Maureen Walker's blog: An Artist's Journey

Part 4: Project 2: Research Point: Foreshortening

The above was an attempt at foreshortening my own reflection using pencil in a kraft paper sketchbook. It looks wrong – as though I have a huge body on short stumpy legs with small feet. My brain made an adjustment to my perception of my feet compared to my head. Actually, as seen in the bottom right thumbnail as well as in the featured snapshot, my head would have appeared smaller than my big toe from this viewpoint.

Similarly, in my opinion, Andrea Mantegna has made an adjustment in his depiction of a figure in “Lamentation over the Dead Christ“. I think here the artist has compensated in that the feet appear small in relation to the head and body. In fact, they are the size they would be if the figure had been standing. Perhaps the true foreshortening effect would have appeared too comical in relation to such a revered figure?

John William Waterhouse’s “Saint Eulalia” – though viewed head first, the feet and hands are similarly proportioned to that of a figure seen face on or equidistant from the viewer.

Perhaps the more honest view of “Gaddafi 3” by Wilhelm Sasnal shows a less reverential depiction of its subject?

A very useful exercise in heightening awareness of foreshortening effects.

References:

Lamentation over the Dead Christ

(Date of access: 21/04/20)

https://www.tate.org.uk/art/art-terms/f/foreshortening

(Date of access: 21/04/20)

https://www.tate.org.uk/art/artworks/sasnal-gaddafi-3-t14242

(Date of access: 21/04/20)

Part 4: Project 2: Exercise 2: A Longer Study (enlargement)

I started this about 03:00 today. I began with the scanned drawing which I then uploaded to Irfanview. I segmented it, printed the separate parts onto A4 sheets and reassembled them onto white A1 mountboard. More by luck than design, it fitted.

It was a case of playing around. It went through the following renditions:

Coloured with wax crayons then coated with gesso to make the surface take chalk and pastels

This is most effective. Should have stopped at this point

Black Conte stick to accentuate the separate A4 sheets (plus added cigarette)

Walker, M (2020) *Reclining Male Figure* [mixed media collage on A1 mountboard]

It is possible that one of the earlier photographs shows a better version. I am reluctant to work this drawing any further as it’s beginning to appear a bit “muddy”.

I chose to accentuate the separate A4 sheets as I decided it would be troublesome to hide them convincingly. There is a resultant moodiness to this image, despite it being slightly overworked. Judging by his facial expression, the subject appears ill-at-ease. This is further underlined by the clash between the red of the cushions and the yellow flesh. The addition of the cigarette was a late afterthought. The subject (a non-smoker) has benefitted from an additional prop to give the scene an extra air of decadence.

References:

Walker, M (2020) Reclining Male Figure [mixed media collage on A1 mountboard]

Part 4: Project 3: Exercise 1: Basic Shapes

I spent about 50 minutes on this exercise. I’d erased all the basic shape lines before I realised these were pertinent to this blog post. I found using them useful as a way of measuring. I found the foreshortening effect was more reliably executed by using basic shapes to form the torso, legs and feet. Previously in the unit it had advised to start in the middle of the sheet of paper and work my way out. But, on two occasions I had followed this tip, resulting in the head being sliced off by the top of the paper. I have therefore reverted back to my usual habit of starting with the top of the head and working down.

In the last sketch the forearms have somehow become stunted. The arms were bent at the elbow hence the arms appearing shorter. I need to make this clear with a few more lines indicating the folds of the sleeve extending further toward the viewer.

Hmm, I think I need to call my sitter back and redo the arms

By the way, my model is something of a geek: he likes to listen to Tim Harford’s 50 Things That Made the Modern Economy while sitting for me. Each episode is a handy 12 minutes or so long, after which he gets a break. During today’s session, we (for I have no choice!) learned about Vickrey’s turnstile – a device conceived (but never actually manufactured) to implement different fares for different journeys, and different times of day, on the New York subway system.

In passing, Harford mentioned his book Messy, which is about the benefits of a messy approach to creativity. My model, who doubles as a handy elf, has recently started reading this book aloud to me. I was very taken by an early chapter in which Harford extols the virtues of optimising things by exploring random steps backward – for example, to find the highest mountain in a range, it is no good simply continuing to climb a chosen peak; rather one needs to return to the foothills and make a random leap from time to time, in order to gain the possibility of embarking on an adjacent peak that’s higher than the current one. But equally, that leap should not be too large.

It struck me when doing this exercise that the leap the rubric is proposing – a return to underlying structure when drawing a figure from various angles – is an adequate leap for me. Conversely, leaping all the way to drawing a figure with, say, a spherical head and cylindrical torso – is a leap too far. I feel, hopefully without being too arrogant, I already know – whether instinctively or through years of practice – how to “draw what I see”, particularly with regard to figures.

I feel I am finally starting to follow my tutor’s repeated advice: use the course as a framework to build on, not as a rigid cage.

References:

‘Vickery Turnstile’, 50 Things That Made the Modern Economy/ series 2 [radio progmme, digital file] Prod. Ben Crighton. BBC, 30/03/2020, BBC Sounds.

Harford, T. (2016) Messy. First edition. London. Little, Brown.

Assignment 5: Further thoughts

I’m just playing around a little further with this idea. My aim was to create a cubist type image of a group of women engaged in yoga poses. I’m still not sure it’s going to work. I think the problem is that I’m not working from life but from photographs. Photos are ok but you can’t view the subject from different angles like you can with a live and present subject, in the way you really need to do to create something convincingly Cubist in style.

Requires a rethink, I feel.

I have copied this image as it stands. I shall turn it into an abstract drawing by cutting up the “shards” and rearranging them on black paper, and colouring with Conte sticks, coloured pencils, chalk, etc.

For the Cubism, I’ll go back to basics and try again to learn the technique with still life as a subject. That way I’ll not have issues with viewing the subject from alternate angles.😎

As yet still undecided about the subject etc. for Assignment 5.

Later on, I cut up the shards and pasted them onto black paper.

I then emboldened the lines with a 0.3 fine liner. I scanned this A3 piece and printed it off on A4 copier paper.

I then partly coloured the image, cut out the individual shards and reassembled them on yellow card. Then, deciding the yellow card (which showed between the gaps) was too distracting I shaded the borders using a black felt tip.

Rearranged on A4 paper. Slight stained glass effect

It’s not finished. I’m having fun but I’m not convinced this line of investigation is ultimately going to be fruitful. Perhaps I could start the same process with a more successful composition?

Part 4: Project 2: Exercise 2: A Longer Study

I had to overcome my sense of empathy for my sitter who, as you may notice from his expression, wasnt entirely comfortable with sitting still for much longer than 10 minutes at a time. Therefore I got the main markers in place: the top of the head, the forearm and elbow on the right of the picture, the tip of the extended foot, the hand on the knee as soon as possible. Once these were firmly established my sitter was rewarded with a break.

I am very pleased with the outcome. I think if I were to work it any further I’d perhaps introduce more depth to the sofa and cushions in contrast with the paleness of the figure. I chose to use a 3b pencil on A3 cartridge paper as it is my favourite medium for life drawing. Perhaps next time I’ll choose something a bit more challenging and colourful. My main criticism of this image is that is a bit too dependent upon line work and there is less in the way of shading in evidence. I pick up on this because, as I’ve done life drawing classes in the past, this was the most frequent comment I received by way of feedback from peers.

Thoughts: Assignment 5

I started with a self portrait above. Its interesting to compare to a self portrait I did aged 25 (I’m now 53)

Then I doodled the following:

I thought the sketch in the bottom left hand corner might have “legs” so drew it (using a yoga book model as a guide to the warrior poses) onto A3 cartridge paper as follows:

I scanned the above and printed on A4 paper so I could play around with the image without necessitating redrawing. I came up with this:

It’s ok as an idea. Not sure it’ll work though; certainly not as it stands. It’s a bit too illustrative, like a slightly subversive mural on the wall of a yoga studio. I shall return to it next weekend when I’ve some free time. I may return to the drawing board

Part 4: Project 2: Exercise 1: Quick Studies

I have not started a drawing from the midpoint before. I usually begin with the top of the head and work down. I think this explains the slight hesitation at the outset. Initially, I felt limited in the amount of information that I could capture within a 2 minute period. This improved slightly with each rendition. Sketch number 5 is somewhat of an improvement upon sketch number 1. Not only is there more visual information and definition but the lines are more confidently placed.

5×2 min pencil sketches in Kraft paper sketchbook plus 1×10 min sketch on A3 cartridge paper using graphite clutch pencil

I went on to do one final 10 minute sketch. This time I moved my viewpoint slightly to the left and, instead of graphite, used 3 sharpie pens with the following result.

10 minute sketch using sharpie pens on A3 cartridge paper

The sharpie sketch was fun. There aren’t many extraneous lines or any really out of place as I was confident and decisive in my approach to laying them down. I came a cropper this time with drawing from the centre outwards as I ran out of space for the top of the head. Also, if using these same colours again, I would follow previous studies in colour and use each colour to substitute a particular tonal value rather than as a way to colour seperate parts of the image – orange skin tone, green clothing, purple background. This would make my colour choices in the sketch more homogeneous in that you would see the image as a whole and less like a series of separate parts that happen to coincide with one another.

Part 4: Project 1: Exercise 2: Emphasising Form with Cloth

Being read to, again. Here the soft fabric of the dressing gown envelops the sitter but does not obscure him. The sleeves fall in characteristic “pleats” at the elbows. This time I had a little trouble getting him to appear focussed on the book. The book was a larger one than previously so it was necessary for the sitter to move his head slightly as he read each line. Consequently his head at eye level appears broader than it is in reality.

Each time I sit down to draw, my mindset is one directed at representation of a “true likeness”. While there is little wrong with this, I feel it is a bit limiting. I am not drawing a portrait but using the figure as a prompt to create something unique. This rigidity of thinking requires working on, I think.

The next exercise involves some quick studies. I think I’ll introduce some colour into the equation. Also, I’ll try to let go a bit of my reliance upon representing a likeness and try something a little experimental in nature. Perhaps a bit Fauvist or another stab at Cubist effects or a mixed bag of the two in an abstract style?

Part 4: Project 1: Research Point: John Berger’s Ways of Seeing

Wow. This man saw the future. I think that, in this digital age, this book and television series are especially relevant. I’ve watched just the first episode but shall continue further into the series until the book arrives on my doorstep. He is a good example of someone who successfully unpacks an idea or point of view. He wastes no time in reaching his intended point. When writing blog posts I shall aim to do so too whilst at the same time seeking to elaborate upon the finer detail along the many stages of my creative journey.

At the end of episode one, he reminds us to be sceptical even of his own well-considered presentation. Refreshing food for thought. Though produced in the 70s, it is nevertheless especially applicable to today’s experience of the perception of imagery.

Another book I picked up on is The Shamanic Journey: A Practical Guide to Therapeutic Shamanism by Paul Francis. Please do an internet search on the author, he is no snake oil salesman. Please do not be distracted by a spiritual medium personality by the same name.

Other things on my to do list include the following:

• Do Part 4: Project : Exercise 2: Emphasising form with cloth
• Take delivery of Airbrushing: The Essential Guide by Fred Crellin: then play with newly acquired kit
• Fix confusing duplicate wordpress category menu heading “Sketchbook 2”

References:

Berger. J. (1972) Ways of Seeing. London. Penguin

Ways of Seeing {TV series} Producer: Mike Dib. BBC2. UK. 30 minutes

(Date of access: 10/04/20)

Sketch of the day

I asked the sitter to remain as he was for a further minute, in order to add white crayon highlights. I have recently discovered that kraft paper is great for varying tonal contrast – a much quicker result than plain cartridge, as there is no need to cover up blinding white paper. I feel I have improved since yesterday’s sitting, which was in a similar time frame. It gives me a natural deadline to work to without the nagging of a ticking clock or digital timer.

It’s interesting to draw – and be really absorbed by the activity – whilst simultaneously listening to the sitter reading out loud. It must use different parts of the brain. You feel like you’re thinking about the two things at the same time, but really you must be alternating rapidly between the two. Is it possible to focus on more than one thought in the mind in one instant? I don’t think it is.

There is something comforting about being read to. The natural rhythm of the spoken word aids the process of accessing the right side of the brain, whilst allowing the left brain or “critical voice” to be otherwise engaged. It leaves me feeling decidedly grounded and even well-balanced.