graphite pencil with the coloured pencils, but felt this was too heavy-handed. Graphite pencil leaves a shiny surface that catches the light. This is not necessarily a bad thing, but out of place in this composition. I’m pleased that the outcome, so far, expresses how I feel about my favourite living space.

The following stages took several hours.

It’s not yet finished. I feel it requires further shading in order to create more depth. But I am happy with the media I have chosen, the composition and my colour choices.

Looking at this again, I realise the benefit of repeated initial sketches from varying angles. If I had followed this advice I would have avoided this much-too-symmetrical image. I think, if I’d moved a couple of paces to the left, the vertical demarcation line of the corner of the room would not have been slap bang in the centre of the picture. As this is one of the first lines drawn, I feel I ought to have realised this error early on. The placement of the shoes in the foreground goes some way to alleviate this.

Another criticism is that some of the lines are not quite as straight or parallel as intended. I shall try to rectify this and re-post the completed image later.

Update:

I’m not sure whether this exercise has been a success or not. But as a learning experience it has been very useful. I have learned to take note of advice, such as carrying out preliminary sketches, rather than launching straight into the final composition. I think I may have played it a bit safe with the medium used. Coloured pencils are something I’m already fairly familiar with. I used them, as I knew I could render detail sharply as opposed to using Conte sticks or pastels. I am happy with the colours used but not entirely content with the composition. For Assignment 2, I intend to use different media and do several studies prior to the finished article, as I now realise how valuable a planning exercise this is, having omitted to do so here.

References:

Walker, M (2020) Sofa of Serenity (An Interior) [coloured pencil on A2 cartridge paper]

Part 2: Project 4:Exercise 1

Quick sketches around the house

I call ma boudoir ”my bedsit”. I have a one bedroom flat, but my living room is my studio so, in theory, all art paraphernalia lives in my studio. In practice of course it spills over if unchecked. A friendly elf comes and periodically stems the tide.

The image with the wardrobe is a bit dull as it’s the most uncluttered therefore largely featureless. I confess I was going for a feel for the room rather than verisimilitude (a word added to my vocabulary care of the friendly elf). I enjoyed the picture with the window as there is lots to draw as well as a glimpse out through the window at neighbouring buildings. Clutter, such as piles of books, are relatively easy to draw, whereas my pencil case – a floppy bag open at one end – was more of a challenge. I feel this item requires explanation. The drawing of it is insufficient as a descriptive exercise. But the general mood of the image is one of cosy familiarity. I’m hoping that I am not alone in having piles of half-read books within easy reach cheek-by-jowl with the remnants of this afternoon’s lunch congealing in a bowl.

I chose to use biro directly into my sketchbook as I knew I would be less inclined to be fussy over detail for these sketches. Given the choice out of the images so far I would go for the one with the window view as being least claustrophobic and having the most interest. Although not shown, there is good colour contrast with red ochre curtains against a blue wall.

I feel that as aid memoirs these sketches will suffice, but that further drawing practice on the hoof, so to speak, is required in order to improve my communication of sufficient detail to adequately describe the objects at speed. Of course, for the next exercise I shall allow much more time for this. These sketches took no more than 5 minutes apiece.

I spend a lot if time in this room. It is my favourite place to be. I look forward to expressing this feeling of warmth and familiarity in the next completed piece.

Research: Bushey Museum and Art Gallery

Bushey Museum, an undiscovered gem near Watford in Hertfordshire, houses paintings by Sir Hubert von Herkomer as well as various artists both living and dead. I particularly liked the following example by Teresa Pemberton (undated), a Fine Art graduate of University of Hertfordshire, coincidentally just down the road from where I live.

I like the colours and texture she’s used to interesting effect.

References:

Pemberton, T. (2020) View over Watford from Oxhey Park, no date. [oil on board] Bushey Museum and Art Gallery

Part 2: Project 3: Exercise 4: Monochrome

I had to wait in for a parcel to be delivered, so I couldnt go out to get anything of a natural subject matter for this latest exercise. I didn’t want to waste the morning’s light so remembered a dried up coconut in my studio. I took it outside and cracked it open on the asphalt in the car park (hopefully not waking too many neighbours). A friend suggested marrying up the coconut with the cast iron press – as though one had cracked the other. I hope that it is clearly a coconut and does not require explanation. I am pleased with the result. I did a brief study in my sketchbook first in order to check the effectiveness of the composition. I don’t like to do this. I find if I overdo the pre sketch stage it takes the freshness out of the finished piece. I don’t think this was the case here though.

Looking again at this image, I think there is something decidedly sinister about it. The crushed coconut seems representative of something much more precious being murderously cracked open. It lies agape, its contents spewing forth. There is also a menacing feel to the shadow of the press against the white background. I didn’t set out to create a metaphor, but it would appear that I have done so all the same.

Materials used include kraft paper pritt-sticked onto A3 cartridge paper. I used graphite leads in mechanical pencils and finished off with a 2b pencil to add fine lines and edges.

Research: Jenny Saville

My reaction to Jenny Saville‘s art is to find it at once grotesque and highly affecting upon the senses. The artist, I feel, seeks to challenge our carefully honed expectations of what a female nude ought to represent. Usually we are invited to rest our gaze upon images that promote ”decorative feminine beauty”. Here, it is morphed into a decidedly ”non-feminine” presentation with faces and bodies that appear distorted, even brutalised.

There is something driven and necessary about her art. It is as though Jenny Saville has had a gutful of this airbrushed prettiness. Perhaps angered by this force-feeding of damaging and undermining expectations of women, the artist has spat out a counter argument for her perception of how things truly are?
When I look at these images I am rocked by the feeling that my own social conditioning is unravelling. I feel a sense of relief that the truth of imperfection has finally been found
by the spotlight.
Generations of women like me have conformed to the stereotypes carved out for them by societal norms. Bred for obedience rather than intellect, under-educated for millennia – or worse – having had natural instincts suppressed by the niceties of societal expectation, I see Jenny Saville’s work as evidence of a woman with the soul of an enraged Queen Boudicca reborn to wreak revenge through the medium of paint. If I could take even a pinch of this potential I’d be a force to be reckoned with indeed.

There is a fascinating BBC interview on ”Front Row” with Jenny Saville here (2019)

References:

BBC (11th April 2019) Front Row [podcast] https://www.bbc.co.uk/sounds/play/m0003zct

Saville, J. (2018) Rosetta II, 2005-6 [Painting] ‘Now’ Exhibition. National Galleries of Scotland. 24th March – 16th September 2018

Part 2: Project 3: Exercise 3: Experiment with Mixed Media

Exercise 3: Experiment with mixed media.

I just have to start by saying I learned a lot from this exercise. And though the outcome wasn’t a fully realised image today, it could be on another day. But at this point I have retired from the drawing board for today.

Actually it was a square canvas primed and then messed up with burnt sienna acrylic. Once dried, I part covered it with Financial Times. Then I began quite rashly drawing outlines of the items (in my hastily arraged still life) with a white paint marker. A while later I found these rather distracting white lines could be subdued with a bit of acrylic ink. It’s a bit twee or kitsch. And not really in a good way! But I learned a bit about what a white paint marker can do. That it doesn’t like waxy surfaces, but matt Financial Times with burnt sienna acrylic ink when dry is another matter. This matt surface takes oil pastels well.

The big mistake I made is to stop looking at the subject and just play for playing’s sake. It was fun. But I do suffer from a post-creative emotional come down with no finished outcome or concrete product in my hands, just the experience of having passed hours in my studio playing. I blame the fact that a friend turned up late morning and threw me off focus. At least that’s what I’m telling myself. But it is New Year’s Day. Perhaps I should give myself a break?!

Drawing v Painting: Does it Really Matter?

It was a question raised in an email discussion into which I had been copied. What’s the difference between drawing and painting? There are so many overlapping features to drawing and painting that it is almost impossible to establish where they diverge. You could say painting is more of an indirect application as it requires the use of a tool to transfer the medium to the chosen surface. But this can be true of drawing as well. A dipping pen, for example, requires both pen and ink. I suppose If I had a gun held to my head on the subject – apart from the fact that I’d likely agree with the owner of the gun – otherwise I’d conclude that the employment of individual lines is what differentiates drawing from painting. It’s not enough to say that painting requires the use of paint and a brush as a single line can be produced this way too. Brush strokes are used in painting to fill large areas with the medium of choice – usually paint – but could be tea, coffee, runny foodstuffs, ochre, clay, human excrement, etc. But it is also not untrue that these things can be used with additional tools to draw an individual line. If you listen to ”bah humbug” friends, who sum it up thus: you can draw with a paintbrush, but just try painting with a pencil and that with all things said and done, does it really matter anyway?

Research: Steven Shearer

Continue reading “Research: Steven Shearer”

Assignment 1: Summary of Key Points from Tutor Feedback

As suggested, I summarise below the key points from Assignment 1 feedback, together with my reflections on some of the key points.

Assignment feedback

Use more experimental approaches to exercises. I look forward to doing so.

Use camera for further experiments with “drawing” in widest sense. I certainly shall!

Regard course material as a guide: trust instincts; include any material or medium; experiment freely; develop personal response to tasks. This is very refreshing advice. The freedom bestowed will be wisely used.

In still life, pay more attention to detail in background and/or foreground. Yes, this would give more depth to the images.

Sketchbook feedback

Blogged images not easy to see. This is partly because I have chosen to use a brown, kraft paper book (because I especially like the surface texture, and the ability to use white pencil etc). I will endeavour to take/post clearer pix more frequently in future, but my physical sketchbooks will, of course, also be available for formal assessment.

Keep a sketchbook with you; sketch from daily life anything that interests. I shall increasingly do so.

Incorporate cuttings, photos, experiments and notes. I will increasingly do so, either in my sketchbook and/or my blog.

Research feedback

Use Harvard referencing for all sources. Having researched how from your useful links, I will in future.

Use the OCA online library. I do. I also have available to me the library at the local University of Hertfordshire, which includes a large section on art.

Blog feedback

Weebly blog difficult to navigate. I have moved to WordPress. I have also migrated all Weebly content to it.

Improve headings and sections; consider using OCA template. I have adopted the template and am using the categories it provides.

Next assignment

Continue experimenting, both compositionally and with materials; push ideas to the fullest. I will continue to do so.

Build confidence by focusing as much on process rather than outcome. I shall experiment with media and techniques.

Experiment with drawing both quickly and slowly, but with equal intensity. I tend to draw quite quickly. I shall experiment with time limits/drawing in cafes etc.

The main feedback points, apart from the very welcome message that I’ve made a great start on the course, were that I need to focus on the journey rather than the destination. A good maxim for life as well as for creativity, if indeed there can be a distinction between the two. Also that experimentation is to be encouraged. This point had been raised before in the initial telephone contact with my tutor, Adam Thompson. I find that using the course as a springboard or a framework for producing interesting work is a challenge. I still suffer from conditioning – that a course book is not something to be taken lightly. Breaking the ”rules” is something of anathema to me. It’s not as though the Art Police will come dragging me away kicking and screaming should I not toe the line. But this conditioning begins so early in life – before we enter mainstream education – but consolidated after most of the potent creative anarchy has been educated out of us. Therefore I have to steal myself in order to cross the line into flights of fancy as opposed to slavishly following a series of set tasks.

Administrative matters

Assignment 1 is not formally assessed. I was aware of this; I look forward to future Assignments being formally assessed.

I’d like to submit Assignment 2 slightly sooner by 24/01/2020.

Advise tutor of preferred medium for next feedback (written or video). I would prefer written feedback via email.

Assignment feedback

Sketchbook feedback

Research feedback

Blog feedback

Suggested reading feedback

Next assignment

Administrative matters