In what way did you select and simplify in your study?
Were you able to focus on simple shapes and patterns amidst all the visual information available to you?
There were several problems with too much information in the trees, grasses. chimneys of town. These were tackled by hinting at the finer or smaller structures in areas of larger and differing tones, or in a Van Gogh fashion, drawing patterns as semblences of leaves, over and over, picking out the dominant leaf, grass or flower shape. The town has proved difficult over and over again as the fascination with the chimneys and windows leads to my attempting to depict them in detail which loses the perspective as these structures are well in the distant midto background.
How did you create a sense of distance and form in your sketches?
Distance is achieved by lessening tone and colour and less distinct form or texture. Form, particularly in the distance or if in a dense collection of trees is dependent on picking out occasional recognisable structures such as house gable ends and incorporating them -this helps the overall reading of the image.
How did you use light and shade? Was it succesful?
In the pencil drawings and particularly the “Styile to nthe field” the foreground incorporated the most striking difference between light and shade. In the felt tip versions I used the light of the paper in the foreground against the more dense use of the felt tip in the background as it is not easy to vary the strength of pressure and therefore tone with a felt tip pen. In the pen and ink drawing inspired by Van Gogh,the foreground contrasts between light and shade were achievd by the lightening of the ink with addition of water when drawing the background-Iwould however like to retry this image and attempt to achieve the appearance of distance without resorting to changing the ink tone.
What additional preliminary work would have been helpful towards the larger study?
The stile to the field is the larger of the studies–I would like to have done this in several media as I think it would have worked well in ink and certainly provided a differing set of problems by changing the medium. Photography helped as the picture did not hold together due to the empty mid ground-perhaps a view from a greater distance would have put the stile into the midground and provided a better composition –so more preliminary drawings may have helped, but I would probably have tired of the subject and the shade!
Looking again at Odilon Redon and Victor Passmore
After the initial reaction of dislike of this artist and studying the work of contemporary drawing in the “Vitamin D” and “Drawing Now” books I decided to revisit Odilon Redon -does his art permeate through much of today’s contemporary work? When I first joined the OCA the emphasis was on drawings by Passmore who was one of the leaders in abstract art in the 60s
Victor PasmorePorthmeor Beach, St Ives 1950
sourced on line (July 2013) from:http://www.tate.org.uk/art/artworks/pasmore-porthmeor-beach-st-ives-t00092
sourced on line (July 2013) from http://www.tate.org.uk/art/artworks/pasmore-linear-development-2-p04901
These drawings(lithographs ) seem to have a certain purity which emanates from abstracting real life, and reflect some of the later drawings to be found in the two said books.
postmodernism is said to include: ” a rejection of grand narratives; a rejection of absolute and universal truth; non-existence of signified; disorientation; a use of parody; simulation without the original; late capitalism; and globalization.” (sourced on line from ref: http://www.newworldencyclopedia.org/entry/Postmodernism)
The Vitamin D book refers to postconceptual art -conceptual art being related to ideas and the means of the production of the work.
Odilon Redon was a French symbolist painter in the mid to late nineteenth century dying just before the first world war.Why were we particularly directed to this artist?
“, ” in full solitude of the countryside ” that the charcoals will be born. The environment of this native medocian soil, full with obscure lights and nuances woke up these strange worlds and these phantasmagoric daydreams which will be present all its life in his work. The trees and the characters spout out the tender and wet mucilage formed by the ground that Huysmans will describe later with its poetic manner.”
sourced on line (July 2013) from ref : http://www.odilonredon.net/biography.html
Odilon Redon, The Eye-Balloon , Charcoal, 1878.
sourced on line (July 2013) from :http://carnivalesalt.blogspot.co.uk/2010/05/artist-of-week-odilon-redon.html a blog whose ideals are : “This series will feature artists, both historical and contemporary, who have relevance to a neo-romantic lifestyle and related fashions”
Redon’s drawings are dark in the use of charcoal and in their content. They are often drawn on a brown or pink brown coloured background which makes them a little less strident.